Psalmodikon

ALTERNATE NAME(S)

Bowed box zither, Swedish-style

Date1790-1850 ca.

Place MadeSweden, Europe

Serial No.none

SignedHand-written in pencil, and re-written in black marker, on interior of sound box, visible through sound hole: HAMAR / BJURSOS / SWE(a or o?)gE / 1790(1?)
MarkingsHand-painted in black on sound box on top side of fretboard, each separated by black line corresponding to the raised wooden frets: 1 +1 -2 +2 -3 +3 -4 +4 +5 +6 -7 8- +1 -2 +2 -3 +3 4 +4 -5+56+6-7+78 1+1-2+2-3+3-4+45 / 2 3 45 6 7 8 2 34 5 6 7 8

Two, hand-written “X”s in black ink on backside of sound box, for purposes of matching back to end block correctly.

Six rectangular areas where patina and wear of sides and table has been removed as a result of tape, possibly used to secure instrument before re-gluing.
DescriptionPsalmodikon is the vernacular name in Norwegian and Swedish. Norwegian tradition for psalmodikon practice utilizes the transposition stick or rule, placed above the fretboard to facilitate use in various keys for an array of singing situations. Unlike the Norwegian tradition, Swedish instruments typically do not use the transposition stick, and therefore, the brackets for holding, as well as the wear marks for use of, are not present.

Material: wood (sound box, fretboard, frets, bridge, nut and peg) metal (end button)
Configuration: two end black with thin strips of wood for the table, back and sides
tacked with small, wooden spikes and dovetail joints; fretboard glued to table; single, circular sound hole positioned between fretboard and bridge
sound box: two end blocks with hand-carved dovetail joints connecting both sides to end blocks – four joints total; top and back glued to sides and reinforced with wooden spikes; variance in contour on table near fretboard, closest to player, possibly a result of pressure from playing
brace: tin, wooden strip glued to underside of table, near end of fretboard, spans entire width of sound box
sound hole: single, circular sound hole carved into table between bridge and fretboard; some repair evident on edge of sound hole nearest bridge, extending approximately 40 mm (1.58 in)
fretboard: narrow, hand-carved strip of wood adhered to sound box, butted against nut on
peg end
frets: hand-carved, wooden ridges cut into fretboard, such that the tallest peaks of wood, i.e. the frets, are the thickest portions of the fretboard; 31 raised, wooden frets
position markings: hand-painted numbers in black paint on top side of fretboard on sound box; corresponding to frets, indicated by use of black lines between numbers
bracket: joint of nut and fretboard could serve as a bracket for securing transpositional rules, though the Swedish origin of this instrument would suggest otherwise.

Peg: hand-carved, wooden friction peg inserted into end block, parallel to fretboard
Nut: formed by raised end block; wear from use resulted in the nut fracturing and
Breaking from the instrument; adhered with glue now and quite solid
Bridge: small, hand-carved, rectangular wooden bridge – broken, only half of the
original remains, the nail or wooden spike no longer with instrument; wear patterns and patina clearly show the size of the original bridge – the shape of the original bridge was most likely semi-circular
end button: hand-forged, iron spike driven into end block opposite peg; appears to be original to the instrument
string: no string extant with instrument
DimensionsLength (with peg and end button): 1092 mm (43 in)
(without peg and end button): 1070 mm (42.125 in)
Width: 112.7 mm (4.44 in)
Height (sound box): 79.3 mm (3.124 in)
Diameter of sound hole (irregular): 22.1 mm (0.873 in)
Length of fretboard: 857.25 mm (33.75 in)
Width of fretboard: 14.4 mm (0.57 in)
Length of bridge: 28.2 mm (1.11 in)
Width of bridge(original): 20 mm (0.79 in)
(fractured): 12.8 mm (0.51 in)
ProvenanceArne B. Larson Collection, Vermillion, South Dakota, 1979.

Credit LineArne B. Larson Collection, 1979

Object number03842

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