Harp

Harper

chordophone sounded by the bare fingers)
Playing range
(modern pedal harp)[1]
Related instruments
Angular harp Arched harp Claviharp Konghou (Chinese/Korean) Pedal Harp Triple Harp (Baroque era) Celtic Harp (Medieval era) Epigonion Lyre Yazh Zither Chang (instrument)

The harp is a

; the strings are plucked with the fingers. Harps can be made and played in various ways, standing or sitting, and in orchestras or concerts. Its most common form is triangular in shape and made of wood. Some have multiple rows of strings and pedal attachments.

Ancient depictions of harps were recorded in

.

Historically, strings were made of

History

Harps have been known since antiquity in Asia, Africa, and Europe, dating back at least as early as 3000  

. The instrument had great popularity in Europe during the Middle Ages and Renaissance, where it evolved into a wide range of variants with new technologies, and was disseminated to Europe's colonies, finding particular popularity in Latin America.

Although some ancient members of the harp family died out in the Near East and South Asia, descendants of early harps are still played in Myanmar and parts of Africa; other variants defunct in Europe and Asia have been used by folk musicians in the modern era.

Origin

West Asia and Egypt

The earliest harps and lyres were found in

, an instrument that closely resembles the hunter's bow, without the pillar that we find in modern harps. ^[14] The Chang flourished in Persia in many forms from its introduction, about 4000 BCE, until the 17th century.

Sassanid era mosaic excavated at Bishapur

Around 1900 BCE, arched harps in the Iraq-Iran region were replaced by angular harps with vertical or horizontal sound boxes.^[15]

By the start of the Common Era, "robust, vertical, angular harps", which had become predominant in the Hellenistic world, were cherished in the

Greece

Marble sculptures of seated figures playing harps are known from the

South Asia

]

Another early South Asian harp was the ancient veena, not to be confused with the modern Indian veena which is a type of lute. Some Samudragupta gold coins show of the mid-4th century CE show (presumably) the king Samudragupta himself playing the instrument.^[22] The ancient veena survives today in Burma, in the form of the saung harp still played there.^[23]

East Asia

The harp was popular in ancient China and neighboring regions, though harps are largely extinct in East Asia in the modern day. The Chinese

Development

Europe

While the angle and bow harps held popularity elsewhere, European harps favored the "pillar", a third structural member to support the far ends of the arch and soundbox.

The curve of the harp's neck is a result of the proportional shortening of the basic triangular form to keep the strings equidistant; if the strings were proportionately distant they would be farther apart.

As European harps evolved to play more complex music, a key consideration was some way to facilitate the quick changing of a string's pitch to be able to play more chromatic notes. By the Baroque period in Italy and Spain, more strings were added to allow for chromatic notes in more complex harps. In Germany in the second half of the 17th century, diatonic single-row harps were fitted with manually turned hooks that fretted individual strings to raise their pitch by a half step. In the 18th century, a link mechanism was developed connecting these hooks with pedals, leading to the invention of the single-action pedal harp.

The first primitive form of pedal harps was developed in the Tyrol region of Austria. Jacob Hochbrucker was the next to design an improved pedal mechanism around 1720, followed in succession by Krumpholtz, Naderman, and the Erard company, who came up with the double mechanism, in which a second row of hooks was installed along the neck, capable of raising the pitch of a string by either one or two half steps. While one course of European harps led to greater complexity, resulting largely in the modern pedal harp, other harping traditions maintained simpler diatonic instruments which survived and evolved into modern traditions.

Americas

In the Americas, harps are widely but sparsely distributed, except in certain regions where the harp traditions are very strong. Such important centeres include Mexico, the Andean region, Venezuela, and Paraguay. They are derived from the Baroque harps that were brought from Spain during the colonial period.^[29] Detailed features vary from place to place.

The Paraguayan harp is that country's national instrument, and has gained a worldwide reputation, with international influences alongside folk traditions. They have around 36 strings, are played with fingernails, and with a narrowing spacing and lower tension than modern Western harps, and have a wide and deep soundbox that tapers to the top.^[30]

The harp is also found in Argentina,^[31] though in Uruguay it was largely displaced in religious music by the organ by the end of the 18th century.^[32] The harp is historically found in Brazil, but mostly in the south of the country.^[33]

The

)

Mexican jarocha harp music of Veracruz has also gained some international recognition, evident in the popularity of "La Bamba".^{[original research?]} The arpa jarocha is typically played while standing. In southern Mexico (Chiapas), there is a very different indigenous style of harp music.^[36]

The harp arrived in Venezuela with Spanish colonists.^[37] There are two distinct traditions: the arpa llanera ('harp of the Llanos’, or plains) and the arpa central ('of the central area').^[38] By the 2020s, three types of harps are typically found:^[37]

• the traditional llanera harp, made of
  gut, but in modern times are of nylon. It is used to accompany both dancers and singers playing joropo music, a traditional form of Venezuelan music, also known as llanera music.^[37]
• the arpa central (also known as arpa mirandina 'of
  Tuy Valleys’) is strung with wire in the higher register.^[38]
• the Venezuelan electric harp[37]

Africa

A number of types of harps are found in Africa, predominantly not of the three-sided frame-harp type found in Europe. A number of these, referred to generically as African harps, are bow or angle harps, which lack forepillars joining the neck to the body.

A number of harp-like instruments in Africa are not easily classified with European categories. Instruments like the West African kora and Mauritanian ardin are sometimes labeled as "spike harp", "bridge harp", or harp lute since their construction includes a bridge which holds the strings laterally, vice vertically entering the soundboard.^[39]

Armenia

In Armenia, the harp has been used since the fourth century BC.^{[citation needed]} Common usages included weddings and funerals.^[40] The "Antler Cup with a Feast Scene", found inside a vessel in Nor Aresh and now preserved in the Erebuni Fortress, depicts a harp.^[41] Information about early medieval Armenian musical instruments has been found in Armenian translations of the Bible.^[42][43][44] In the past, the harp was played in the royal residences, in the royal recreation rooms. Sometimes not only the royal musicians, but the kings themselves played the instrument. Of course, in the past, harps did not have the sound capabilities that they have today, but the fact that the Armenian people had the harp is a fact.

• 
  Armenia, harp on an antler cup, Erebuni Museum
• 
  Armenia, a harpist of royal birth
• 
  Armenia, harp on a medieval silver cup
• 
  Lyre, Erebuni Museum

Armenians have had the instrument of harp since old times. This proves that Armenians loved the harp and used it in their everyday life, at weddings and burials. According to YSC professor, scholar of Middle Ages, doctor of Arts N. Tahmizyan many pagan musical instruments have kept their initial form and among them is the harp which was played not only at ceremonies. The instrument was performed by solo performers as well as with the accompaniment of other instruments. The Armenian translation of the Bible gives a lot of information about early medieval Armenian musical instruments. The translators of the Bible use the name harp among other quite popular musical instruments. In Armenian a verb has been formed from the name of the instrument: տաւղել which means to play the harp. The word has two meanings the second of which is stringed musical instrument which has the form of a triangular frame and this corresponds to the description of the musical instrument in Genesis 4:21 where it is stated. «Եւ նորա եղբօր անունը Յոբալ էր, որ բոլոր տավղահարների եւ սրնգահարների հայրն եղաւ»։

Other usages of the word can be found in one of the songs of 10th century Armenian medieval writer, founder of the Renaissance of the Armenian literature, cosmic monk Grigor Narekatsi. The song is called Song of Vardavar:

Քրքում վակասիր պտուղն
սնանէր խուռն տերևով.
Տերևն տաւիղ տուողին
զոր երգէր Դաւիթ հրաշալին:
(Տաղ Վարդավառի)

A proof of the instrument’s Armenian origin is the Horn Glass with the Scene of Feast picture which is kept in Erebuni museum: The glass was found in a big buried container in the district of Nor Aresh next to Erebuni castle in 1968 during construction works. The calf horn glass has peoples’ pictures on it. There are pictured a man and three women on it who obviously are participants of a feast. The third female musician is sitting on a chair with a harp in her hands. This find proves that the instrument in Armenia had its Armenian name in 4th century BC. N. Tahmizyan also writes about this horn glass in his book. This find is a proof that Armenians knew and even enjoyed playing the harp in 4th century BC.

On the famous Armenian Cilician silver glass a man is painted surrounded with his lively wife and animals.

Formerly the harp was played in royal castles. Sometimes not only musicians but also kings played the instrument. Of course, in the past harps did not have the sound range they have today but it is a fact that Armenians had the harp. Pictures of the harp can be found in People and Everyday Life (Yerevan, 1978) scientific work of Astghik Gevorgyan, a researcher at Matenadaran, the Mesrop Mashtots Institute of Ancient Manuscripts, Candidate in Arts. In her work pictures of the instrument can be found. In the first picture the man is playing the harp which is on his knees.

In the second picture the harp is played by a man who has a crown on his head from which we may conclude that the musician has a royal origin. This harp is bigger and leans on the floor. Not only did Armenians play the instrument but also they created songs about it. Kh. Avetisyan and V. Harutyunyan wrote a song called My Sweet Harp which was quite popular

This analysis and researches with the historical and archaeological proofs led us to the colnclusion that the instrument of harp existed and was widely used in Armenians’ everyday life including royal families. The instrument’s popularity has grown during the years and the harp has become an instrument that represents the emotional inner world of the Armenians.

South Asia

In India, the Bin-Baia harp survives about the Padhar people of Madhya Pradesh.^[45] The Kafir harp has been part of Nuristani musical tradition for many years.^[46]

East Asia

The harp largely became extinct in East Asia by the 17th century; around the year 1000, harps like the vajra began to replace prior^{[clarification needed]} harps.^[47] A few examples survived to the modern era, particularly Myanmar's saung-gauk, which is considered the national instrument in that country. Though the ancient Chinese konghou has not been directly resurrected, the name has been revived and applied to a modern newly invented instrument based on the Western classical harp, but with the strings doubled back to form two notes per string, allowing advanced techniques such as note-bending.^{[citation needed]}

Modern European and American harps

Concert harp

The concert harp is a technologically advanced instrument, particularly distinguished by its use of "pedals", foot-controlled devices which can alter the pitch of given strings, making it fully

The addition of pedals broadened the harp's abilities, allowing its gradual entry into the classical orchestra, largely beginning in the 19th century. The harp played little or no role in early classical music (being used only a handful of times by major composers such as Mozart and Beethoven), and its usage by

Folk, lever, and Celtic instruments

New Salem Village re-enactor playing a Celtic harp

In the modern era, there is a family of mid-size harps, generally with nylon strings, and optionally with partial or full levers but without pedals. They range from two to six octaves, and are plucked with the fingers using a similar technique to the pedal harp. Though these harps evoke ties to historical European harps, their specifics are modern, and they are frequently referred to broadly as "Celtic harps" due to their region of revival and popular association, or more generically as "folk harps" due to their use in non-classical music, or as "lever harps" to contrast their modifying mechanism with the larger pedal harp.^[54]

Jord Cochevelou developed a variant of the modern Celtic harp which he referred to as the "Breton Celtic harp"; his son Alan Stivell

was to become the most influential Breton harper, and a strong influence in the broader world of the Celtic harp.

Multi-course harps

A multi-course harp is a harp with more than one row of strings, as opposed to the more common "single course" harp. On a double-harp, the two rows generally run parallel to each other, one on either side of the neck, and are usually both diatonic (sometimes with levers) with identical notes.

The triple harp originated in Italy in the 16th century, and arrived in Wales in the late 17th century where it established itself in the local tradition as the Welsh harp (telyn deires, "three-row harp").^[57] The triple consists of two outer rows of identical diatonic strings with a third set of chromatic strings between them. These strings are off set to permit the harpist to reach past the outer row and pluck an inner string if a chromatic note is needed.

Chromatic-strung harps

Some harps, rather than using pedal or lever devices, achieve chromaticity by simply adding additional strings to cover the notes outside their diatonic home scale. The Welsh triple harp is one such instrument, and two other instruments employing this technique are the cross-strung harp and the inline chromatic harp.

The cross-strung harp has one row of diatonic strings, and a separate row of chromatic notes, angled in an "X" shape so that the row which can be played by the right hand at the top may be played by the left hand at the bottom, and vice versa. This variant was first attested as the arpa de dos órdenes ("two-row harp") in Spain and Portugal, in the 17th century.^[58]

The inline chromatic harp is generally a single-course harp with all 12 notes of the chromatic scale appearing in a single row. Single course inline chromatic harps have been produced at least since 1902, when Karl Weigel of Hanover patented a model of inline chromatic harp.^[59]

Electric harps

Amplified (electro-acoustic) hollow body and solid body

piezo-electric

sensors for each string, often in combination with small internal microphones to produce a mixed electrical signal. Hollow body instruments can also be played acoustically, while solid body instruments must be amplified.

The late-20th century Gravikord is a modern purpose-built electric double harp made of stainless steel based on the traditional West African kora.

Variations

Harps vary globally in many ways. In terms of size, many smaller harps can be played on the lap, whereas larger harps are quite heavy and rest on the floor. Different harps may use strings of catgut, nylon, metal, or some combination.

All harps have a neck, resonator, and strings, frame harps or triangular harps have a pillar at their long end to support the strings, while open harps, such as arch harps and bow harps, do not.

Modern harps also vary in techniques used to extend the range and

Romantic music era

(ca. 1800–1910 CE) and the 20th and 21st century music era.

Structure and mechanism

Harps are essentially

sounding board on the resonating body, where it is secured with a knot; on modern harps the string's hole is protected with an eyelet to limit wear on the wood. The distance between the tuning peg and the soundboard, as well as tension and weight of the string, determine the pitch of the string. The body is hollow, and when a taut string is plucked, the body resonates

, projecting sound.

The longest side of the harp is called the column or pillar (though some earlier harps, such as a "bow harp", lack a pillar). On most harps the sole purpose of the pillar is to hold up the neck against the great strain of the strings. On harps which have pedals (largely the modern concert harp), the pillar is a hollow column and encloses the rods which adjust the pitches, which are levered by pressing pedals at the base of the instrument.

On harps of earlier design, a single string produces only a single pitch unless it is retuned. In many cases this means such a harp can only play in one key at a time and must be retuned to play in another key. Harpers and luthiers have developed various remedies to this limitation:

• the addition of extra strings to cover
  chromatic
  notes (sometimes in separate or angled rows distinct from the main row of strings),
• addition of small levers on the crossbar which when actuated raise the pitch of a string by a set interval (usually a semitone), or
• use of pedals at the base of the instrument, pressed with the foot, which move additional small pegs on the crossbar. The small pegs gently contact the string near the tuning peg, changing the vibrating length, but not the tension, and hence the pitch of the string.

These solutions increase the versatility of a harp at the cost of adding complexity, weight, and expense.

Terminology and etymology

The modern English word harp comes from the Old English hearpe; akin to Old High German harpha.^[60] A person who plays a pedal harp is called a "harpist";^[61] a person who plays a folk-harp is called a "harper" or sometimes a "harpist";^[62] either may be called a "harp-player", and the distinctions are not strict.

A number of instruments that are not harps are none-the-less colloquially referred to as "harps". Chordophones like the aeolian harp (wind harp), the autoharp, the psaltery, as well as the piano and harpsichord, are not harps, but zithers, because their strings are parallel to their soundboard. Harps' strings rise approximately perpendicularly from the soundboard. Similarly, the many varieties of harp guitar and harp lute, while chordophones, belong to the lute family and are not true harps. All forms of the lyre and kithara are also not harps, but belong to the fourth family of ancient instruments under the chordophones, the lyres, closely related to the zither family.

The term "harp" has also been applied to many instruments which are not even chordophones. The

plucked idiophone and likewise not a stringed instrument. The laser harp

is not a stringed instrument at all, but is a harp-shaped electronic instrument controller that has laser beams where harps have strings.

As a symbol

Political

Ireland

The harp has been used as a political symbol of Ireland for centuries. Its origin is unknown but from the evidence of the ancient oral and written literature, it has been present in one form or another since at least the 6th century or before. According to tradition, Brian Boru, High King of Ireland (died at the Battle of Clontarf, 1014) played the harp, as did many of the gentry in the country during the period of the Gaelic Lordship of Ireland (ended c. 1607 with the Flight of the Earls following the Elizabethan Wars).^{[citation needed]}

In traditional Gaelic society every

flag of Leinster

.

Since 1922, the

Irish coinage from the Middle Ages to the current Irish imprints of euro

coins.

Elsewhere

The South Asian Tamil harp yaal is the symbol of City of Jaffna, Sri Lanka, whose legendary root originates from a harp player.^[63]

The arms of the Finnish city of Kangasala features a red, eagle-headed harp.

Religious

In the context of

angels playing harps, giving the instrument associations of the sacred and heavenly. In the Bible, Genesis 4:21 says that Jubal, the first musician and son of Lamech, was 'the father of all who play' the harp and flute.^[64][65][66]

Many depictions of King David in Jewish art have him holding or playing a harp, such as a sculpture outside King David's tomb in Jerusalem.^[67]

Corporate

The harp is also used extensively as a

corporate logo, predominantly by companies that have, or wish to suggest, a connection with Ireland. The Irish brewer Guinness has used a right-facing harp (in contrast to the Irish State emblem's left-facing version) as its emblem since 1759, the Harp Lager brand has done so since 1960. The Irish Independent newspaper has used a harp in its masthead since 1961. The Irish airline Ryanair

, founded in 1985, also features a stylised harp in its logo.

Other organisations in Ireland use the harp in their corporate identity, but not always prominently; these include the

Queen's University of Belfast

use the harp as part of their identity.

Sporting

In sport, the harp is used in the emblems of the League of Ireland football team Finn Harps F.C., Donegal's senior soccer club. Outside of Ireland, it appears in the badge of the Scottish Premiership team Hibernian F.C. – a team originally founded by Irish emigrants.

Not all sporting uses of the harp are references to Ireland, however: the Iraqi football club

Assyrian Neo-Aramaic

: "the harp") when their style of play was likened to fine harp-playing by a television presenter.

See also

• List of compositions for harp
• List of harpists
• Category:Harpists

Types of harp

• Celtic harp, or Clàrsach, a modern replica of Medieval north European harps
• Claviharp, a 19th century instrument that combined a harp with a keyboard
• Epigonion, a 40 stringed instrument in ancient Greece thought to have been a harp
• Kantele, a traditional Finnish and Karelian zyther-like instrument
• Konghou, name shared by an ancient Chinese harp and a modern re-adaption
• Kora, a west-African folk-instrument, intermediate between a harp and a lute
• Lyre, kithara, zyther-like instruments used in Greek classical antiquity and later
• Pedal harp, the modern, chromatic concert harp
• Psaltery, a small, flat, lap instrument in the zither family
• Triple harp, a chromatic multi-course harp traditional in Wales

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  ISBN 960-400-139-6
  .
• Inglefield, Ruth K.; Neill, Lou Anne (1985). Writing for the Pedal Harp: A Standardized Manual for Composers and Harpists. University of California Press.
  ISBN 978-0-520-04832-4
  .
• Lawrence, Lucile; Salzedo, Carlos (1929). Method for the Harp: Fundamental exercises with illustrations and technical explanations. New York: G. Schirmer. as an Introduction and Complement to Carlos Salzedos̀ Modern Study of the Harp by Lucile Lawrence and Carlos Salzedo
• Rensch, Roslyn (June 2007) [1989]. Harps and Harpists. Indiana University Press.
  ISBN 978-0-253-34903-3
  .
• Ross, Alasdair (Winter 1998). "Harps of their owne sorte? A reassessment of Pictish chordophone depictions". Cambrian Medieval Celtic Studies. Vol. 36.
• Shepherd, John; Horn, David; Laing, Dave; Oliver, Paul; Wicke, Peter (8 May 2003). Continuum Encyclopedia of Popular Music of the World. Vol. Part 1 – Performance and Production. A&C Black. pp. 427–437.
  ISBN 978-1-84714-472-0
  .

External links

Wikisource has the text of the 1911 Encyclopædia Britannica article "Harp".

• Media related to Harps at Wikimedia Commons
• Quotations related to Harp at Wikiquote
• "HarpColumn.com".
• "HarpSpectrum.org".