See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

HARP (Fr. harpe; Ger. Harfe; Ital. arpa)  , a member of the class of stringed See also:

• INSTRUMENTS

instruments of which the strings are twanged or vibrated by the fingers . The See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

harp is an See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of beautiful proportions, approximating to a triangular See also:

• FORM (Lat. forma)

form? the strings diminishing in length as they ascend in See also:

• PITCH
• PITCH, MUSICAL

pitch . The mechanism is concealed within the different parts of which the instrument is composed, (1) the See also:

• PEDESTAL (Fr. piedestal, Ital. piedestallo, foot of a stall)

pedestal or pedal-See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box, on which See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest (2) the See also:

• VERTICAL (from Lat. vertex, highest point)

vertical See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

pillar, and (3) the inclined See also:

• CONVEX

convex See also:

• BODY

body in which the soundboard is fixed, (4) the curved See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck, with (5) the See also:

• COMB (a word common in various forms to Teut. languages, cf. Ger. Kamm, the Indo-Europ. origin of which is seen in yoµros, a peg or pin, and Sanskrit, gambhas, a tooth)

comb concealing the mechanism for stopping the strings, supported by the pillar and the body . (1) The pedestal or pedal-box forms the See also:

• BASE

base of the harp and contains seven pedals both in single and See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• ACTION

action harps, the difference being that in the single action the pedals are only capable , of raising the strings one semitone by means of a drop into a notch, whereas with the double action the pedals, after a first drop, can by a further drop into a second and See also:

• LOWER

lower notch shorten the See also:

• STRING

string a second semitone, whereby each string is made to serve in turn for See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, natural and See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp . The harp is normally in the See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key of C flat See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major, and each of the seven pedals acts upon one of the notes of this diatonic See also:

• SCALE
• SCALE (1) A

scale throughout the See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass . The choice of this method of tuning was imposed by the construction of the harp with double action . The pedals remain in the notches until released by the See also:

• FOOT

foot, when the pedal returns to its normal position through the action of a See also:

• SPIRAL

spiral See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring, which may be seen under each of the pedals by turning the harp up . (2) The vertical pillar is a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

• TUNNEL (Fr. tonne!, later tonneau, a diminutive from Low Lat. tonna, tunna, a tun, cask)

tunnel in which are placed the seven rods worked by the pedals, which set in See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion the mechanism situated in the neck of the instrument . Although the pillar apparently rests on the pedestal, it is really supported by a See also:

• BRASS
• BRASS (O. Eng. braes)

brass See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder firmly screwed to the See also:

• BEAM
• BEAM (from the O. Eng. beam, cf. Ger. Baum, a tree, to which sense may be referred the use of " beam " as meaning the rood or crucifix, and the survival in certain names of trees, as horn-beam)

beam which forms the lowest See also:

• PART

part of the body, a connexion which remains undisturbed when the pedal box and its See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover are removed . (3) The body or See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound-See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

chest of the harp is in shape like the See also:

• LONGITUDINAL

longitudinal See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section of a See also:

• CONE (Gr. Kwvos)

cone . It was formerly composed of staves joined together as in the See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

lute and See also:

• MANDOLINE (Fr. mandoline; Ger. Mandoline; It. mandolina)

mandoline . See also:

• ERARD

Erard was the first to make it to two pieces of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, generally sycamore, with the addition of a flat soundboard of Swiss See also:

• PINE (Lat. Pinus, Gr. srlrur)

pine .

The body is strengthened on the inside, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to resist the tension of the strings,, by means of ribs; there are five sound holes in the back, which in the older See also:

• MODELS

models were furnished with swell shatters opened at will by the swell pedal, the See also:

• FOURTH

fourth from the See also:

• LEFT

left worked by the left foot: As the increase of sound obtained by means of the swell was infinitesimal, the See also:

• DEVICE

device has now been discarded . The harp is strung by knotting the end of the string and passing it through its hole in the centre of the sound-See also:

• BOARD (O. Eng. bord)

board, where it is kept in position by means of a grooved peg which grips the string . O The neck consists of a curved piece of wood' resting On the body at the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble end of the instrument and joining the pillar at the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass' end . In the neck are set the tuning pins See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round which are See also:

