Franklin, John Curtis. 2016. Kinyras: The Divine Lyre. Hellenic Studies Series 70. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_FranklinJ.Kinyras.2016.
18. The Melding of Kinyras and Kothar
Kothar and Kinnaru
With drum and cymbals,
With ivory clappers, 
With the goodly companions of Kothar. 
Philo of Byblos: Khousor and His Retiring Twin
Étienne de Lusignan: Cinaras and His Retiring Twin
Once again, no extant Classical source mentions a brother for Kinyras.  Fraternal pairs, we have seen, were a traditional mythological construction in the region; but they are not otherwise prominent in Lusignan’s account. The historian will hardly have invented an anonymous non-entity who plays no role in the ancient Cypriot dynastic sequence in which his ‘Cinaras’ looms large, and is otherwise so artificially contrived.  We are very fortunate indeed that Lusignan bothered to include this point, which must be a vestige of something significant. That he himself felt this way is shown by the later Description, which, though containing rather less ancient material, still troubles to mention Paffo/Paphos and his two sons before again discussing only Cinaras.  Unless one supposes that Lusignan’s source for this ‘retiring twin’ was some ancient source now lost, he must have drawn on the island’s conservative oral traditions. In either case, I conclude that he attests a Cypriot version of the same process that informs Philo—the fusion of Kinyras and Kothar, with a record kept ‘in the family’ through an anonymous twin.
The Craftsman-Musician Twins Mytheme
Here the metalworking Tubal-Cain has been bifurcated and endowed with a twin. Bar Koni then reverts to the Biblical account by quoting the ‘original’ verse about Jubal; but note that Jubal is not called the brother of Tubal-Cain, who after all already has Cainan. Since this second metalworking sibling is apparently a local innovation, it is perfectly possible in principle that the family’s musical contributions were equally reworked, and yet are masked here by the Biblical quotation.
There is a telling ‘error’ here. The Book of the Bee first follows Bar Koni in naming the brothers Cainan and Tubal-Cain. But in its musical sequel quoted above—which contains several deviations from Bar Koni, including the relocation of “evil spirits” from the patients into the pipes themselves—the brothers reappear as Tubal and Tubal-Cain. There is no way to decide the ‘correct’ reading. One might suggest that ‘Tubal’ is a mistake for ‘Jubal’, but this would still leave Tubal-Cain partaking in both metals and music; and given the novel pairing of Cainan and Tubal-Cain, an error of Tubal for Jubal would itself be symptomatic of the mutability of the brothers’ names and relationships.
It must be stressed that Brown was not proposing to derive kithára from knr, as has sometimes been thought.  Such a suggestion, once made by K. von Jan, was already rejected by H. Lewy in 1895, and has thus mostly remained out of play (but see below).  Brown’s proposal was rather a chiasmus whereby under mutual semantic influence, each root, knr and kṯr, would have produced both a god- and instrument-name, but with opposite outcomes in ‘Greek’ and Levantine areas:
Remember that for Brown, without knowledge of the Divine Kinnaru, Kinyras was but a hero of Greek mythology. Yet the phenomenon of divinized instruments—a god invested in a cult-object—might offer a way through the maze.  With this, the lines of symmetry are rearranged: