In this article we will explore in depth the topic of Citharode, which has been the subject of interest and debate in various spheres of society. Citharode has aroused the interest of experts, academics, professionals and the general public, generating a wide range of opinions and perspectives on its importance, implications and relevance today. Through a comprehensive analysis, we will examine the fundamental aspects of Citharode, its impact in different contexts, and the possible implications it has for the future. Likewise, we will address various approaches and theories that have been developed around Citharode, with the aim of offering a comprehensive and multidimensional vision of this topic.
Bronze cast figure of a kithara player from Crete. | |
Occupation | |
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Synonyms | kitharist (citharist)[a] |
Occupation type | professional performer |
Activity sectors | self-accompanied musical performance |
Description | |
Competencies | singing, strummed string instrument (lyre family),[b] music theory, music notation[c] |
Related jobs | Aulete / aulist (aulos player, "piper") |
A kitharode (Latinized citharode)[a][2] (Ancient Greek: κιθαρῳδός [kitʰarɔː'dós] and κιτηαρῳδός;[3] Latin: citharoedus) or citharist,[1] was a classical Greek professional performer (singer) of the cithara, as one who used the cithara to accompany their singing. Famous citharodes included Terpander, Sappho, and Arion.
"Citharoedus" or "Citharede" was also an epithet of Apollo (Apollo Citharede), and the term is used to refer to statues which portray Apollo with his lyre.