Whats the melody??

It is the third man theme from the Orson Welles movie!

Karas was working as a zither player when director Carol Reed, during location scouting for the film, heard him playing in a beer garden. Reed wanted music that wasn't waltz but would be appropriate to the city of Vienna, in which the film was set, so he asked Karas if he would write and record the film's score. Karas agreed, and he wrote the theme based on a melody in a practice book. The zither had not previously been widely used in English or American music, but the theme became popular with audiences of the film soon after its premiere. This song was originally released in the U.K. in 1949, where it was 'The Harry Lime Theme.' Following its release in the U.S. in 1950 (see 1950 in music), "The Third Man Theme" spent eleven weeks at number one on Billboard's U.S. Best Sellers in Stores chart, from April 29 to July 8. Its success led to a trend in releasing film theme music as singles. The musical score was composed by Anton Karas and played by him on the zither. Before the production came to Vienna, Karas was an unknown wine bar performer. According to a November 1949 Time magazine article: The picture demanded music appropriate to post-World War II Vienna, but director Reed had made up his mind to avoid schmalzy, heavily orchestrated waltzes. In Vienna one night Reed listened to a wine-garden zitherist named Anton Karas, [and] was fascinated by the jangling melancholy of his music. Reed later brought Karas to London, where the musician spent six weeks working with Reed on the score. Decades later, film critic Roger Ebert wrote, "Has there ever been a film where the music more perfectly suited the action than in Carol Reed's The Third Man?" "The Third Man Theme" was released as a single in 1949/50 (Decca in the UK, London Records in the US). It became a best-seller - by November 1949, 300,000 records had been sold in Britain, with the teen-aged Princess Margaret a reported fan. The exposure made Karas an international star.

keywords: etymology behind generic term Jew's harp for a mouth-resonated instrument that is ei r bow-shaped in construction or alternatively a lamellate variant remains an enigma because association with Jewish people has never coincided with its common nomenclature. According to Gordon Frazier in Jew's Harp Guild Home Page "In brief: earliest known written citation of Jew's harp was in 1595 in Engl . Prior to that it was called Jew's trump (earliest spelling: jewes trump). Before that it was known trump in Scotl Nor rn Irel ; origin of 'jewes' preceder is obscure. However re is no indication that origin was connected with Judaism or Jewish people. It probably came from some o r word - one possibly is Old English word gewgaw - was n many years later 'fixed' resulting in current form." Classification Its classification is also somewhat nebulous according to Leonard Fox in Jew's Harp: A Comprehensive Anthology since Curt Sachs has named it a plucked idiophone or "an instrument which produces sounds due to rigidity elasticity of material from which it is made without need for strings or a stretched membrane " while later scholars Frederick Crane Ole Kai Ledang have opted for an earlier notion proposed by seventeenth-century musicologist Marin Mersenne. His is an ideology that subscribes to classification of Jew's harp an aerophone emphasizing that "full functioning of instrument occurs only when a stream of air moves past its tongue." In his published writings of 1917 titled Die Maultrommel: eine typologische Vorstudie Curt Sachs denotes type of frame employed main differentiating characteristic of Jew's harp fur r categorizes instrument by establishing whe r it is idioglot or heteroglot hence ei r having a tongue that is cut into frame or alternatively one that is attached to it. Leonard Fox however points out that classificatory system of Geneviève Dournon-Taurelle John Wright in ir collaboration of Les guimbardes du Musée de l'Homme although simpler in nature provides a more sound solution especially in view of fact that Curt Sachs' scheme excludes bone horn mammoth ivory materials utilized in idioglot