• WOUND (O. Eng. wund,connected with a Teutonic verb, meaning to strive, fight, suffer, seen in O. Eng. winnan, whence Eng. " win ")

wound the strings . (5) The comb is the name given to two brass plates or covers which See also:

• FIT

fit over both sides of the neck, concealing part of the Mechanism for shortening the strings and raising their pitch a semitone when actuated by the pedals . On the front See also:

• PLATE

plate of the comb, to the left of the player, is a See also:

• ROW, JOHN (c. 1525—1580)

row of brass See also:

• BRIDGES
• BRIDGES, ROBERT (1844– )

bridges against which the strings rest below the tuning pins, and which determine the vibrating length of the string reckoned from the peg in the soundboard . Below the bridges are two rows of brass disks, known as forks, connected by See also:

• STEEL, FLORA ANNIE (1847– )

steel levers; each disk is equipped with two studs for grasping the string and shortening it . The mechanism is ingenious . When a pedal is depressed to the first notch, the corresponding lower disk turns a little way on a mandrel keeping the studs clear of the string . The upper disk, set in motion by the steel levers connecting the disks, revolves simultaneously till the string is caught by the two studs which thus form a new See also:

• BRIDGE

bridge, shortening the vibrating length of the string by just the length necessary to raise the pitch a semitone . If the same pedal be depressed to the second notch, another See also:

• MOVEMENT

movement causes the lower disk to revolve again till the string is a second See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time seized and shortened, the upper disk remaining stationary . The hidden, mechanism meanwhile has gone through a See also:

• SERIES (a Latin word from serere, to join)

series of movements; the pedal is really a See also:

• LEVER (through O. Fr. leveour, levere, mod. levier, from Lat. levare, to lift, raise)
• LEVER, CHARLES JAMES (1806-1872)

lever set upon a spring, and when depressed it draws down the connecting See also:

• ROD (O.E. rodd, probably related to Norw. rudda, stick, rodda, stake)
• ROD, EDOUARD (1857-1910)

rod in the pillar which sets in motion chains governing the mandrels of the disks .

The harp usually has See also:

• FORTY

forty-six strings, of gut in the See also:

• MIDDLE

middle and upper registers, and of covered steel See also:

• WIRE (A.S. wir, a wire; cf. Swed. vire, to twist, M.H.G. wiere, a gold ornament, Lat. viriae, armlets, ultimately from the root wi, to twist, bind)

wire in the bass; the C strings are red and the F strings See also:

• BLUE (common in different forms to most European languages)

blue . The compass thus has a range of See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea . to= –or-- ], The double stave is to the key of Eb major . The See also:

• MODERN

modern harp with double action is the only instrument with fixed tones, not determined by the See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear or See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of the performer, which has See also:

• SEPARATE

separate notes for naturals, sharps and flats,. giving it an enharmonic compass . On the harp the appreciable See also:

• INTERVAL

interval between D# and Eb can be played . The harp in its normal See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition is tuned to Cl; major; it rests with the performer to transpose it at will in a few seconds into any other key by means of the pedals . Each of the pedals influences one See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of the scale throughout the compass, beginning at the left with D, C, and B worked by the left foot . Missing the fourth or forte pedal, and continuing towards the right we get the E, F, G and A pedals worked by the right foot . By lowering the D pedal into the first notch the Db becomes Dq, and into the second notch D#$, and so. on for all the pedals . If, for example, a piece be written in the key of E major, the harp is trans-posed into that key by depressing the E, A, and B pedals to the first notch, and those for F, G, C and D to the second or sharp notch and so on through all the , keys . Accidentals and modulations are readily played by means of the pedals, provided the transitions be not teo rapid . The harp is the instrument upon which transposition presents. the least difficulty, for the fingering is the same for all keys, The strings are twanged with, the thumbs and the first three fingers .

