[3] The name may have been popular for its "magical" connotations, a belief that the music from a stringed instrument could sway listeners emotions.

[5] Where Winternitz later focused on the cittern, Schlesinger concentrated on the chain of instrument evolution from lyre to guitar.

Kathleen Schlesinger wrote the cithar article and talked plainly about the transformation of the ancient instruments into the modern: "...it was among the Greeks of Asia Minor that the several steps in the transition from cithara into guitar took place.

Both types were common in Europe until the 14th century, some played with a bow, others twanged by the fingers, and bearing indifferently both names, cithara and rotta....The addition of a finger-board, stretching like a short neck from body to transverse bar, leaving on each side of the finger-board space for the hand to pass through in order to stop the strings, produced the crwth or crowd (q.v.

was an easy transition effected by the addition of a long neck to a body derived from the oval rotta.

From the guitar article: "The guitar is derived from the cithara both structurally and etymologically...we shall be justified in assuming that the instrument, which required skill in construction, died out in Egypt and in Asia before the days of classic Greece, and had to be evolved anew from the cithara by the Greeks of Asia Minor.

That the evolution should take place within the Byzantine Empire or in Syria would be quite consistent with the traditions of the Greeks and their veneration for the cithara, which would lead them to adapt the neck and other improvements to it, rather than adopt the rebab, the tanbur or the barbiton from the Persians or Arabians...The transitions whereby the cithara acquired a neck and became a guitar are shown in the miniatures of a single MS., the celebrated Utrecht Psalter, which gave rise to so many discussions.

It is evident that the Anglo-Saxon artist, while endowed with extraordinary talent and vivid imagination, drew his inspiration from an older Greek illustrated Psalter from the Christian East, where the evolution of the guitar took place."

[1] Winternitz credited a Professor Westwood for making the Utrecht Psalter discoveries, quoting Westwood's 1859 paper, Archæological Notes of a Tour in Denmark, Prussia, and Holland: "...frequently shows the ancient kithara side by side with an instrument that has the body of a kithara but a neck in place of the yoke, in other words, a cittern, that is if we want to project this term as far back as the 9th century.

The frets are usually carefully indicated on the neck, the graceful curvature of the wings corresponds precisely to that of the arms of the kitharas nearby.

Galpin expressed a similar viewpoint in the book: "Now it is well known that the Greeks and Romans adopted many of the instruments which they found in popular use throughout Asia Minor...this instrument with vertical incurved sides and flat back was brought into Southern Europe, the first name given to the Guitar in medieval times being Guitare Latine...In this way, and popularized by the troubadours and minstrels, the Guitar reached our country in the thirteenth century....[12] Galpin was one of many researchers of his time that mixed up the name gittern and citole in his research.