harp
Enable an AI agent to recognise a harp, assess its musical and physical readiness, and decide which playing, tuning, maintenance and handling actions are appropriate.
Research draft, second pass
A second pass drafted this model: the structure a model of this thing needs, and what is known about it in the world. The line under this one says how the second half was obtained - researched against sources, or recalled without web access, in which case nothing here was read anywhere and every claim is a lead to verify. Unreviewed either way.
Researched by: Codex + Grok
Purpose and description
Enable an AI agent to recognise a harp, assess its musical and physical readiness, and decide which playing, tuning, maintenance and handling actions are appropriate.
A composite chordophone in which the plane of the strings is perpendicular to the soundboard, the strings running from a neck (with or without a forepillar) to a resonator and normally sounded by plucking.
It can be Identify playable strings and available pitches for a stated tuning and control configuration.; Tune strings to documented targets using compatible tools and an appropriate procedure.; Operate fitted pitch controls within their documented range and assess the resulting pitch changes.; Pluck and, where appropriate, amplify the harp to assess response, sustain and unwanted noise.; Replace identified strings or request specialist adjustment when the required specification and procedure are established.; Position, support, pack and move the harp according to its construction and documented handling requirements..
Distinguishing features
Has strings running between a string-bearing neck or equivalent upper member and a resonating body, with the string plane approximately perpendicular to the soundboard; a zither's strings run approximately parallel to its soundboard.
Normally assigns different pitches to separate open strings rather than obtaining its ordinary scale by stopping strings against a fingerboard as on a guitar.
Distinguish a lyre by tracing the string supports: its strings run from the body toward a crossbar carried by arms, rather than the characteristic harp neck-to-body arrangement.
Do not require a forepillar, pedals or levers for recognition; establish the harp's construction type from its actual string and body geometry.
Exclude objects called a jaw harp or mouth harp when sound is generated by a vibrating tongue rather than an array of tensioned strings.
Scope
+ Harp identity, construction type and intended playing configuration
+ String courses, tuning assignments and supported musical range
+ Soundboard, resonating body and structures carrying string tension
+ Levers, pedals or other fitted pitch-changing mechanisms
+ Acoustic response, pickups and instrument-mounted electronics
+ Readiness for playing, restringing, adjustment and transport
- Scores, compositions and musical interpretations
- A player's technique, health and learning history
- Room acoustics and venue sound systems
- Manufacturing businesses, ownership contracts and market valuation
- Separate cases, benches, tuning tools and external amplifiers as objects
Characteristics
- Construction type
- Observed construction and documented tradition; unknown permitted Determines which structural and operating expectations apply without treating one harp tradition as universal.
- String arrangement
- Single row, multiple rows, crossed rows or other observed arrangement Affects string identification, hand access and the means of obtaining different pitches.
- Installed and intended string count
- Number of strings, with missing positions identified separately Distinguishes an incomplete instrument from a harp designed with fewer strings.
- String specification by position
- String position linked to material, diameter or gauge, construction and approved replacement specification Supports appropriate replacements and avoids assuming that equal-pitch strings are interchangeable.
- Pitch assignment and tuning reference
- String position linked to intended pitch or frequency in Hz, tuning system and mechanism setting Makes tuning and musical range interpretable for this particular harp.
- Pitch-control configuration
- None, individual levers, pedal mechanism, other documented mechanism or unknown Determines how pitch changes may be made and which settings must accompany a tuning assessment.
- Tuning deviation
- Cents from each assigned target, recorded with mechanism setting and measurement time Identifies whether the harp is ready for its intended use and whether tuning is stable.
- Load-bearing structure condition
- Observed condition of neck, body, soundboard, joints and forepillar if present; assessed, uncertain or action-restricted Visible changes may require inspection before further tuning, playing or handling.
- Pitch-mechanism response
- Per control: movement, engagement, achieved pitch change, noise and unresolved fault Separates basic tuning errors from problems requiring mechanism adjustment.
- Playing and transport envelope
- Mass in kg and dimensions in mm, including required playing and mechanism clearance Supports suitable positioning, support and movement arrangements.
- Sound-output configuration
- Acoustic output, fitted pickups, active electronics and documented connections Determines whether sound checks require only acoustic inspection or also power and signal-path checks.
Also called
Where this came from
wikidata · CC0 1.0
Also registered as vr.tr.harp
Drafted structure
Bundle to layer to finding to question, as the second pass will find it: 6 bundles · 11 layers · 18 findings · 28 questions.
Harp identity and geometry Establishes what kind of harp is present and how its strings relate to its body and supports.
Recognition must accommodate different harp traditions while distinguishing neighbouring string instruments.
Instrument recognition
Tests the physical basis for identifying the object as a harp.
String-to-body geometry
Record the string plane, attachment points and relationship to the soundboard as evidence for identification.
- How do the strings run between the neck or upper support and the resonating body? definition
- What observed geometry distinguishes this instrument from a lyre, zither or fingerboard instrument? boundary
Construction and tradition
Places the individual instrument within an evidenced construction and use context.
Documented harp configuration
Record maker or tradition attribution, string-row arrangement and structural members without inferring missing features from a familiar harp type.
- Which markings, maker records or other evidence identify this harp's type and intended configuration? provenance
- How many string rows are present, how are they arranged, and is a forepillar fitted? definition
Strings and tuning Defines the harp's string inventory, pitch map and tuning condition.
A harp's usable range and safe restringing decisions depend on position-specific string and tuning information.
String position map
Identifies each intended string position and its required string.