The quality of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone does not vary much in the different registers, but it has the greatest brilliancy in keys with many flats, for the strings are then open and not shortened by the frks .. Various effects can be obtained on the harp: (I) by harmonics, (2) by damping, (3) by See also:

• GUITAR (Fr. guitarre, Ger. Guitarre, Ital. chitarra, Span. guitarra)

guitar tones, (4) by the glissando . (I) Harmonics are produced by resting the See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball of the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand on the middle of the string and setting it in vibration by the thumb or the first two fingers of the same hand, whereby a mysterious and beautiful tone is obtained . Two or three harmonies can be played together with the left hand, and by using both hands at once as many as four are possible . (2) Damping is effected by laying the See also:

• PALM (Lat. palma, Gr. iraX6.jn )
• PALM, JOHANN PHILIPP (1768-1806)

palm against the string in thebass and the back of the See also:

• FINGER

finger in the treble . (3) Guitar or See also:

• PIZZICATO (from Ital. pizzicare, to pluck or twitch)

pizzicato notes are obtained by twanging the strings sharply at the lower end near the soundboard with the nails . (4) The glissando effect is produced, as on the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte, by sliding the thumb or finger along the strings in See also:

• QUICK

quick See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession; thisdoes not necessarily give the diatonic scale, for by means, of the pedals the harp can be tuned beforehand to chords . It is possible to See also:

• PLAY

play on the harp all kinds of diatonic and See also:

• ARPEGGIO (from Ital. arpeggiare, to play upon the harp)

arpeggio passages, but no See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic, except in very slow tempo, on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the time required by the mechanism of the pedals; and chords of three or four notes in each hand, shakes, turns, successions of double notes can be easily acquired . The same note can also be repeated slowly or quickly, the next string being tuned to a duplicate note, and the two strings plucked alternately in order to give the string time to vibrate . ' See also:

• PLEYEL, IGNAZ JOSEPH (1757–1831)

Pleyel's chromatic harp, patented in 1894 and improved in 1903 by Gustave See also:

• LYON, MARY MASON (1797-1849)
• LYON, NATHANIEL (1818-1861)

Lyon, manager of the See also:

• FIRM

firm of Pleyel, See also:

• WOLFF (less correctly WOLF), CHRISTIAN (1679-1754)
• WOLFF, CASPAR FRIEDRICH (1733-1794)
• WOLFF, JOSEPH (1795–1862)

Wolff & Co., is an instrument practically without mechanism which has already won See also:

• GREAT

great favour in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium, notably in the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra . It has been constructed on the See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar lines of the pianoforte . See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry Pape, a piano manufacturer, had in 1845 conceived the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of a chromatic harp of which the strings crossed in the centre as in the piano, and a See also:

• REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

report on the construction was published at the time; the instrument, however, was not considered successful, and was relegated to oblivion until Mr Lyon revised the See also:

• MATTER

matter and brought out a successful and See also:

• PRACTICAL

practical instrument .

The advantages claimed for this harp are the See also:

• ABANDONMENT (Fr. abandonnement, from abandonner, to abandon, relinquish; abandonner was originally equivalent to mettred banddn, to leave to the jurisdiction, i.e. of another, bandon being from Low Latin bandum, bannum, order, decree, " ban ")

abandonment of the whole pedal mechanism, a See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal framing which insures the strings keeping in tune as See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long as those of a piano, and an easily acquired technique . The chromatic harp consists of (I) a pedestal on castors, (2) a steel pillar without See also:

• INTERNAL

internal mechanism, (3) a wide neck containing two brass wrest-planks in which are fixed two rows of tuning pins, and (4) a soundchest in which is firmly riveted the steel plate to which the strings are fastened, and the soundboard pierced with eyelet holes through which the strings are See also:

• DRAWN

drawn to the string plate . There is a string for every chromatic semitone of the scale of C major, the See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white strings representing the white keys of the piano See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard, and the See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black strings corresponding to the black keys . The tuning pins for the black strings are set in the left See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the neck in alternate See also:

• GROUPS
• GROUPS, THEORY

groups of twos and threes, and those for the white in the right side in alternate groups of threes and fours .. The strings See also:

• CROSS

cross See also:

• HALF

half-way between neck and soundboard, this being the point where they are plucked; the left hand finds the black notes above, and the right hand below the See also:

• CROSSING

crossing . There is besides in the neck a set of twelve tuning buttons, each one of which on being pressed gives'out one note of the chromatic scale tuned to the pitch of the See also:

• DIAPASON (Gr. &a raccov, through all)

diapason thermal . It is obvious that the repertoire for this harp is very extensive, including many compositions written for the piano, which however cannot be played with any legato effects, these being still impossible on this chromatic harp . See also:

• HISTORY

History.—While the instrument is of great antiquity, it is yet from See also:

• NORTHERN

northern See also:

• EUROPE

Europe that the modern harp and its name are derived . The Greeks and See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans preferred to it the See also:

• LYRE (Gr. Xupa)

lyre in its different varieties, and a Latin writer, Venantius See also:

• FORTUNATUS
• FORTUNATUS, VENANTIUS HONORIUS CLEMENTIANUS (530-609)

Fortunatus,' describes it in the 7th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century of our era as an instrument of the barbarians—" Romanusque See also:

• LYRA (" The Harp ")

lyra, plaudat tibi barbarus harpa." This is believed to be the earliest mention of the name, which is clearly See also:

• TEUTONIC
• TEUTONIC (GERMANIC) LANGUAGES

Teutonic,—O.H.Ger. harepha, A.-S. hearpe, Old Norse harpa . The modern Fr. harpe retains the aspirate; in the See also:

• SPANISH

Spanish and See also:

• ITALIAN

Italian See also:

• AREA

area it is dropped . The earliest delineations of the harp in See also:

• EGYPT

Egypt give no indication that it had not existed long before . There are, indeed, representations in See also:

• EGYPTIAN

Egyptian paintings. of stringed instruments of a See also:

• BOW (pronounced " bo ")

bow-form having See also:

• AFFINITIES

affinities with both See also:

• PRIMITIVE

primitive harp and nefer (a kind of See also:

• OVAL (Lat. ovum, egg)

oval guitar) that support the idea of the invention of the harp from the tense string of the See also:

• WARRIOR

warrior's or See also:

• HUNTER, JOHN (1728-1793)
• HUNTER, ROBERT MERCER TALIAFERRO (r8o9-1887)
• HUNTER, SIR WILLIAM WILSON (1840-19oo)
• HUNTER, WILLIAM (1718–1783)
• HUNTER, WILLIAM ALEXANDER (1844-1898)

hunter's bow, This primitive-looking instrument, called See also:

• NANGA

nanga, had a See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat-shaped sound-chest with a See also:

• PARCHMENT

parchment or skin soundboard, down she centre of which one end of the string was fastened to a See also:

• STRIP

strip of wood, whilst the other was wound round pegs in the upper part of the bow .

The nanga was FIG . 1 . played horizontally, being See also:

• BORNE, KARL LUDWIG (1786–1837)

borne upon the performer's shoulder.' Between it and the See also:

• GRAND

grand vertical harps in the frescos of the time of See also:

• RAMESES, or RAMESSES (Gen. xlvii. r1; Exod. xii. 37; Num. xxxiii. 3)

Rameses III., more than 3000 years old, discovered by the traveller See also:

• BRUCE
• BRUCE, ALEXANDER BALMAIN (1831-1899)
• BRUCE, JAMES (1930-1794)
• BRUCE, MICHAEL (1746-1767)

Bruce' (fig . I), there are varieties that permit us to bind the whole, 1 Poemata, See also:

• LIB

lib. vii. cap . 8, p . 245, See also:

• MIGNE, JACQUES PAUL (1800-1875)

Migne's Patrologiae cursus completus (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1857-1866, vol . 88) . Z A few nangas (c . 1500 B.c.) are preserved among the Egyptian antiquities at the See also:

• BRITISH

British Museum, fourth Egyptian See also:

• ROOM

room . ' Bruce's harps are reproduced by Charnpollion, tome in. p . 261 . used as for the pianoforte .

The single action harp used to be tuned from the simplest bow-form to the almost triangular harp, into one See also:

• FAMILY

family (see fig . 2) . The Egyptian harp had no front pillar, and as it was strung with See also:

• CATGUT

catgut the tension and pitch must necessarily have been See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low . The harps above - mentioned depicted in the See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb at See also:

• THEBES (anciently &Oat, Thebae, or in poetry sometimes Oif3a, in modern Greek Phiva, or, according to the corrected pronunciation, Thivae)
• THEBES (e 3a1)
• THEBES, ROMANCE OF

Thebes, assumed from the players to be more than 6 ft. high, have not many strings, the one having ten, the other thirteen . What the accordance of these strings was it would be hard to recover . We must be content with the know-ledge that the old Egyptians possessed harps in principle like our own, the largest having bestowed a See also:

• WEALTH

wealth of decoration, as if to show how much they See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect of See also:

• ISLAY

Islay, closely related to that of prized them . See also:

• ULSTER
• ULSTER, EARLS OF

Ulster, the word " cruit " is rendered harp." The confusion doubtless arose from the fact that from the 11th century See also:

• CITHARA (Assyrian chetarah; Gr. KcOhpa; Lat, cithara; perhaps Heb. kinura, kinnor)

cithara is glossed hearpan in Anglo-Saxon See also:

• MSS

MSS., a word which, like citharisare in See also:

• MEDIEVAL

medieval Latin, referred to plucking or twanging of strings in contradistinction to those instru- ments vibrated by means of the how . In FIG . 3 . Irish of the 8th and 9th centuries (Zeuss) Irish (Dalway) Harp. cithara is always glossed by " crot." The modern Welsh " crwth " is not a harp but a " See also:

• ROTTA, CHROTTA, HROTTA (Fr. Cithare, rotta; Ger, Cytharr„ Rotta)

rotta " (see See also:

• CROWD, CROUTH, CROWTH

CROWD) . An old Welsh harp, not triple strung, exists, which bears a great resemblance to the Irish harp in neck, soundboard and soundholes . But this plectrum, or more probably, as advocated by Dr Stainer in his See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay does not imply derivation of the harp of See also:

• WALES (Cymru, Gwalia, Cambria)

Wales from that of on the See also:

• MUSIC

music of the See also:

• BIBLE
• BIBLE, ENGLISH

Bible, a kind of lyre .

See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland or the See also:

• REVERSE

reverse . There is really no See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• HISTORICAL

historical See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence, The earliest records that we possess of the See also:

• CELTIC

Celtic See also:

• RACE

race, whether i and there may have been a See also:

• COMMON

common or distinct origin on which e Gaelic or Cymric, give the harp a prominent See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place and harpists ! ethas oloften ogy anlyhcan throwing rument ht.3 Theto belshrlike -td withh See also:

• HEAT (0. E. haktu, which like " hot," Old Eng. hat, is from the Teutonic type haita, hit, to be hot; cf. Ger. hitze, heiss; Dutch, hitte, heet, &c.)

heat nerati d d See also:

• AMES
• AMES, FISHER (1758–1808)
• AMES, JOSEPH (1689–1759)
• AMES, OAKES (1804–1873)
• AMES, WILLIAM (1576–1633)

ames however, qu to different f olmlthel Teutoon. nThe Irish the 1 hrsc a h are, care and veneration, and used by the bards of the family, who were the Highland Scottish " clarsach," the Welsh, Cornish, See also:

• BRETON, BRITTON
• BRETON, JULES ADOLPHE

Breton telyn," " telein," " telyn," show no. etymological kinship to the other See also:

• EUROPEAN

European names . The first syllable in clairseach or clarsach is derived from the Gaelic " See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay," a board or table (soundboard), while the first syllable of telyn is distinctly Old Welsh, and has a tensile meaning; thus resonance supplies the one idea, tension the other . The literature of these Celtic harps may be most directly found in See also:

• BUNTING
• BUNTING (a word of doubtful origin, possibly connected with bunt, to sift, or with the Ger. bunt, of varied colour)
• BUNTING, J
• BUNTING, JABEZ (1779-1858)

Bunting's See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

Ancient Music of Ireland (See also:

• DUBLIN

Dublin, 1840), Gunn's Historical Enquiry respecting the Performance onthe Harp in the See also:

• HIGHLANDS, THE

Highlands of See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland (See also:

• EDINBURGH

Edinburgh, 1807), and E . See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones's Musical and Poetical See also:

• MEMOIRS

Memoirs of the Welsh Bards (See also:

• LONDON

London, 1784) . The See also:

• TREATISES

treatises of See also:

• WALKER, FRANCIS AMASA (1840-1897)
• WALKER, FREDERICK (184o--1875)
• WALKER, GEORGE (c. 1618-169o)
• WALKER, HENRY OLIVER (1843— )
• WALKER, HORATIO (1858– )
• WALKER, JOHN (1732—1807)
• WALKER, OBADIAH (1616-1699)
• WALKER, ROBERT (d. c. 1658)
• WALKER, ROBERT JAMES (1801-1869)
• WALKER, SEARS COOK (1805—1853)
• WALKER, THOMAS (1784—1836)
• WALKER, WILLIAM (1824-1860)

