The harp is a stringed musical instrument in which the strings are plucked with the fingers, and the plane of the strings is perpendicular to the soundboard. Dating back to ancient Mesopotamia and Egypt, the harp has evolved into multiple forms across cultures, from small folk harps to the modern pedal harp used in orchestras. Its distinctive shape, rich tonal range, and association with celestial or aristocratic imagery make it a notable artifact in material culture.
1 History and Origins
1.1 Ancient Harps
1.1.1 Mesopotamian and Egyptian Harps
The earliest known depictions of harps appear in Sumerian artifacts from around 3000 BCE, including the lyre‑like instruments of Ur. In Egypt, arched harps (bow harps) are illustrated in tomb paintings from the Old Kingdom (c. 2500 BCE), often played by standing musicians. These instruments had a curved neck and a boat‑shaped soundbox, with gut strings attached to the neck and tied at the soundbox. They were used in courtly and religious ceremonies.
1.1.2 Angular and Bow Harps
By the second millennium BCE, angular harps—with a distinct vertical or oblique neck meeting the soundbox at an angle—appeared in Persia, Mesopotamia, and Central Asia. The bow harp, a simpler form with a single arched piece of wood, persisted in Africa and parts of Asia. Both types lacked a front pillar, making them lighter but structurally limited in the number of strings.
1.2 Medieval and Renaissance Developments
1.2.1 Celtic and Irish Harp Tradition
From the early medieval period, the harp became central to Gaelic culture in Ireland and Scotland. The Irish harp (cláirseach) was a small, wire‑strung instrument played with fingernails, producing a bright, bell‑like tone. It was used by professional harpers in court and itinerant settings. The early Irish laws and annals reference harpers as a privileged class.
1.2.2 Frame Harps and the Baroque Era
The addition of a front pillar to support the neck and withstand greater string tension created the frame harp, which spread across Europe by the 14th century. By the Baroque period (17th‑18th centuries), harps grew larger, with a range of up to five octaves. The “Bray harp” featured hooks or bray pins that produced a buzzing sound, used in early English and French music. The Baroque era also saw the first attempts at adding sharpening mechanisms.
1.3 Modern Eras
1.3.1 Invention of the Pedal Harp
In 1720, the Bavarian maker Jakob Hochbrucker introduced a system of hooks operated by pedals to change string pitches. The single‑action pedal harp was refined in France by Sébastien Érard, who patented a double‑action pedal mechanism in 1810. This allowed each string to be raised by either one or two semitones, giving the harp full chromatic capability. The Érard harp became the standard for orchestras.
1.3.2 20th‑Century Innovations
The early 20th century saw structural improvements: the use of steel‑framed necks, precision bearings in pedal mechanisms, and synthetic strings. Harp makers such as Lyon & Healy (founded 1889) standardized the modern concert harp. Later innovations include the electro‑acoustic harp, which uses pickups for amplification, and the silent or “electric” harp designed for practice and experimental music.
2 Types and Classifications
2.1 By Construction
2.1.1 Arch Harps
Arch harps consist of a curved neck and a soundbox without a front pillar. The neck merges into the soundbox, forming a single arched piece. The strings run from the neck down to the soundboard. Traditional examples include the Burmese saung gauk and many African and ancient Egyptian harps. They are generally diatonic and have a limited number of strings.
2.1.2 Frame Harps
Frame harps have a distinct neck, pillar, and soundbox that form a triangular frame. The pillar supports the neck against the tension of the strings. This design allows for a larger string count and higher tension. Frame harps are the most common harp type worldwide today.
2.1.2.1 Lever Harps
Lever harps use mechanical levers (usually pres‑of‑the‑art brass or plastic) attached to the neck near each string. Flicking a lever shortens the string’s vibrating length to raise the pitch by a semitone. Lever harps are typically diatonic and can be retuned to a few different keys. They are popular among folk and Celtic musicians.
2.1.2.2 Pedal Harps
Pedal harps have seven pedals at the base, each connected to a disk‑and‑rod mechanism inside the pillar and neck. Each pedal controls all strings of the same note name (e.g., all C strings). The pedal has three positions: flat, natural, sharp. This allows the harp to play in any key and produce accidentals. Pedal harps are the standard orchestral harp, typically with 47 strings and a range of six and a half octaves.
2.2 By Cultural Tradition
2.2.1 Celtic Harp
The Celtic harp (also called folk harp, cláirseach, or telenn) is a small to medium‑sized lever harp, usually with gut or nylon strings. It originated in Ireland, Scotland, and Brittany. Modern Celtic harps often have a curved pillar and decorative carving. They are used in traditional folk music, as well as in classical and new age settings.
2.2.2 Paraguayan Harp
The Paraguayan harp is a diatonic wooden harp with a relatively narrow soundbox and a straight, tall pillar. It has 32 to 46 strings, traditionally made of gut but now often nylon. The harpist plays while standing or seated with the instrument resting on the lap. It is a central instrument in Paraguayan folk and polka music.
2.2.3 Burmese Saung Gauk
The saung gauk (Burmese harp) is an arch harp carved from a single piece of wood, with a curved bow‑shaped neck and a boat‑shaped soundbox covered with deerskin. It has 13 to 16 strings, originally silk but now nylon. Dangling pieces of cloth or paper decorate the strings. The saung gauk is the national instrument of Myanmar and is associated with classical court music.
2.2.4 West African Kora
The kora is a 21‑string bridge‑harp from West Africa, used by the Mandinka people. It has a large calabash soundbox covered with cowhide, a long straight neck, and a vertical pillar. The strings are plucked with the fingers of both hands, producing two parallel rows of notes. The kora is played by griots (traditional storytellers) and has a harmonic, melodic style.
2.3 By Playing Style
2.3.1 Orchestral Harp
The orchestral harp is a pedal harp used in symphony orchestras. The player reads standard notation and often plays chords, arpeggios, and glissandi. Orchestral harpists require advanced technique, including rapid pedal changes. The instrument is notated in the bass and treble clefs, typically with a slight transposition for the extreme top.
2.3.2 Folk Harp
Folk harps are generally smaller lever harps, played in traditional folk, Celtic, and world music styles. They are often strung with gut or nylon and can be tuned diatonically to one or two keys. Folk harpists may use alternative tunings (e.g., pentatonic, modal) and often perform in solo or small ensemble settings.
2.3.3 Electric and Hybrid Harps
Electric harps are either lever or pedal harps with built‑in pickups (piezo or magnetic) that amplify the sound. Some electric harps have no soundbox and rely entirely on amplification. Hybrid harps combine acoustic elements with electronic effects or MIDI controllers. These are used in rock, pop, jazz, and experimental music.
3 Construction and Materials
3.1 The Frame
3.1.1 Neck and Pillar
The neck is the horizontal (or slightly curved) top part of the frame that holds the tuning pins and disc mechanisms (in pedal harps). It is typically made from hardwoods such as maple, beech, or cherry, and sometimes laminated for strength. The pillar is the vertical or nearly vertical support that connects the neck to the base. It bears the tension of the strings, often reinforced with a metal rod or internal steel bar. In pedal harps, the pillar houses the pedal rods.
3.1.2 Soundbox and Soundboard
The soundbox is the large hollow body of the harp, usually tapered from the base to the neck. It is constructed from thin, resonant wood such as spruce, cedar, or mahogany. The soundboard is the front face of the soundbox against which the strings press. The soundboard is made of a lightweight, stiff wood (e.g., spruce), often with bass bars and a bridge to transmit string vibrations. The back of the soundbox is made of harder wood to reflect sound.
3.2 Strings
3.2.1 Gut, Nylon, and Wire Strings
Historically, harp strings were made from animal gut, which provides a warm, rich tone. Modern nylon strings are bright and durable, and are now standard on many folk and lever harps. Wire strings (steel, brass, or bronze) are used on certain Celtic harps (e.g., traditional cláirseach) and in the lowest registers of pedal harps. Wire is sometimes used for the bass strings in orchestral harps for clarity and projection.
3.2.2 String Gauge and Tension
The gauge (diameter) of a string determines its pitch and tension. Thinner strings give higher pitches; thicker strings give lower pitches. Tension is adjusted by the design of the harp (scale length) and the choice of material. Proper tension is crucial for playability and tonal quality. Modern harp makers calculate string tension to optimize resonance and evenness across the range.
3.3 Action and Mechanics
3.3.1 Levers and Dampers
Levers are mounted on the neck and are manually activated by the player. When engaged, they pivot to press a small fork against the string, shortening it to raise the pitch by a semitone. Dampers are often felt or foam pads inside the soundbox that can be moved to muffle the strings, producing a softer sound. Some harps also have a “tuning lever” that alters the string length for fine tuning.
