tibia

tībia, ae, f.: the larger of the shinbones; a pipe or flute, as this bone was used for a musical pipe.

tībĭa, ae, f., the large shin-bone, tibia (cf. sura).

• I Lit.: alterum (os) a priore parte positum, cui tibiae nomen est, Cels. 8, 1 fin.: et in crure (recedit) tibia a surā, id. 8, 11.—
• • B In gen., the shin-bone, shin, leg: posse fieri ut genu esset aut tibia aut talus, Plin. Ep. 1, 20, 15: sinistram fregit tibiam, Phaedr. 5, 7, 8. —
• II Transf., a pipe, flute (orig. made of bone; syn. fistula): age tibicen, refer ad labias tibias, Plaut. Stich. 5, 4, 41 (723): si tibiae inflatae non referant sonum, Cic. Brut. 51. 192: quemadmodum tibicen sine tibiis canere non possit, id. de Or. 2, 83, 338: et fidibus et tibiis canere, Quint. 1, 10, 14: cantus tibiarum, id. 1, 11, 7: tibia digitis pulsata canentum, Lucr. 4, 585: modulate canentes tibiae, Cic. N. D. 2, 8, 22: septenarios ad tibiam fundere, id. Tusc. 1, 44, 107: ubi curva choros indixit tibia Bacchi, Verg. A. 11, 737: biforem dat tibia cantum, id. ib. 9, 618: tibia non ut nunc orichalco vincta tubaeque Aemula, sed tenuis simplexque, Hor. A. P. 202: Phrygio curva sono, Tib. 2, 1, 86: sub cantu querulae tibiae, Hor. C. 3, 7, 30: acris, id. ib. 1, 12, 1: Berecyntia, id. ib. 3, 19, 19; 4, 1, 23: sonante mixtum tibiis carmen lyra, id. Epod. 9, 5: adunco tibia cornu, Ov. M. 3, 533: infracto Berecynthia tibia cornu, id. ib. 11, 16: longa, id. F. 6, 698: scienter tibiis cantasse, Nep. praef. 1; Nep.id. Epam. 2, 1: dextera tibia alia quam sinistra, perh. treble and bass pipes, Varr. R. R. 1, 2, 15; cf.: modos fecit Flaccus Claudii filius; tibiis paribus dextris et sinistris, i. e. at first with a pair of treble and then with a pair of bass pipes, Didasc. Ter. And.; cf.: acta primum tibiis imparibus, deinde duabus dextris, id. Heaut.; v. Serv. ad Verg. A. 9, 618; and v. Dict. of Antiq. s. v.—Prov.: paene apertis, ut aiunt, tibiis, from all the holes, with a loud voice, Quint. 11, 3, 50 Spald.

tībia, ae, f., I) der vordere größere Knochen des Unterschenkels, das Schienbein, der Schienbeinknochen (griech. κνήμη, Ggstz. sura, w. vgl.), Cels. u.a. – II) meton.: a) eine geradeaus gehende Pfeife (weil sie anfangs beinern war), nach unserer Art Pfeife, Flöte, Hautbois (gew. im Plur., weil bei den Alten gew. zwei Flöten auf einmal geblasen wurden), gebräuchlich auf dem Theater, beim Gottesdienste, bes. bei dem der Cybele, bei Leichenfeiern, Hochzeiten usw., Plaut., Cic., Hor. u.a.: tibiae dextrae, sinistrae, Diskantflöten, Baßflöten, Varro: erstere auch incentivae, letztere succentivae, Varro: tibiae pares nannte man, wenn zwei Diskantflöten (pares dextrae) od. zwei Baßflöten ( pares sinistrae) geblasen wurden; tibiae impares, wenn die eine dextra, die andere sinistra war; dah. paribus dextris et sinistris, e. paribus dextris et paribus sinistris, abwechselnd mit Diskant- u. Baßflöten, Didascal. Ter.: die tibiae Sarranae, Phrygiae, Lydiae beziehen sich auf die drei ältesten Tonarten, von denen die tyrische die tiefste, die phrygische die mittlere, die lydische die höchste war, Plin. u. Serv. – cantus querulae tibiae, Hor.: tibiarum cantus, Cic.: modulate canentes tibiae, Liv.: tibiis canere, Cic.: ad tibias dicere (vortragen), Lampr. – sprichw., apertis, ut aiunt, tibiis, aus allen Löchern, mit lauter Stimme, Quint. 11, 3, 50. – b) = αὐλίσκος, die kleine Röhre vorn an der Klistierspritze, Cael. Aur. de acut. morb. 3, 4, 29.

