98:تنبور (tambūr). Both Tympanum and Tambūr could be cognate with πανδοῦρα (pandoûra). However, the tiompán is also thought to have been a kind of lyre, others contest it was a long-necked lute. Medieval writings on the tiompan have listed it as distinguished from "nine-stringed cruits", and that the tiompan commonly had three strings. These sources also make references to the tips and sides of the fingers being used on the strings, likely to stop them to produce higher notes. Whether all strings were stopped or just the top string, as with sitar or saz playing, is unknown. Sources give reference to the strings being metal, often bronze, and given the period to which tiompans are extant, resonating the strings by plucking is more lijkely than by bowing them. There is a high chance the name was reapplied to other intstruments during the Early Modern Period.
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Ann
Buckley, "What was the Tiompán? A Problem in Ethnohistorical Organology. Evidence in Irish Literature", in:
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Ann
Buckley, "What was the Tiompán? A Problem in Ethnohistorical Organology. Evidence in Irish Literature", in:
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The adjective "timpánach" referred to a performer on the instrument but is also recorded in one instance in the
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90:) and 'timpán' does appear to be used in certain ancient texts to describe a
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In modern Irish traditional music, the word tiompan was used by
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in classical Irish. It is theorised to derive from the
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Stringed instrument used by Irish and
British musicians
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The word 'timpán' was of both masculine and feminine
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186:Darina McCarthy, "Timpán/Tiompán", in:
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96:Persian
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65:Ireland
42:tiompan
34:tiompán
18:Tiompán
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