3.3.2 Pedal Mechanism (for Pedal Harps)
The pedal mechanism consists of seven pedals, each connected by a rod inside the pillar to a disk or “rotor” that grips the string. The pedals have three positions: flat (all strings are flat), natural (pedal in the middle, raising the flat to natural), and sharp (pedal fully down, raising to sharp). The mechanism uses a spring‑loaded latch for each position. A well‑maintained pedal harp can change key seamlessly during performance.
3.4 Decorative Elements
3.4.1 Carving and Inlay
Harps are often decorated with carved motifs, such as leaves, flowers, animals, or Celtic knots. The pillar may be carved as a figure (e.g., a leaf roll, a siren, or a crown). Inlay work uses contrasting woods (ebony, holly, mahogany) to create patterns on the pillar and soundbox. Some traditional harps have intricate scrollwork or frets.
3.4.2 Gilding and Painting
Many historical and modern harps are painted and gilded. Gold leaf is applied to the pillar and neck, often with floral or classical designs. The soundboard may be painted with figurative or geometric images. The pedals and brackets may be brass‑plated or gold‑plated. Gilding adds visual elegance and is common in orchestral harps.
4 Playing Techniques
4.1 Hand Position and Plucking
Harpists place their hands on the strings with fingers curved, the palms facing down. The thumb plays in a forward motion away from the palm; the other fingers pluck toward the palm. The index, middle, and ring fingers are used most often; the little finger is rarely used except for chords. The sound is produced by a clean pluck that releases the string without dampening. Hand position must be relaxed to prevent fatigue.
4.2 Glissandi and Harmonics
A glissando is performed by sliding the finger or fingernail across the strings, either with the flat of the finger (for a soft sweep) or with the nail (for a crisp, percussive effect). Harmonics (flageolet tones) are produced by lightly touching the string at a node (usually the midpoint, third, or fifth) while plucking. Harp harmonics are often notated with a small circle above the note. They produce a bell‑like, ethereal sound.
4.3 Tuning Systems
4.3.1 Diatonic Tuning
Traditional and folk harps are often tuned diatonically to a major or modal scale. Lever harps can be set to a specific key by adjusting the levers. The standard for pedal harps is equal‑tempered tuning, but many players also use natural temperament for certain pieces. Tuning is done with a tuning key that turns the tuning pins at the neck.
4.3.2 Chromatic Alternate Tunings
Harpists sometimes use scordatura (alternative tunings) to obtain special effects. The pedal harp can produce chromatic scales by pedaling. On lever and folk harps, certain strings can be retuned to create non‑standard scales (e.g., pentatonic, whole‑tone). In some contemporary music, harpists detune strings mid‑piece for microtonal intervals.
4.4 Extended Techniques
4.4.1 Bass Drones and Muffling
Bass drones are sustained by playing the low strings and letting them ring while the rest of the strings are plucked. Dampening (muffling) can be done by placing the flat of the hand or the side of the hand across the strings at the soundboard, producing a “pizzicato” effect. Muffling is used to articulate rhythmic passages or to stop resonance.
4.4.2 Percussive Effects
Harpists can strike the soundboard, the pillar, or the strings themselves with the knuckles, nails, or the base of the hand to create percussive sounds. Tapping the strings with a hard object (e.g., a drumstick) is also used. The metal strings can produce a jangling sound when strummed with the nail. These techniques are common in modern classical and experimental music.
5 Cultural and Symbolic Roles
5.1 Mythology and Folklore
5.1.1 Greek Lyre vs. Harp
In Greek mythology, the lyre (kithara) and the harp were distinct. The harp was less common in ancient Greece, but it appears in stories such as that of Orpheus, who tamed beasts with his lyre. The harp is sometimes conflated with the lyre in later Western art. Greek philosophers associated the harp with the celestial spheres, representing harmony and order.
5.1.2 Celtic Otherworld and Fairy Harps
In Celtic mythology, the harp is a symbol of the Otherworld. The Tuatha Dé Danann carried a harp that played sorrowful, joyful, and sleep‑inducing music. Fairy harps are often described as golden, with strings of silver and gems. The sound of a fairy harp can enchant or lull humans into a trance. Stories tell of mortals stealing fairy harps to gain supernatural musical abilities.