tibia [CL] 1 shin-bone, tibia; b (of animal, used as ice-skate). 11‥ ~ia ‥ sineban WW Sup. 430; s1218 dormitorium ‥ corruit ‥ sed nullum oppressit ‥ preter ‥ G. monachum, cujus ~iam trabes confregit Ann. Tewk. 64; 1338 percussit predictum J. ‥ super ~iam dexteram cum uno baculo et fregit illam SelCCoron 44; 1370 legem suam versus Ricardum ‥ de eo quod non fregit ~iam vacce sue Hal. Durh. 95; 1469 in recompensam magnarum expensarum ‥ per eum passarum in fraccione sue tubie ExchScot 638.  b super glaciem ludere ‥ ‥ sub talaribus suis alligantes ossa, ~ias scilicet animalium W. Fitzst. Thom. prol. 17. 2 front part of the lower leg, shin. b lower leg. c (arbalista de ~ia) sort of crossbow drawn by means of a stirrup, ‘leg-powered’ crossbow. d (as joint of meat) shin. e (transf., pl.) fur obtained from the legs of animals, ‘shanks’. f (in gl.). in nodosi cippi claustrum viri Dei ~ias et suras astringunt Aldh. VirgP 35; 11‥ ~ia, scina WW Sup. 430; 1212 Walterus ‥ quandam plagam ei fecit cum quadam securi in ~ia SelPlCrown 59; 1381 apud Savoye asportaverunt certas armuras pro tubiis Peasants' Rising 8.  b directe ~ie, brachia, et manus extente [sunt] Gosc. Edith 293; toto corpore incurvatus, ~iis pre nimia debilitate tremulis Mir. Fridesw. 10; ~iam ejus et pedem dexteram fistula occupaverat J. Furness Walth. 131; cicade quedam ‥ non tibiarum nisu sed alarum remigio se transferentes Gir. TH I 21; 1390 cum ‥ priorem extra ‥ prioratum ‥ per ~ias suas contra justiciam ‥ maliciose extraxerit Pat 328 m. 15; 1428 collo, capite, tubiis, et pedibus denudatis, corpore camisia et femoralibus solomodo induto Heresy Tri. Norw. 36; caballus ‥ ~iis anterioribus in sabulo infossatis Plusc. VII 32; 1447 Johanna ‥ pedes et ~ias dicti presbyteri ‥ quodam linthiamine insimul ‥ ligavit (Court Bk.) Eng. Clergy 216.  c 1418 xxv arbalistas de torno, xxv arbalistas de ~ia RNorm 237.  d c1388 furatus fuit unam ~iam multonis ad macellas S. Nicholai (LBLond. H f. 260) MGL I 607.  e 1361 in una furura nigra de ~iis empt' pro mantell' domini prioris, xj s. Ac. Durh. 562; 1433 lego ‥ Alicie K. ‥ togam nigram furratam cum ~iis agninis Test. Ebor. II 50.  f 11‥ hec ~ia, i. jambe WW Sup. 83; hec ~ia, gombe Gl. AN Ox. 63; hec tibea, A. a leg WW; hec tubia, A. schanke Ib.. 3 lower or subsidiary part, ‘leg’ or ‘limb’; b (of fulling apparatus). tybia ‥ pulmonis, adinstar stipitis habentis multas radices, ramificatur secundum substantiam pulmonis Ps.-Ric. Anat. 41 p. 26; 1282 residuum chasten' sunt extronati et ‥ exbrancati et ~ie chasten[eariorum] succise TR Forest Proc. 31 m. 9; 1285 custus carac' ‥ in ~ia j cultri ponenda (Hallingbury, Essex) MinAc 843/26; 1304 in xxj peciis ferri emptis ‥ pro ~iis cultrorum, clut', et aliis necessariis ad carucas (Framlingham, Suff) Ib. 997/15; tres laminas preparemus ‥ quas tres tibias nominamus Wallingf. Rect. 408.  b 1332 in domo molendini fullerett' reparando ‥ in ferro empto ad ~ias molendini predicti et reparacione earundem (Ac. Bocking) DCCant.; 1374 tebias, pedes, brachia, et trunccum et genas de novo facient (Yorks) DL MinAc 507/8227 m. 28 (v. gena 2); 1384 unius carpentarii facientis ‥ unum walkestok' pro molendino fuller' de K. cum ~iis, pedibus, et le perrour eidem pertinentibus (Yorks) Ib. 507/8228 m. 20; 1384 in ij peciis ferri emptis ‥ pro ij plates inde habendis firmandis super ~ias ejusdem molendini ob defensionem earumdem ~iarum ab axe vertend' in operacione pannorum tangenc' easdem ~ias Doc. Leeds 116. 4 (mus.) sort of wind instrument, pipe. b (~ia pneumatica) organ pipe. nescio ut Sibimenias ~iis canere, sed non pudet me tibicinem non esse [Apul. Deo Socrat. 21] J. Sal. Pol. 632B; ~ie ‥ cum qua dum cantaret [Pallas] ‥ sue bucce vidit inflationem Natura Deorum 79; de quinque ‥ symphoniis quas ‥ cithara reddit, ~ia vix unam et dimidiam perficit Alb. Lond. DG 10. 7; instrumenta ‥ quorum sua cuique voluptas / tibia feminea, tuba mascula, tympana rauca Vinsauf PN 661 (recte 666); tibia fraxinea, tuba cuprea H. Avr. Poems 27. 165.  b 1565 septem ~ias pneumaticas, Anglice organ pipes ‥ furatus fuit (Great Sessions, Brecon) MS Nat. Libr. Wales GB 0210 CGREATS.