Jew's harps of native peoples of Siberia Mongolia of Eskimo. Typology Construction system proposed by Dournon-Taurelle Wright is based on "whe r tongue of instrument is enclosed within frame or not" firstly presents lamellate Jew's harp generally consisting of a thin wooden bamboo bone ivory horn or metal plate that is eight to thirty-five centimetres in length. "In idioglot type tongue is cut lengthwise into centre of plate a string is sometimes attached to its base or to base of of frame: by pulling string player places tongue in vibration " notes Leonard Fox with regards to its construction. It should be added that to assist this process of pulling string a small thorn or wooden tenon is usually tied to end of tongue. Fur rmore some lamellate Jew's harps namely ones played by Nepalese Lisu people of China have two or more tongues because this type is generally softer in volume numerous methods of resonation have been devised around globe such use of a bamboo tube utilized by Buang of New Guinea Javanese tebeng (small fan) of Balinese genggong (Jew's harp) that is placed behind instrument for purpose of enhancing sound. On o r h " bow-shaped Jew's harp is traditionally made of forged iron although cheaper modern instruments are ei r cast or more usually machine-formed from iron aluminum or alloy wire " explains Leonard Fox. frames are also sometimes made of materials such copper brass silver gold although more commonly hammered or riveted-to- -frame tongue in made of tempered steel with exception of Sou ast Asian region where brass is utilized. se Jew's harps range in size from five to fifteen centimetres in length with varieties from Indian sub-continent often employing a tongue exceeding length of frame. Resonators for this type include an axe-head used in Soviet Union in United States Jewsaphone which was invented in 1930s. This instrument is essentially a regular Jew's harp soldered onto a megaphone. Geographic Distribution Jew's harp is native to many parts of world including Europe Asia Pacific Australia excluded apart from its Eskimo tradition re is no evidence to suggest that instrument ever existed in Americas pre-colonization or in Africa before its establishment a staple European trade item. With regards to region encompassing former Soviet Union it is found throughout its boundaries except for Caucasus Karelia. In Europe only Jew's harp with historical links to continent is bow-shaped metal type whereas bamboo wooden lamellate types are found in Pacific in Sou ast Asia in China with metal variety less prevalent in se regions. In nor rn central Asia well Indian subcontinent both lamellate bow-shaped Jew's harps coexist. "In Siberia for example Evenks have a bow-shaped metal instrument a wooden lamellate one; Udegei have a bow-shaped metal Jew's harp a lamellate metal type; Nivkhs have three kinds - a bow-shaped iron instrument a wooden lamellate one a copper lamellate one. Among some of se people bow-shaped type was used exclusively or primarily a shamanist instrument while lamellate type was played in social contexts. Among Montagnard peoples of Laos Vietnam an unusual type of Jew's harp was developed some examples which have wooden frames metal tongues; o rs are completely metal throughout but in both cases tongue of instrument instead of being fixed or riveted at base of frame is held in place by means of a fairly wide metal b " explains Leonard Fox. History Musical Function It is supposed that lamellate variety is older in chronological terms although due to nature of decomposing materials utilized in ir construction it is impossible to confirm this very fact. In Europe bronze instruments from Gallo-Roman period represent oldest recorded discoveries because of ir resemblance to modern Indian Nepalese Afghani designs Curt Sachs proposed that Asian type of bow-shaped Jew's harp was direct descendant of European. far its social st ing re is strong evidence to suggest that during Middle Ages Jew's harp was not merely "an instrument among fools beggars " widely believed with a late medieval painting of Virgin Child depicting three angels one playing a Jew's harp one a tromba marina one a