5.2 Religious and Ritual Use
5.2.1 Harp in Judeo‑Christian Iconography
The harp is mentioned in the Hebrew Bible, most famously in the Psalms of David (“Praise him with the harp”). King David is often depicted playing a harp (actually a kinnor, a lyre). In Christian art, the harp symbolizes heavenly worship—angels are shown playing harp in depictions of paradise. The harp also represents joy and praise in many liturgical traditions.
5.2.2 Ancient Temple Harps
In ancient Mesopotamia and Egypt, the harp was used in temple rituals for gods such as Ishtar and Hathor. Harpists accompanied hymns and processions. The instrument was considered a bridge between the human and divine. In Sumerian temple literature, the “great harp” of the goddess Inanna was said to produce healing sounds.
5.3 Secular and Popular Culture
5.3.1 Heraldic Symbol (e.g., Ireland)
The harp has been the national symbol of Ireland since the 13th century, appearing on the Royal Standard, the coat of arms, and the euro coins. The “Brian Boru” harp (a medieval instrument) is the model for the official emblem. The harp also appears on the flag of the President of Ireland and on the Guinness beer logo.
5.3.2 Harp in Classical Music Repertoire
The harp is a regular member of the orchestra, with notable parts in works by composers such as Tchaikovsky (The Nutcracker), Debussy (Prélude à l’après‑midi d’un faune), and Ravel (Introduction et Allegro). Concertos for harp include those by Boieldieu, Glière, and Ginastera. The harp also features in chamber music and solo repertoire.
5.3.3 Contemporary Folk and New Age Music
Folk harps are widely used in Celtic, Nordic, and American folk music. Harpists such as Alan Stivell, Loreena McKennitt, and Joanna Newsom have popularized the instrument in new age and indie folk. The kora and Paraguayan harp appear in world music. The electric harp has been used in rock (e.g., Björk, The Beatles) and in film scores.
6 Preservation and Museum Studies
6.1 Notable Historical Harps
6.1.1 The Brian Boru Harp
The Brian Boru Harp, housed in Trinity College Dublin, dates from the 14th or 15th century. It is a small wire‑strung Celtic harp made of oak, with brass strings and a carved pillar. It is named after the legendary king Brian Boru but was made centuries later. It is one of the three surviving medieval Irish harps and is a national treasure.
6.1.2 The Queen Mary Harp
The Queen Mary Harp (also called the Cláirseach Mhór) is a 15th‑century harp preserved in the National Museum of Scotland. Made from Scottish maple and willow, it has 30 brass strings and a highly carved pillar with a head of a man. It is believed to have been owned by Mary, Queen of Scots. The harp underwent restoration in the 20th century to stabilize its structure.
6.2 Restoration and Conservation
6.2.1 Climate Control and String Care
Historical harps are sensitive to temperature and humidity changes. Wood can crack, and string tension can warp the frame. Museums maintain stable environmental conditions (around 20 °C, 45 % relative humidity). Strings are replaced only if they pose a risk to the harp; original strings are preserved in inert atmospheres. Documentation of materials and condition is standard.
6.2.2 Replicating Historical Techniques
When restoring or replicating historical harps, luthiers study original construction methods, including woodworking joints, metalwork (tuning pins, discs), and stringing arrangements. Replicas are often made for performance purposes, while originals are kept as display objects. Research into historical temperaments and playing techniques informs the replication process.
6.3 Museum Collections
6.3.1 National Museum of Ireland
The National Museum of Ireland in Dublin holds a significant collection of historical harps, including the Brian Boru Harp and the 17th‑century “Poyton’s Harp.” The museum also displays replicas and exhibits on the history of the harp in Ireland. The collection is a resource for scholars of Celtic music and material culture.
6.3.2 Musée de la Musique (Paris)
The Musée de la Musique in Paris houses an extensive collection of European harps, from Baroque instruments to modern pedal harps by Érard and contemporaries. The museum includes early prototypes, decorative harps, and educational displays on harp mechanics. It holds one of the largest harp study collections in the world.
6.3.3 Metropolitan Museum of Art
The Metropolitan Museum of Art in New York has a diverse collection of harps from around the globe, including ancient Egyptian arched harps, medieval European frame harps, West African koras, and modern concert harps. The museum’s musical instrument department regularly features harps in rotating exhibitions and provides online access to object records and digital models.