tībĭa, (10) æ, f. , ¶ 1 os antérieur de la jambe, tibia : Cels. Med. 8, 1, etc. || jambe : Plin. Min. Ep. 1, 20, 15 ¶ 2 flûte : Lucr. 4, 585 ; Cic. Tusc. 1, 107 ; Virg. En. 11, 737, etc. ; Hor. P. 202 || souv. au pl., parce quʼon jouait de deux flûtes à la fois : Pl. St. 723 ; Cic. Br. 192 ; de Or. 2, 338 ; Nat. 2, 22 ; Nep. Præf. 1 ; Epam. 2, 1 ; tibiæ dextræ, sinistræ, flûte de dessus, flûte de basse ; tibiæ pares, deux flûtes de même partie, dessus ou basse ; tibiæ impares, lʼune de dessus, lʼautre de basse ; [prov.] apertis, ut aiunt, tibiis Quint. 11, 3, 50, à pleine flûte, comme on dit (= à pleine voix) ¶ 3 petit tube dʼune seringue à clystère : C. Aur. Acut. 3, 4, 29.

tibia , ae. f.
骨脛。小腿。笛。

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tībia ae, f

• a large shin-bone, tibia, shin, leg: sinistram fregit tibiam, Ph.—(Because the first flutes were of bone), a pipe, flute: ut cantu tibiarum vicinitas personet: tibiae inflatae: septenarios fundat ad tibiam: curva, V.: Tibia non tubae Aemula, sed tenuis simplexque, H.: scienter tibiis cantasse, N.

TIBIA

TI´BIAThe word αὐλός though it is commonly translated flute, denotes any kind of wind instrument, with the exception of trumpets and horns. As a rule, however, it is used in a more restricted sense for the double oboe or clarinet, which is familiar to us under the misleading name of the double flute. This is quite wrong, for the αὐλὸς had a mouthpiece (ζεῦγος) in which a vibrating reed (γλῶττα) was fitted, whereas in the flute the sound is produced by blowing a stream of air across a plain hole in the pipe of the instrument. The true Greek representative of the modern flute is the σῦριγξ μονοκάλαμος (fistula), as distinguished from the σῦριγξ πολυκάλαμος or Pan's pipe. Both forms--the σῦριγξ or flute, and the oboe or αὐλὸς proper--are, it would seem, as old as Homer, who tells us that Agamemnon, unable to sleep, heard afar off in Troy αὐλῶν συρίγγων τ' ἐνοπήν (Il. 10.13). The flute, however, was held in but low esteem, and was thought a fit instrument for shepherds and other country folk. The art of playing the αὐλός or αὐλητική was on the other hand a necessary part of education. In Boeotia it was the national instrument, and as such the Athenians affected to despise it in comparison with the lyre (cf. Böttiger, Kl. Schriften, 1.14), though as a matter of fact they used it as much as the other Greeks. It is very frequently seen in works of art, especially vase-paintings, and with the aid of these and the many notices in literature we are able to form an accurate idea of its structure. It consisted of a pipe (βόμβυξ, Poll. 4.70), which in the simplest form was made of reed (κάλαμος βομβυκίας, Theophr. H. P. 4.11, 3), but might be of bone, metal, or even ivory. To this was attached by means of a socket of bone (ὅλμιον or ὑφόλμιον) the mouthpiece (ζεῦγος), in which was fixed the vibrating reed (γλῶττα). Theophrastus (l. c.) says that the sound is best when the mouthpiece and pipe are made from the same length of reed. The instrument thus formed does not seem to have been played alone, but always in pairs. There are, it is true, a few monuments, such as a Roman wall-painting in the British Museum, in which the player has. only one pipe in his mouth, but then the other is always to be seen in his other hand in a way that shows he is only preparing to play. The difficulty of playing two instruments at once was obviated by a leather strap which covered the mouth, ran under the ears, and was fastened at the back of the head by a knot or buckle. This curious piece of gear served to prevent a loss of wind and to keep the two mouthpieces in the proper position. It was called the (φορβεία, στομὶς or χειλωτήρ (cf. Arist. ϝεσπ. 582): in Latin, the CAPISTRUM

The notes were given by holes (τρυπήματα); and as both pipes were played at once, there can originally have been only four or at the most five of these on each. However, it would seem, from a remark of Proclus in his commentary on Plutarch's Alcibiades (c. 68, ἕκαστον γὰρ τρύπημα τῶν αὐλῶν τρεῖς φθόγγους. ὥς φασι τοὐλάχιστον ἀφίησιν), that two overtones at least could be blown on each of these. The, compass was still further extended by the use of additional holes with stops (παρατρυπήματα), an invention which was apparently in use by the time of Pronomus, who played in the Dorian, Lydian, and Phrygian keys on the same instrument (Paus. 9.12, 4). The simplest form of stop shown on the Pompeian wall-paintings consists of a peg, which could be withdrawn when the hole was needed. More complicated is the device in which extra notes are given by short cylinders attached to the pipe near the end. This kind of instrument is frequently seen in late representations of Euterpe, especially on Roman sarcophagi. Yet another invention was to cover the extra holes with movable rings, which the player could slide over or off them as he wished. Both the small cylinders and the rings, with the hooks by which they were pulled round, are well shown by a relief in the Naples Museum (Baumeister's Denkmäler, fig. 596). Such no doubt, or something like, was the new-fangled tibia, which Horace describes as orichalco vincta tubaeque aemula, contrasting it with the old-fashioned one, with its few notes, tenuis simplexque foramine pauco (A. P. 202-3). The two pipes were tuned so that the melody played on one could be accompanied an octave lower on the other.