fiddle strongly suggesting that a certain level of artistic respectability existed at time. Some time later in nineteenth-century Austria silver Jew's harps were a popular serenading instrument among eligible young bachelors. "So popular was custom so discreet persuasive sound of guimbarde (maultrommel) that female virtue was endangered instruments were repeatedly banned by authorities " write Anthony Baines in Musical Instruments Through Ages. This phenomenon is not reserved to European culture because use of instrument in courting practices has also been observed in places such Siberia China Cambodian Indonesia Philippines New Zeal New Guinea with several traditions in existence that use Jew's harp during actual conversation. Apart from its musical representation Jew's harp was also employed rapeutically in nineteenth century Europe. This is common practice in East where it is used "both to induce trance to heal sick". In cultures such those belonging to Siberian Mongolian peoples instrument has associations with shamanism its use forms part of shaman's common practice of incantations. In Malaysian rainforest Temiar possess a gengon (Jew's harp) that is ei r of metal or palm construction but this is an art form exclusively reserved for men. "This mouthharp goes back to origins of we forest people. We play it for entertainment or if our hearts are lovesick homesick melancholy n we make it better it was during peaceful times; we clear our hearts " tells performer Penghulu Senang A/L Long prior to his rendition of a song dedicated to Biray bird (Dream Songs Healing Sounds in Rainforests of Malaysia Smithsonian/Folkways). While nearby in Bosavi rainforest of Papua New Guinea Kaluli people refer to ir Jew's harp uluna. This is an instrument measuring eighteen centimetres is constructed out of a single piece of bamboo with its two long slits forming a tongue. In this solo setting men improvise alongside forest sounds such cicadas birds to create characteristic 'lift-up-over-sounding' aspect of Bosavi musical aes tics. In striking contrast on Indonesian isl of Bali well being a solo instrument Jew's harp has a place in Gamelan Genggong. For example Genggong Ensemble of Ubud featured on composition Tabuh tely (Bali: Folk Music / Musique populaire Auvidis-Unesco) employs nine genggong (bamboo Jew's harps) a suling (end-blown bamboo ring flute) two guntang (bamboo percussion vessels) a kendang (double-headed drum) cengceng (cymbals). In this large musical setting for collective entertainment Jew's harps are essentially treated in same manner regular Gamelan instruments with two groups of players performing in alternation supporting melodic line of suling a third performing an interlocking pattern. For fur r information on Jew's harp see Leonard Fox Jew's Harp: A Comprehensive Anthology (London: Bucknell U Press 1988); or take a cyber tour on Jew's Harp Guild Home Page Dutch Jew's Harp Page. RIÁN PERTOUT second part of this article was published in Mixdown Monthly issue #69 January 2000. In this article discussed are playing techniques repertoire Jew's harp at dawn of new millennium.. 'Mixdown' Monthly ~ Issue #68 December 1 1999 BEAT MAGAZINE PTY LTD All rights reserved. All text graphics sound files on this page are copyrighted. Unauthorized reproduction copying of this page is prohibited by law. Copyright © 1999 by rián Pertout. Horizontal Marker Jew’s Harp Jew's Harps of World At Dawn of New Millennium Part 2 Playing Techniques In general terms method of playing Jew’s harp involves vibrating instrument’s tongue with a plucking striking or traction action. Bow-shaped Jew’s harps are plucked with a finger of ei r h but usually with forefinger of opposite h that is holding instrument whereas with lamellate types plucking action is reserved for ei r extension of tongue or end of frame. In some New Guinea varieties while performing all actions with one h tongue is struck against wrist of o r h while some Javanese varieties demonstrate methodology of striking end of frame with a finger of o r h . Lamellate Jew’s harps that employ a string attached to base of tongue or to base of actual frame utilize traction. This