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.
4. Starting at Ebla: The City and Its Music
Kinnārum and Balang
Lamentation and Royal Ancestor Cult
The text appears to preserve the incipit of an actual lamentation.  The song’s character is confirmed by the rite’s outcome, since the ‘angered’ goddess is induced to “make shine” the royal couple. In Sumerian tradition, Nintu was a goddess of childbirth whose powers became associated specifically with the begetting of kings.  So this was evidently a kind of symbolic rebirth.
The importance of this passage lies in the word translated here as “sounds” (i-a1ba-ad). Fronzaroli would read this as /yilappat/ and derive it from the root *lpt (‘touch’), pointing to Akk. lapātu, which can be used to describe the playing of a stringed instrument (compare Greek psállein).  If this is right,  it corroborates the argument above that the kinnārum was employed in lamentation-singing at Ebla. Admittedly the present performance configuration is hardly clear. With the standing group of BALAĜ.DI apparently excluded, the possibilities envisioned by Fronzaroli are that “the man of Harugu” accompanies either himself in reciting the lament, or the king and queen as they do so.  Unfortunately the identity and role of “the man of Harugu” is entirely obscure. And the passage is so laconic that one should not rule out the further involvement of the BALAĜ.DI. They may have completed the former sequence, but are now employed in a further lament for which only the three key new participants are specified.
Divine Lyre at Ebla?