As the use of the clarinet and oboe became more extended in Greece, various forms giving notes of widely different keys were either introduced from abroad or invented. Aristoxenus, in a quotation given by Didymus (Athen. 14. p. 634 e), divides the kinds of instruments (γένη αὐλῶν) used in his day into five classes: (1) The maiden's (παρθενίοι), (2) the boy's (παιδικοί), (3) the lyre-player's (κιθαριστήριοι), (4) the perfect (τέλειοι) and (5) the more than perfect (ὑπερτέλειοι) instruments. Didymus tells us that the perfect and more than perfect varieties are the man's (ἀνδρεῖοι), which shows that the classification is intended to proceed on the same scale as the human voice they were made to accompany, rising from the shrill soprano to the deep bass. As this is the case, the list evidently aims at being exhaustive; and Gevaert, in his Histoire et Théorie de la Musique dans l'Antiquité(vol. 2. § ii. pp. 271-307), has catalogued the known varieties under these heads as follows:--(1) παρθένιοι --the γίγγρας of the Phoenicians, the φῶτιγξ or cross-flute, and the Phrygian funeral αὐλός; (2) παιδικοί --the αὐλὸς ἐμβατήριος, the αὐλὸς δακτυλικός, and the Roman tibia chorica; (3) κιθαριστήριοι --the μόναυλος (sc. κάλαμος) and the αὐλὸς μεσόκοπος; (4) τελεῖοι --the αὐλὸς Πνθικός, the αὐλὸς ἔλυμος of the Phrygians, the αὐλὸς βόμβυκος of the Bacchic worship, the funeral pipe of the Greeks and Romans; (5) ὑπερτέλιεοι --the αὐλὸς σπονδειακός. These varieties, it will be noticed, include all sorts of wind-instruments, some of which are fifes like the γίγγρας, flutes like the φῶτιγξ, or horns like the ἔλυμος. The lastnamed deserves special mention, since it was used in the worship of Cybele, and was also known as the tibia Berecynthia to the Romans

(cf. Hor. Od. 3.19, 18; 4.1, 22). It ended in a curved horn mouth, and was of great power. Originally and in its proper use it was played alone, but it apparently became the fashion to use it as the left pipe in a pair, or perhaps, to, speak correctly, to convert the left pipe into a Berecynthian by adding a curved horn mouth. Such a pair is well shown above by a bas-relief from Zoega, Bassiril. 1.14.

The invention of the αὐλός even if one refuse to take Homer's Trojans as evidence for the Greeks of his time, must have been an exceedingly early one, and was indeed by the Athenians attributed to the goddess Athene. She, however, was disgusted with the distortion of her face when playing, and threw it away. It was picked up by the Satyr Marsyas, who met an evil end when he contended on his new instrument with Apollo on the lyre. His art, however, did not die with him, but was carried on by Olyrnpos, who brought it to Greece. The myth points in Marsyas to Phrygia as the original home of the instrument, which even nowadays, in a somewhat debased form, is played in both Arabia and Egypt. From whatever land it came, it certainly was firmly established in Greece when History begins. It was indispensable in religious rites not only to accompany hymns and provide music for the, dance, but to hallow the libation at every sacrifice. It was equally popular in private life, whether at dinner-time when a flute-girl played, or in the leisure hour, or again in the time of mourning when elegies were sung to its music. Small wonder, then, that its playing became quite a profession, which in Solon's time was recognised officially at the Pythian games. Sacadas at Argos had at that time shown that the αὐλητὴς could express with quite as much effect as the harper the story of Apollo's fight with Python, and a contest for αὐληταὶ was thereupon founded by the Amphictyons (Paus. 10.7, 3). The vasepaintings of the best Attic period have many representations of such contests. One of the, best is in the British Museum, and shows the player mounted on a small platform competing for the prize. [A cut of this is given in Vol. I., p. 358, under CAPISTRUM] On another vasepainting (Benndorf, Wiener Vorlegeblätter, 100.4) a master giving a lesson on the αὐλὸς depicted. On the wall behind hangs the case in which the instrument was carried. It is the συβήνη or αὐλοφήκη, and is made of a spotted skin, perhaps a lynx (cf. Stephani, Compte Rendu, 1869, p. 221); but, to judge from an Attic treasure list, where one of ivory and gold (συβήη ἐλεφαντίνη κατάχρυσος, C. I. A. 1.170, 172, 173) is catalogued, was often of more splendid materials. To its side is attached a little box, the γλωσσοκομεῖον, in which a change of mouthpieces was kept. A similar lesson (where, however, the teacher is playing) is shown in the cut from the Duris Vase under LUDUS LITTERARIUSp. 96: the flute-case is seen hanging on the wall in the lower portion.

At Rome the tibiae held even a more important place in ritual than in Greece, and the tibicen who played it was for most ceremonies quite indispensable. This is especially true of funerals, for so great was the desire to have a large number of tibicines to mourn the dead that the tenth of the laws of the Twelve Tables restricted their number to ten (Cic. de Leg. 2.2. 3, 59; Ovid, Fasti, 6.654). They were also called in to enliven feasts (Quintil. Inst. 1.10, 20) as well as to take part in the libation (Plut. Quaest. Conviv. 7, 8, 4.6).