method is popular throughout Indonesian archipelago India Nepal Burma Tibet China is additionally employed by Siberian peoples Ainu of nor rn Japan Eskimo. correct playing technique for bow-shaped metal Jew’s harp traditions of Western Europe Americas requires holding instrument with left h (for a right-h ed person) with thumb at left centre extreme of frame index middle fingers at topmost part. n by placing frame arms against front teeth which should be slightly apart with lips wrapped around frame arms but without interrupting movement of tongue of instrument characteristic sounds of instrument are produced by a combination of breathing plucking tongue by changing size of oral cavity. Essentially technique involved in last is same whistling: more volume permitted to oral cavity lower note produced less volume higher note states Leonard Fox in Jew's Harp: A Comprehensive Anthology. Every instrument well producing fundamental tone is also able to distinctly produce third fifth seventh octave ninth tenth harmonic with larger instruments twelfth some fifteenth seventeenth. According to Anthony Baines in Oxford Companion to Musical Instruments acoustics of action have been much debated. vibrating blade in itself can oretically produce partials only at non-harmonic ‘clamped bar’ frequencies high above fundamental by at least two octaves. Speech sounds can be additionally used to alter timber with more advanced playing techniques utilized around globe involving special tonguings to produce staccato trill effects strong weak breathing to alter timbre. In his article How to Play a Steel Jew’s Harp published on Jew’s Harp Guild Home Page instrument inventor Jew’s harpist Wayl Harman suggests following preliminary exercises While playing formation of letter shapes become your notes. Try mouthing vowels while playing. Now try exaggerating those shapes. Make ‘E’ close to front of your mouth you can. Make your ‘O’ sound big you can. Play with ‘A’ going between hard ‘A’ soft ‘A’. Some good consonant shapes to work on are D G K L T. Using diaphragm principal bellows different pressures can be applied to exhaling altering timbre exhaling inhaling in a start/stop pattern to produce a closed throat sound well alternating between inhaling exhaling to produce vibrato effects. mouth can additionally be utilized secondary bellows producing yet ano r sound while tongue is primary means of pitch alterations throat can be alternatively employed. With regards to tuning a special technique of raising back of tongue to soft palate is sometimes employed. In Romania Jew’s harps may even be fitted with tuning slides while in o r parts of globe a common method of altering fundamental tone of instrument is placing small balls of sealing wax or shellac on tip of tongue. An interesting playing technique utilized in South Indian Carnatic music involves spelling syllables through Jew’s harp in form such taka taka taka tam utilizing highly developed rhythmic constructs of Konnakol (a percussive vocal technique) mridangam (double-headed barrel drum) rhythmic patterns ( mridangam being an instrument generally acknowledged king of percussion instruments of South India). syllables are spoken through tongue explains morsing maestro Srirangam S. Kannan. But you have to say m without producing sound adds virtuoso mridangamist Karaikudi R. Mani. different sounds employed include a normal tone one involving sucking air ano r blowing air. Repertoire Jew’s harps were introduced to European recital room circa 1750 by Johann Heinrich Hörmann in his compositional setting of Partita in C where instrument is accompanied by two recorders four violins (two muted o r two playing pizzicato) continuo. period around eighteenth century represents golden age of Jew’s harp in Europe with virtuoso performers that include Benedictine monk Fa r Bruno Glatzl Franz Koch who was ultimately immortalized in writings of Jean-Paul Richter. After hearing Heinrich Scheibler virtuoso Jews harpist inventor of Aura in Dusseldorf in 1821 poet Hofmann von Fallersleben remembers event with following words His wonderful playing on mouth-harmonica has remained unforgettable