Walker, See also:

• DALYELL (or DALZIELL Or DALZELL), THOMAS (d. 1685)

Dalyell, and others may also be consulted; but in all these authorities , due care must be taken of the See also:

• BIAS
• BIAS (from the Fr. biais, of unknown origin; the derivation from Lat. bifax, two-faced, is wrong)

bias of patriotism, and the delusive aim to reconstruct much that we must be content to receive as only vaguely indicated in records and old monuments . There is, however, one See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Irish See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument about which there can be no See also:

• MISTAKE (i.e. take amiss)

mistake, the harp upon a cross belonging to the ancient See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of Ullard near See also:

• KILKENNY
• KILKENNY, STATUTE OF

Kilkenny, the date of which cannot be later than 830; the See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture is See also:

• RUDE, FRANCOIS (1784–1855)

rude, but the instrument is clearly shown by the See also:

• DRAWING

drawing in Bunting's See also:

• WORK

work to have no front pillar . This remarkable structural likeness to the old harps of Egypt and See also:

• ASSYRIA

Assyria may be accidental, but permits the plausible See also:

• HYPOTHESIS (from Gr. inrorcOivat, to put under; cf. Lat. suppositio, from sub-ponere)

hypothesis of Eastern descent . The See also:

• OLDEST

oldest specimen of the beautiful form by which the Irish harp is now recognized, with gracefully curved front pillar and sweep of neck (the latter known as the See also:

• HARMONIC

harmonic See also:

• CURVE (Lat. curvus, bent)

curve), is the famous harp in Trinity See also:

• COLLEGE (Collegium)

College, Dublin, the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of which has been attributed to See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• BRIAN (926-1014)

Brian Boiroimhe . From this mythic ownership Dr See also:

• PETRIE, GEORGE (179o-1866)
• PETRIE, WILLIAM MATTHEW FLINDERS (1853– )

Petrie (see essay in Bunting) has delivered it; but he can only deduce the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age from the ornamentation and See also:

• HERALDRY

heraldry, which See also:

• FIX, THEODORE (180o-1846)

fix its date in the 14th century or a little later . There is a See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast of it in the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum . The next oldest is in the Highlands of Scotland, the Clarsach Lumanach, or See also:

• LAMONT, JOHANN VON (1805–1879)

Lamont's Clarschoe, belonging, with another of later date, to the old See also:

• PERTHSHIRE

Perthshire family of See also:

• ROBERTSON, FREDERICK WILLIAM (1816-1853)
• ROBERTSON, GEORGE CROOM (1842-1892)
• ROBERTSON, JOSEPH (1810-1866)
• ROBERTSON, THOMAS WILLIAM (1829-1871)
• ROBERTSON, WILLIAM BRUCE (182o-1886)

Robertson of Lude .

Both are described in detail by Gunn . This Lamont harp was taken by a See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady of that family from Argyleshire about 1460, on her See also:

• MARRIAGE

marriage into the family of Lude . It had about See also:

• THIRTY

thirty strings tuned singly, but the scale was sometimes doubled in pairs of unisons like lutes and other contemporary instruments . The Dalway harp in Ireland (fig . 3) inscribed " Ego sum See also:

• REGINA

Regina Cithararum," and dated 1621, appears to have had pairs of strings in the centre only . These were of brass wire, and played with the pointed finger-nails . The Italian contemporary " Arpa Doppia " was entirely upon the duplex principle, but with gut strings played by the fleshy ends of the fingers . When E . Bunting met at See also:

• BELFAST

Belfast in '792 as ' Representations of these may be seen among the musical scenes in the See also:

• NIMROD (-`s??, -i=s; Septuagint, Nef3pc5£: various reading in Gen. x. 8, Nef3p6av: Vulg. Nemrod)

Nimrod See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery at the British Museum . The ancient Assyrians had harps like those of Egypt in being without a front pillar, but differing from them in having the sound-body uppermost, in which we find the early use of soundholes; while the lower portion was a See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar to which the strings were tied and by means of which the tuning was apparently effected.' What the See also:

• HEBREW

Hebrew harp was, whether it followed the Egyptian or the See also:

• ASSYRIAN

Assyrian, we do not know . That King See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David played upon the harp as commonly depicted is rather a modern idea . Medieval artists frequently gave King David the See also:

• PSALTERY, PSALTERION

psaltery, a See also:

• HORIZONTAL

horizontal stringed instrument from which has gradually See also:

• DEVELOPED

developed the modern piano .

The Hebrew " See also:

• KINNOR (Gr. tctvitpa)

kinnor " may have been a kind of See also:

• TRIGONON

trigonon, a triangular stringed instrument between a small harp and a psaltery, sounded by a many Irish harpers as could be at that See also:

• LATE

late date assembled, he f found the compass of their harps to comprise thirty notes which were tuned diatonically in the key of G, under certain circumstances transposable to C and rarely to D, the scales being the major of these keys . The harp first appeared in the coat of arms of Ireland in the reign of Henry VIII.; and some years after in a See also:

• MAP
• MAP (or MAPES), WALTER (d. c. 1208/9)

map of 1567 preserved in a See also:

• VOLUME

volume of See also:

• STATE
• STATE, GREAT OFFICERS OF

state papers, we find it truly drawn according to the outlines of the See also:

• NATIONAL

national Irish instrument.' References to the Highlands of Scotland are of See also:

• NECESSITY (Lat. necessitas)

necessity included with Ireland; and in both we find another name erroneously applied by lexicographers to the harp, viz . " cruit." Bunting particularl}~ mentions the " cinnard cruit " (harp with a high See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head) and the " crom cruit " (the curved harp) . In the Ossianic MSS. of the See also:

• DEAN (Lat. decanus, derived from the Gr. 8eaa, ten)
• DEAN, FOREST OF

Dean of See also:

• LISMORE

Lismore (1512) the word " crwt occurs several times, and in See also:

• NEILL, JAMES GEORGE SMITH (1810-1857)

Neill M'Alpine's Gaelic See also:

• DICTIONARY

Dictionary (1832), which gives the alike the poet-musicians and historians . A slave was not allowed to touch a harp, and it was exempted by the Welsh See also:

• LAWS

laws from seizure for See also:

• DEBT (Lat. debitum, a thing owed)

debt . The old Welsh harp appears to have been at one time strung with See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse-See also:

• HAIR (a word common to Teutonic languages)

hair, and by the See also:

• EISTEDDFOD (plural Eisteddfodau)

Eisteddfod laws the See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil spent his noviciate of three years in the practice of a harp with that stringing . The comparatively modern Welsh triple harp (fig . 4) is always strung with gut . It has a rising neck as before stated, and three rows of strings,—the See also:

• OUTER

outer rows tuned diatonic, the centre one chromatic for the sharps and flats . Jones gives it 98 strings and a compass of 5 octaves and one note, from See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello C . As in all Celtic harps, the left is the treble hand, and in the triple harps there are 27 strings on that side, the right or bass hand having 37, and the middle or chromatic row 34 . The first See also:

• PATTERN

pattern of the modern harp is discovered in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and Anglo-Saxon illuminated MSS. as far back as the 9th century.' A diatonic instrument, it must have been common through-out Europe, as See also:

• ORCAGNA (c. 1308-c. 13681)

Orcagna, Fra See also:

• ANGELICO, FRA (1387–1455)

Angelico, and other famous Italian painters depict it over and over again in their masterpieces .

No accidental semitones were possible with this instrument, unless the strings were shortened by the player's fingers . This lasted until the 17th century, when a Tirolese maker adapted hooks 5 (perhaps FIG . 4. suggested by the fretted or bonded See also:

• CLAVICHORD, or CLARICHORD (Fr. manicorde; Ger. Clavichord; Ital. manicordo; Span. manicordio1)

clavichord) WelshTripleHarp. that, screwed into the neck, could be turned downwards to fix the desired semitone at See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure . At last, some-where about 1720, Hochbrucker, a Bavarian, invented pedals that, acting through the pedestal of the instrument, governed by mechanism the stopping, and thus left the player's hands See also:

• FREE

free, an indisputable See also:

• ADVANTAGE

advantage; and it became possible at once to play in no less 2 See also a woodcut in See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• DERRICK