Besides these uses, the tibiae were as necessary to the drama at Rome as in Greece, both to accompany the singers and to amuse the audiences in the interludes (cf. Hor. A. P. 204-6). From the Didascalia to Terence's comedies, we learn that no less than four different varieties were used in the theatre: (1) the tibiae pares, in which both pipes were equal; (2) the impares, in which they were unequal; (3) the duae dextrae, in which the right was identical in key and note with the left; and (4) the Serranae. Varro (R. R. 1.2, 15, 16) tells us that the melody was played on the right instrument, which he calls the incentiva, and the accompaniment on the left, or the succentiva; so that the differences in size and character of the impares and duae dextrae were intended to make fresh harmonies.

(See an excellent article by K. von Jan, in Baumeister, Denkm. s. v. Flöten; Gevaert, Histoire et Théorie de la Musique dans l'Antiquité, Ghent, 1881, ii. pp. 270 ff. and 647 ff.; Hermann-Blümner, Privatalterthümer, p. 318; Iwan Müller, Handbuch der Kultiusalterthümer, pp. 59, 145; Id. Bühnenwesen, p. 262; Marquardt, Privatleben, pp. 337, 345, 352; Blümner, Leben und Sitten, 2.148 ff.)

[W.C.F.A]

Tibia

(αὐλός). A pipe, the commonest musical instrument of the Greeks and Romans. It was very frequently a hollow cane, perforated with holes in the proper places. In other instances it was made of some kind of wood, especially box, and was bored with a gimlet. When a single pipe was used by itself, the performer upon it, as well as the instrument, was called monaulos. Among the varieties of the single pipe the most remarkable were the bagpipe, the performer upon which was called utricularius or ἀσκαύλης: and the αὐλὸς πλάγιος or πλαγίαυλος, which, as its name implies, had a mouth-piece inserted into it at right angles. Pan was the reputed inventor of this kind of tibia as well as of the fistula or syrinx. (See Syrinx.) But among the Greeks and Romans it was much more usual to play on two pipes at the same time. Hence a performance (tibicinium) on this instrument, even when executed by a single person, was called canere or cantare tibiis. This act is exhibited in very numerous works of ancient art, and often in such a way as to make it manifest that the two pipes were perfectly distinct, and not connected, as some have supposed, by a common mouth-piece. The mouth-pieces of the two pipes often passed through a capistrum. See capistrum.

Three different kinds of pipes were originally used to produce music in the Dorian, Phrygian, and Lydian modes. It appears, also, that to produce the Phrygian mode the pipe had only two holes (τρυπήματα) above and that it terminated in a horn bending upwards. It thus approached to the nature of a trumpet, and produced slow, grave, and solemn tunes. The Lydian mode was much quicker, and more varied and animating. Horace mentions “Lydian pipes” as a proper accompaniment when he is celebrating the praise of ancient heroes. The Lydians themselves used this instrument in leading their troops to battle; and the pipes employed for the purpose are distinguished by Herodotus as “male and female”—i. e. probably bass and treble—corresponding to the ordinary sexual difference in the human voice. The corresponding Latin terms are tibia dextra and sinistra: the respective instruments are supposed to have been so called because the former was more properly held in the right hand and the latter in the left. The tibia dextra was used to lead or commence a piece of music, and the sinistra followed it as an accompaniment. The comedies of Terence having been accompanied by the pipe, the following notices are prefixed to explain the kind of music appropriate to each: tibiis paribus, i. e. with pipes in the same mode; tibiis imparibus, pipes in different modes; tibiis duabus dextris, two pipes of low pitch; tibiis paribus dextris et sinistris, pipes in the same mode, and of both low and high pitch. The use of the pipe among the Greeks and Romans was three-fold—viz. at sacrifices (tibiae sacrificae), entertainments (ludicrae), and funerals. (See funus.) The pipe was not confined anciently to the male sex, but αὐλητρίδες, or female tibicines, were very common. See Gevaert, Histoire et Théorie de la Musique dans l'Antiquité, ii. pp. 270 foll. and 647 foll. (Ghent, 1881).