L. Verderame, A New Set of Strings for the Lute of Dada, Rivista degli studi orientali 96/2–4 (2023), pp. 243–247. https://doi.org/10.19272/202303804014. Due to the editor policy we are not allowed to distribute the PDF on internet before the expiry of the one-year period. If you are interested in receiving a copy of the article please email me: lorenzo.verderame@uniroma1.it Abstract The first historical mention of musical strings is addressed in this article. It begins with an overview of the literary references to the ĝiˇs-gu3-di-da “long- necked lute; musical instrument” before delving into a dossier of Neo-Sumerian texts that record the yearly delivery of “sheep sinews” (sa udu) for the lute of Dada, the lamentation priest (gala). It is hypothesized that the Sumerian word sa refers to gut or catgut, which was the material used to make lute strings. Keywords Mesopotamia, Sumerian, Neo-Sumerian Documents, Musical Instruments, Lute. Structure [Introduction] 243 A Neo-Sumerian dossier of documents recording issues of “strings” for the lute 244 Appendix 246 References 247 References Bonta, S. - Partridge, R. (2014) “String. 3. Instruments strung with gut and other materials”, in L. Libin (ed.), The Grove Dictionary of Musical Instruments, IV, 2nd ed., Oxford - New York, 639-641. D’Agostino, F. (2012) “Some considerations on u4-da-tuš (bear tamer ?) and jugglery in Ur III”, Revue d’Assyriologie 106, 1, 89-99. Dumbrill, R. J. (1998) The archaeomusicology of the Ancient Near East, London. Hartmann, H. (1960) Die Musik der sumerischen Kultur. Unpub. PhD Diss. Goethe-Universität, Frankfurt am Main. Krispijn, T. H. J. (1990) “Beiträge zur altorientalischen Musikforschung: 1. Šulgi und die Musik”, Akkadica 70, 1-27. Per uso strettamente personale dell’autore. È proibita la riproduzione e la pubblicazione in open access. For author’s personal use only. Any copy or publication in open access is forbidden. A NEW SET OF STRINGS FOR THE LUTE OF DADA Lorenzo Verderame Abstract · The frst historical mention of musical strings is addressed in this article. It begins with an overview of the literary references to the ĝis ˇ-gu3-di-da “long-necked lute; musical instrument” before delving into a dossier of Neo-Sumerian texts that record the yearly delivery of “sheep sinews” (sa udu) for the lute of Dada, the lamentation priest (gala). It is hypothesized that the Sumerian word sa refers to gut or catgut, which was the material used to make lute strings. Keywords · Mesopotamia, Sumerian, Neo-Sumerian Documents, Musical Instruments, Liute. D epending on the context, the Sumerian ĝiš-gu3-di(-da) or ĝiš gu3-di(-da),1 lit. wood producing sound/voice, is interpreted as a term for musical instrument in general, for chordophone or, specifcally , for a long-necked lute. In Inanna and Enki the ĝišgudi(da) is coupled with music (nam-nar) among the prerogatives (ME) the goddess brings to Uruk from the abzu.2 In the cylinders of Gudea, the balaĝ of Ninĝirsu, “Dragon of the land” (ušum-gal-kalam-ma), is said to be the «the famous musical instrument to which he advices».3 In two hymns, Šulgi boasts his musical skills and claims to master perfectly the seven musical instruments (ĝiš-gu3-di 7-na)4 and even be able to play a “musical in- struments” (ĝiš-gu3-di) that he has never seen before.5 Other literary passages are more ambiguous and ĝišgudi(da) may be interpreted also as a specifc musical instrument. «The musical instrument (or: the ĝišgudi(da)) in the house of music has been laid against the wall». (ĝiš-gu3-di e2 ¥nam-narμ-ra-ka zag e2-ĝar8-e i-ni-in-us2, Ur-Namma A: A 188 / D 4) «How I have complete control of the plectra of the great stringed instruments (or: the great ĝišgudi(da))». (aga šu-si ĝiš-gu3-di gal-gal-la zag-bi-še3 ba-ab-til-la, Šulgi E: 35) «Musical instruments (or: ĝišgudi(da)) whose voice prevails over the South Wind». (ĝiš-gu3-di ulu3- ta eme ĝar-ra, Iddin-Dagān A: M 206) «I know how to intertwine selected words with the accompaniment of the fngers and the musical in- strument (or: the ĝišgudi(da)». (sa šu-si ĝiš-gu3-di-da inim-suh-suh bal-e-bi mu-zu-a, Išme-Dagān A + V: A 370) lorenzo.verderame@uniroma1.it, Sapienza University of Rome, Italy . For each texts is given the abbreviation after BDTNS and, in parenthesis, the BDTNS and CDLI numbers, the provenience, the date: ABBREVIATION (BDTNS/CDLI; PROVENIENCE, DATE). 1 Hartmann 1960: 74-76; Krispijn 2011: 115-117. 2 «“Where are the the holy niĝin-ĝar (shrine), the …, the nugig of heaven/sky , the musical instruments, the music, the old age?”» ([niĝin3-ĝar-k]u3 x-AN nu-gig an-na ĝiš-gu3-di nam-nar nam-ab-ba me-a, Inanna and Enki F 33); «You have brought the musical instruments» (ĝiš-gu3-di ba-<e-de6>, Inanna and Enki i 50). 3 ĝiš-gu3-di mu tuku ni3 ad gi4-gi4-ni (Gudea Cylinder A: vi 25 // vii 25). 4 «I fully master with perfection the seven instruments» (gal-an-zu ĝiš-gu3-di 7-na šu-gal du7-a-me-en3, Šulgi C: B 79). Obscure to me is the meaning of the following line 85: ma2-gur8 ĝiš-gu3-di ur-mah-ha «barge – ĝišgudida – lion (?)». 5 «Even if they place in front of me, a musical instrument that I don’t know, I make the sound from its interior known» (ĝiš-gu3-di ĝiš la-ba-ra-ab-tuku-a ki-ĝu10-uš lu2 mu-ni-ib-DU-[X (X)] / u3-ne-en ša3-bi ba-zu-zu, Šulgi B: 168- 169). https://doi.org/10.19272/202303804014 · «rso» · n.s., xcvi, 2-4, 2023 http://rso.libraweb.net