Derrick's See also:

• IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

Image of Ireland (1581), pl. iii . (Edinburgh ed . 1883) . 3 See the See also:

• FINE

fine volume Musical Instruments on the Irish and Scottish harps by See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert Bruce See also:

• ARMSTRONG, ARCHIBALD (d. 1672)
• ARMSTRONG, JOHN (1709-1779)
• ARMSTRONG, JOHN (1758—1843)
• ARMSTRONG, SAMUEL CHAPMAN (1839—1893)
• ARMSTRONG, WILLIAM GEORGE ARMSTRONG, BARON (1810—1900)

Armstrong (1904), vol. i . Vol. ii., which deals with the Welsh harp, has unfortunately. been withdrawn from See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale . ' See for the medieval harp a careful See also:

• ARTICLE (from Lat. articulus, a joint)

article by Hortense Panum, Harfe and Lyra See also:

• IM(K2+a2+h2—2 ah cos 0)

im See also:

• ALTEN, SIR CHARLES [Karl] (1764–1840)

alten See also:

• NORD

Nord-See also:

• EUROPA (or rather, EUROPE)

Europa," in Intern . See also:

• MUS

Mus . Ges. vol. vii. pt . 1 (See also:

• LEIPZIG

Leipzig, 1905) ; and for references as to illuminated MSS., early woodcuts, paintings, &c. see See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo Leichtentritt .

" Was lehren uns See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die Bildwerke See also:

• DES

des 14-17 Jahrhunderts fiber die Instrumentalmusik ihrer Zeit ?" ibid. vol. vii. p . 3 (Leipzig, 1906) . See Nauwerk, " Die Hakenharfe, Die Vervollkommnung des Mecnanismus an der deutschen Harfe." in Allg. musik . Ztg . (Leipzig, 1815), P . 545 seq . than eight major scales . By a sequence of improvements, in which two Frenchmen named Cousineau took an important part, the various defects inherent in Hochbrucker's See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan became ameliorated . The pedals were doubled, and, the tuning of the instrument being changed from the key of Eb to Cb, it became possible to play in fifteen keys, thus exceeding the See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of the keyboard instruments, over which the harp has another important advantage in the simplicity of the fingering, which is the same for every key . It is to See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian Erard we owe the perfecting of the pedal harp (fig . 5), a See also:

• TRIUMPH (triumphus)

triumph he gained in Paris by unremitting studies begun when he adopted a " See also:

• FORK (Lat. furca)

fork " mechanism in 1786 and ended in 18ro when he had attained See also:

• COMPLETE

complete success with the double action pedal mechanism already described above . Erard's merit was not confined to this improvement only; he modified the structure of the comb that conceals the mechanism, and constructed the sound-body of the instrument upon a modern principle more advantageous to the tone .

Notwithstanding these improvements and the great beauty of tone the harp possesses, the domestic use of it in modern times has almost disappeared . The great cost of a good harp, and the trouble to many amateurs of tuning, may have led to the supplanting of the harp by the more convenient and useful pianoforte . With this comes naturally a diminution in Modern Erard anent . Were it not for the increasing use of Harp the harp in the orchestra, the See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour of its tone having attracted the masters of See also:

• INSTRUMENTATION

instrumentation, so that the great scores of See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer and See also:

• GOUNOD, CHARLES FRANCOIS (1818--1893)

Gounod, of See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz, See also:

• LISZT, FRANZ (1811-1886)

Liszt and See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner are not complete without it, we should perhaps know little more of the harp than of the See also:

• DULCIMER (Fr. tympanon; Ger. Hackbrett, Cymbal; Ital. cembalo, timpanon or salterio tedesco)

dulcimer, in spite of the efforts of distinguished virtuosi whose devotion to their instrument maintains its technique on an equality with that of any other, even the most in public favour . The first See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of the use of harps in the orchestra occurs in the account of the See also:

• BALLET

Ballet comique de la royne performed at the See also:

• CHATEAU (from Lat. castellum, fortress, through O. Fr. chastel, chasteau)

chateau de Moutiers on the occasion of the marriage of See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary of See also:

• LORRAINE

Lorraine with the duc de Joyeuse in 1581, when harps formed part of the See also:

• CONCERT (through the French