for me. se were tones which resounded from ano r world like a secret magic which penetrated deep into soul. Due to fact that only an incomplete scale is obtainable on any Jew’s harp it becomes necessary to add a second instrument pitched a fourth lower if a diatonic scale is desired so that performers employed simultaneously two or more Jew’s harps of different fundamental pitches. Such a combination was Aura of Johann Heinrich Scheibler de-signed in 1816; he combined ten of differing pitches into two groups of five each on frames provided with h les he called m holders one group held in each h ; later he apparently combined up to twenty in circular fashion with ir lamellae radiating all around. y were fine tuned by having sealing wax placed on tip of tongue writes Sibyl Marcuse in A Survey of Musical Instruments. This social trend continued was perhaps brought to a climax in 1834 with work of Karl Eulenstein who is today considered greatest of all European Jew’s harp virtuosi. He played with two instruments simultaneously during a performance would utilize a complete range of sixteen tuned instruments. In South Indian Carnatic music re is also a notable Jew’s harp tradition is highlighted within a percussion setting known Thani Avartanam or percussion interlude where mridangam has role principal percussion instrument side accompaniments include kanjira (frame drum) ghatam (claypot) morsing (Jew’s harp). Morsing maestro Srirangam S. Kannan explains nature of his instrument I learnt this art from mridangamists Kanadukathan Rajaram Pudukottai Mahadevan after being trained rigorously under Karaikudi R. Mani I am know able to play morsing in a different style. morsing is basically a lyre instrument a Jew’s harp it not an Indian instrument it comes from Greece. According to virtuoso mridangamistKaraikudi R. Mani Jew’s harp has only been a part of South Indian Carnatic tradition for sixty to seventy years. In north of country morchang (Jew’s harp) of Rajasthan is performed by men belonging to snake-charmer communities well by some professional musicians in this region instrument has no particular repertoire. Performances are created within improvisations which are generally based on popular songs. Jew’s Harp at Dawn of New Millennium folk revival of last twenty-five years has given Jew’s harp a new lease of life in Europe. Nowadays Jew's harp appears more more in electronic pop avant-garde jazz world music says Henk Postma. overtones of tiny instrument even shimmer in techno beat dance halls. Specialists from all over world give new life to instrument explore rich possibilities all in varied background of different cultures. Last summer a main group of nearly a hundred Jew's harp specialists ga red in Austrian village of Molln where Third World Congress Festival for Jew's harp was held. re you could have met all type of players investigators ethnomusicologists publicists etcetera from Japan Siberian Republics Kirgizia Tuva Altai-region USA European countries such Austria Germany Norway Holl Finl Hungary Switzerl . Jew’s harp in words of ethnomusicologist instrumentalist teacher composer lecturer researcher at National Centre for Scientific Research specialist in diphonic singing expert at spoon playing Jew’s harp virtuoso Trân Quang Haï has been played by shepherds by virtuosos (Yvan Alexeyev Spiridon Shishigin). It has been used in field of electro-acoustic research (John Wright Trân Quang Haï) has been studied by ethnomusicologists (Geneviève Dournon Hubert Boone Frederic Crane Leo Tadagawa) acousticians (Emile Leipp). It is one of most original of world’s instruments. For fur r information on Jew's harp see Leonard Fox, Jew's Harp: A Comprehensive Anthology (London: Bucknell U Press, 1988); or take a cyber tour on Jew's Harp Guild Home Page, and Dutch Jew's Harp Page. first part of this article was published in Mixdown Monthly issue #68, December 1999. In this article, discussed are etymology, classification, typology and construction, geographic distribution, as well as history and musical fuction.. 'Mixdown' Monthly ~ Issue #69, January 1, 2000 BEAT MAGAZINE PTY LTD Geo-Linguistic Survey of Terms for Jew’s Harp This list includes all terms entered in New Grove Dictionary of Musical Instruments (1984) and those in Dournon-Taurelle and Wright’s Les guimbardes du Musèe de l’Homme (1878), as well as many not found in ei r work. Europe Albania: vegël tringulluese Basque: trompa, modu-gitarra, muxu-gitarra, mosu-musika Byelorussian: drymba Czech: brumle, drnkaäka Danish: mundharpe Dutch: mondtrom English: Jew’s harp, Jew’s trump, jawharp, jaw’s harp, juice harp Estonian: parmupill (bumble-bee instrument), konnapill (frog instrument), suupill (lip-instrument) Finnish: munniharppu, turpajurra (impossible to translate), märistysrauta (something like trembling iron), huulipeli (lip-instrument), suupeli (mouth-instrument), suuharppu (mouth harp), mörinärauta (growl iron), möristysrauta (growling iron), juutalaisharppu (jew harp), juutalaisen harppu (jew's harp), taavetin harppu (David's harp), pussipeli (bag-instrument) *Compiled with assistance of Jarno Miettinen (President of Finnish Jew's Harp Association) Flemish: tromp French: guimbarde; Switzerland: bombarde, rebaîrbe (North Jura), rbiba (South Jura), rbaîrbe (Freiberge) German: maultrommel, mundharmonika (elegant nineteenth century term); Switzerland: trümmi (Lucerne), trimpi, trimmi (Uri), muultrummle (Bern), tremolo (Bosco-Gurin) Hungarian: doromb Icelandic: munnharpa Irish: trumpadh Italian: scacciapensieri, ribeba; Sicilian: marranzanu, gnagnararrone; Switzerland: zanforgna, cinforgna, zinforgna Latvian: vargas Lithuanian: bandírälis, bandurka, šeivale Norwegian: munnharpa, munnspill Portugese: berimbau Romanian: drîmba, drîmboaie, drîmb, drînd, drîndä, drîng Romansch: timpan, suna da bucca, trumbla, tschinforgna, schanforgna Russian: vargan Sardinian: sa trunfa Scottish Gaelic: tromp Serbian: drombulja, drombulje, drimbolj Spanish: birimbao, guimbarda Swedish: mungiga Ukrainian: drymba, drumlya, doromba, organ, vargan, vigran Welsh: ysturmant (North Wales), biwba (South Wales), biwbo, giwga, giwgan Wendish: brumladeo Asia Afghanistan: chang-ko’uz (Mzbek people) Altay: temir-komus, komos, kobys-tyunyur Bashkir: kubyz, kumyz; wooden lamellate type: agach-kumyz, agach-kubyz; metal bow-shaped type: timer-kumyz, temir-kubyz Buryat: khur, khuur Burma: ata (Lahu people); rab ncas (Hmong people) Cambodia: angkuoc China: huang, koqin; k’api (Lutseu people): tivtiv (Ami subculture, Taiwan) Chukchi: vanni-yayar (tooth-tambourine) Chuvash: varam-tuma (gnat), palnay, jupas, varkhan Even: kunkon Evenk: wooden lamellate type: panar, purgip-kavun; metal bow-shaped type: kengipkevun, kongipkavun, pangipkavun India: generally distributed terms: murchang, morchang, muchang, munchang, mursang; mursing, morsing (Tamil Nadu); gagana (Garo people, Assam); ghoraliyau (Rajasthan); tendor (Madhya Pradesh); ka-mien (Khasi people, Assam, and Meghalay) Indonesia: genggong; rinding (Java), karinding (Baduj people, West Java): gogo (Gayo area, Sumatra); popo (Acheh region, Sumatra); druri bewe (sou rn Nias), duri (nor rn Nias); ego, genggo, robe (Flores); juring (Krui area, Sumatra); saga-saga (Pakpak Dairi region, nor rn Sumatra); karombi (Sa’dan Toraja area, South Sulawesi); oli (Minahasa, North Sulawesi); nago oa, keit besi, nago besi (Timor) Iran: zamburak Japan: mukkuri (Hokkaido Ainu), mukkuna (Sakhalin Ainu) Kazakh: komyz, temir-komyz Ket: pymel’ Khakass: temir-komys Khantsi: tumra, tomra Kirghiz: wooden lamellate type: komuz; metal bow-shaped type: temir-komuz Koryak: vanni-yayay (tooth-tambourine) Laos: hun, toi Malaysia: bungkau, turiding (Sabah); gurudeng (Iban people, Sarawak); junggotan (Bedayah people, South Sarawak); juring rangguin (Temiar people, West Malaysia): rangoyd (Lanoh tribe, West Malaysia); rangun (Juhai tribe, West Malaysia); jyrin (Sakai people, Malacca, Kelantan) Mansi: tumran, suup-tumran Man: kovyzh, komyzh, kabas, umsha-kovyzh Mongolia: aman khuur, aman tobshuur; Dörböt tribe, western Mongolia: bamboo, horn, bone, or wooden lamellate type: khulsan khuur; iron bow-shaped type: temür khuur, tömör khuur Nanay: metal lamellate type: kunkha; metal bow-shaped type: myny Negidal: konkikhi Nenets: vyvko (buzzer) Nepal: bamboo lamellate type: binaiyo; kha-wang (metal bow-shaped type, Thakahi people); machinga, changu (Sunuwar people); machunga (Rai people); kom-i (Limbu people); gon-kap (Tamang people) Nivkh: wooden or copper lamellate type: kanga; iron bow-shaped type: vych ranga Oroch: kunkan Orok: kunga Pakistan: chang, morchang Philippines: kubing (sou rn Philippines); abafiw, alibaw, olat, onat (Bontoc people, nor rn Philippines); afiw (nor rn Philippines); biqqung, guyud (Ifugao people); giwong, onat, ulibao, ulibaw (Kalinga people); ko-ding (Ibaloy people); kulibao (Negrito people); ori-bao (Isneg people) Sel’kup: pynyr (hummer), al’ pynyr (mouth hummer); wooden lamellate type: pol’ pynyr; metal bow-shaped type: kezyl pynyr Tajik: chang-kobuz, temir-chang, changi zanona Tatar: kubyz Thailand: hoen-toong Tibet: kha-rnga (mouth-drum, cf. German Maultrommel) Turkey: aêiz tamburasi Turkmen: kobyz Tuvinian: wooden lamellate type: yash-khomus; bamboo or reed lamellate type: kuluzun-khomus; metal bow-shaped type: temir-khomus Udegey: metal lamellate and metal bow-shaped types: kongkoy Ul’chi: panga Uzbek: chang-kobuz, chang-kavuz, temir-chang Vietnam: çàn môi; nggoec, tong (Mnong people); kong kle, kon hle, rhnui (Sedang people); göch (Rhade people); roding (Jorai people); toung {Koho, Sre, and Maa peoples); n (Bahnar people); guat (Roglai people); pang teu ing (Muong people) Yakut: khomus Oceania Cook Islands: pokakakaka; titapu (Rarotonga) Guam: belembaupachet (Chamorro people) Hawaii: ni’ au kani Mangaia: tangi ko’e Marquesas: hiva oa, tita’a kohe New Britain Island: kaur (Gazelle Peninsula) New Guinea: susap (Pidgin): begnankr (Buang people); bombom pumbune, tungge, songer (Biak and Tanah Merah, Irian Jaya) New Zealand (Maori): kukau, rooria Palau Islands: tumtum ra lild Pukapuka: vivo Samoa: utete (also used in Futuna, Tonga, and Uvea) Solomon Islands: mabu (Nissan); tankuvani (Nasioi people) Tonga: mokena Africa (local terms for imported European metal bow-shaped instruments) Madagascar: lokanga vava Nigeria: bambaro, bamboro, babore (Hausa people, also in Cameroon, Mali and Niger; Songhay people of Niger); zagada (ano r Hausa term) South Africa: sekebeku, setjoli (Sotho people); isithokotholo (Zulu people) Tanzania: koma (Shambala people) Horizontal Marker Bibliography Books Baines, Anthony, ed. Musical Instruments Through Ages. Harmondsworth, Middlesex: Penguin Books, 1971. Oxford Companion to Musical Instruments. Oxford: Oxford U Press, 1992. Beare, Charles. Jew’s Harp. New Grove Dictionary of Musical Instruments. Vol. 2. London: Macmillan, 1984. 326-328. Dearling, Robert, ed. Ultimate Encyclopedia of Musical Instruments. London: Carlton, 1996. Fox, Leonard, sel., ed. and trans. Jew's Harp: A Comprehensive Anthology. London: Bucknell U Press, 1988. Marcuse, Sibyl. A Survey of Musical Instruments. London: Newton Abbot, 1975. Schmidt, Dr. Wilhelm Ludwig. Aura or Mouth-Harmonica. Jew's Harp: A Comprehensive Anthology. London: Bucknell U Press, 1988. 97-129. Baines, Anthony, ed. Musical Instruments Through Ages. Harmondsworth, Middlesex: Penguin Books, 1971. Oxford Companion to Musical Instruments. Oxford: Oxford U Press, 1992. Discography Brunet, Jacques, and Ngac Him, rec. Bali: Folk Music / Musique populaire. Musics and Musicians of World. Auvidis-Unesco, 1988. Dournon, Geneviève, and Jean Schwarz. Instruments de musique du monde: Le chant du monde [Musical Instruments of World]. Collection du centre national de la recherché scientifique et du musèe de l’homme, 1990. Feld, Steven. Voices of Rainforest. Rykodisc, 1991. Haï, Trân Quang. Guimbardes du monde: Jew’s Harps of World. Playa Sound, 1997. Karaikudi, R. Mani. Karaikudi R. Mani Presents Laya Chithra: Carnatic Instrumental. Gramophone Co. of India, 1995. Roseman, Marina. Dream Songs and Healing Sounds in Rainforests of Malaysia. Smithsonian/Folkways, 1995. Internet Resources Bakx, Phons, and Henk Postma. A Folk World column by Phons Bakx and Henk Postma. Folk World Column 7 (Dec. 1998): no. pag. Worldmusic.de Online. Internet. Available HTTP: http://www.worldmusic.de/folkworld/7/jewsharp.html (3 Nov. 1999). Gohring, Bill, and Janet, comp., Dr. Fredrick Crane, cor. History of Jew’s Harp. Apr. 1999. Jew’s Harp Guild Home Page. Online. Internet. Available HTTP: http://www.jewsharpguild.org/history.html (3 Nov. 1999). How to Play Jew’s Harp. Apr. 1999. Jew’s Harp Guild Home Page. Online. Internet. Available HTTP: http://www.jewsharpguild.org/play.html (3 Nov. 1999). Harman, Wayland. How to Play a Steel Jew’s Harp. Apr. 1999. Jew’s Harp Guild Home Page. Online. Internet. Available HTTP: http://www.jewsharpguild.org/whmo2.html (3 Nov. 1999). Steel Jew’s Harp: Advanced Playing Techniques. Apr. 1999. Jew’s Harp Guild Home Page. Online. Internet. Available HTTP: http://www.jewsharpguild.org/whmo4.html (3 Nov. 1999). Postma, Henk, and Phons Bakx. 1998. Dutch Jew's Harp Pages. Online. Internet. Available HTTP: http://www.zeelandnet.nl/paclax/jewsharp (3 Nov. 1999). Interviews Karaikudi, R. Mani. Mridangam Maestro Part 1. Personal interview. Mixdown Monthly 58 (Feb. 1999): 24. Mridangam Maestro Part 2. Personal interview. Mixdown Monthly 59 (Mar. 1999): 30. Personal interview. 18 Jul. 1999. Postma, Henk. Henk Postma: Jew’s Harp in Ne rlands. Personal interview. Mixdown Monthly 65 (Sep. 1999): 35. Srirangam, S. Kannan. Personal interview. 18 Jul. 1999. Photographs Jewsaphone. Leonard Fox, sec., ed. and trans. Photograph. Jew's Harp : A Comprehensive Anthology. London: Bucknell U Press, 1988. Pertout, Andrian. Genggong Performer in Bali, Indonesia. Photograph. Private collection of Andrian Pertout, Melbourne. 28 Feb. 1998. Iron Jew’s Harp: Morchang from Rajasthan. Dournon, Geneviève, and Jean Schwarz. Photograph. Instruments de musique du monde: Le chant du monde [Musical Instruments of World]. Collection du centre national de la recherché scientifique et du musèe de l’homme, 1990. The zither is a musical string instrument, most commonly found in Slovenia, Austria, Hungary citera[1], northwestern Croatia, the southern regions of Germany, alpine Europe and East Asian cultures, including China. The term "citre" is also used more broadly, to describe the entire family of stringed instruments in which the strings do not extend beyond the sounding box, including the hammered dulcimer, psaltery, Appalachian dulcimer, guqin, guzheng (Chinese zither), koto, gusli, kantele, gayageum, ?àn tranh, kanun, autoharp, santoor, yangqin, piano, harpsichord, santur, swarmandal, and others. Modern electric zithers exist, as well as a wide variation of experimental zithers like the Kitaras of Harry Partch, the Shruti Stick and the Moodswinger. The word "citara" is derived from the Greek word kithara, an instrument from classical times used in Ancient Greece and later throughout the Roman Empire and in the Arab world the earliest known instrument of the zither family is a Chinese guqin [a fretless instrument], found in the tomb of Marquis Yi of Zeng dating from 433 BC, featuring tuning pegs, a bridge and goose-like feet. In modern entertainment, the zither is perhaps most famous for its role in the soundtrack, especially in the opening scene of the classic noir film The Third Man. The music for the film was played by Anton Karas. The instrument has a prominent solo in one of Johann Strauss II's most famous waltzes, "Tales from the Vienna Woods" (sometimes played on a mandolin, when a zither is not available). It is also used by multi-instrumentalist Laraaji on the third release of Brian Eno's ambient music series, Ambient 3: Day of Radiance. In more popular music, Australian-born singer Shirley Abicair popularised the zither when she used it widely as accompaniment in her popular TV shows, live performances and recordings in Britain in the 1950s and 1960s. More recently, Jerusalem-based multi-instrumentalist Bradley Fish has used zithers in a multitude of styles on the soundtracks of various Sony Digital Pictures films. In Slovenia, at the end of the 19th century they were used in small towns or villages and for concerts. Like many other stringed instruments, acoustic and electric forms exist; in the acoustic version, the strings are stretched across the length of the soundbox, and neither version has a neck. They can be divided into two classes: fretted and fretless. A person who plays the zither is called a zitherist.