String specifications and gaps
Record installed strings, absent or damaged strings, identification markings and supported replacement specifications.
- Which string positions exist, and which contain missing, broken or visibly deteriorated strings? measurement
- What evidence establishes the material, gauge and construction required at each position? provenance
Pitch map and stability
Relates measured string pitches to the intended tuning and its persistence.
Tuning targets and drift
Record intended pitches, tuning reference, control settings and changes in measured pitch over a stated interval.
- What target pitch belongs to each string, under which tuning system and pitch-control settings? definition
- How far does each assessed string deviate from its target, and how does that deviation change after tuning? measurement
Pitch-changing controls Captures fitted mechanisms for changing string pitch and the limits of their operation.
The same string may have different available pitches, and tuning readiness does not establish mechanism readiness.
Control-to-string mapping
Establishes which strings each lever, pedal or other control affects.
Available control states
Record each control's positions, affected strings and intended pitch effects, including an explicit absence of mechanisms when applicable.
- Which pitch-changing controls are fitted, and which strings does each control affect? definition
- What pitches are intended at each supported control position? definition
Mechanism function and adjustment
Assesses whether fitted controls produce their intended effects reliably.
Engagement and pitch accuracy
Record pitch accuracy, movement faults and unwanted sounds associated with control operation.
- At each tested setting, what pitch error, incomplete engagement, sticking or unwanted noise occurs? measurement
- Which observed faults permit documented user adjustment, and which require a harp technician? action
Tension-bearing body and sound Assesses the structures supporting string tension and the harp's acoustic or electrical response.
A harp can retain its appearance while structural movement or sound-production faults limit its use.
Structural condition
Examines the neck, string anchors, soundboard, body and other fitted load-bearing members.
Deformation, joints and anchors
Record cracks, joint movement, anchor condition and changes in shape, distinguishing observations from a qualified assessment.
- What cracking, separation, distortion or anchor movement is visible, and what earlier observations allow comparison? measurement
- What documented limits or qualified assessment determine whether tuning or playing may continue? action
Sound production
Assesses response across the strings and through any fitted electrical output.
Response and unwanted sound
Record weak or uneven response, buzzing, rattling and electrical faults under reproducible playing and control conditions.
- Which strings, playing intensities or control settings produce weak response, buzzing or rattling? measurement
- If pickups or electronics are fitted, does the fault occur acoustically, electrically or through both outputs? boundary
Playing, care and movement Connects the harp's construction and present condition to practical use, care and transport decisions.
A playable harp still needs appropriate support, string access and handling arrangements for its particular form.
Playing configuration
Records how the harp is supported and accessed during intended use.
Support and control clearance
Record intended orientation, support contacts, stability and access to strings and fitted controls.
- In its intended playing orientation, what supports the harp and what space is needed to reach its strings and controls? measurement
- Which positioning or support changes are needed before this harp can be played in the proposed setting? action
Care and transport limits
Establishes instrument-specific procedures for routine care and movement.
Supported maintenance and handling
Record evidenced string-changing, environmental and handling requirements, including unresolved limits.
- What maker guidance or qualified advice establishes suitable string-changing procedures, environmental limits and lifting or packing methods? provenance
- Given the harp's mass, geometry and condition, what preparation and assistance are required for the proposed maintenance or move? action
Evidence and external alignment What the world already says about this thing, gathered so the model can be checked against it.
A model that cannot be lined up against existing standards, identifiers and practice cannot be adopted by anyone who already uses them.
Reported evidence
Findings from the breadth pass, kept separate from the structural claims.
Kinds and varieties
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- Double-action pedal concert harp (orchestral frame harp with seven pedals and three string discs per string)
- Single-action pedal harp (historical predecessor, one disc per string)
- Lever harp (Celtic/folk harp; each string sharpened by a hand-operated cam)
- Wire-strung Gaelic harp (cláirseach/clàrsach)
- Welsh triple harp (telyn deires; three parallel ranks, chromatic by crossing ranks)
- Latin American diatonic harps (Paraguayan, llanera, jarocha)
- Open harps without a pillar (arched/bow harps and angular harps, including the Burmese saung)
- Electric and electroacoustic harps
- Which of these kinds and varieties hold for the sense of harp this model covers, and on what evidence? provenance
Identifiers and schemes
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- Wikidata - Q34528 - Item for the musical-instrument harp (not the lampshade frame or the harmonica sense).
- Hornbostel-Sachs - 322 - Harps as a class; 322.1 open harps, 322.2 frame harps; further digits mark tuning action (MIMO revision).
- Harmonized System (WCO) - 9202.90 - Other string musical instruments not played with a bow; harps are classified here with guitars, not with bowed strings (9202.10).
- General MIDI - program 47 (1-based; 46 if 0-based) - Orchestral harp patch in the GM sound set.
- LCSH - Harp - Library of Congress Subject Headings authorized form for the instrument.
- Which of these identifiers and schemes hold for the sense of harp this model covers, and on what evidence? provenance
Standards and regulation
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- Hornbostel-Sachs class 322, as revised by the MIMO consortium for museum cataloguing (scholarly classification, not a product law).
- World Customs Organization Harmonized System heading 9202, subheading 9202.90, for tariff classification of harps.
- UNESCO Intangible Cultural Heritage listing 'Irish harping' (Representative List, 2019) for the living Irish practice, not for the object as a manufactured good.
- CITES (CITES Secretariat and national implementing statutes) can apply to historical instruments that incorporate ivory, tortoiseshell, or listed rosewoods.
- Which of these standards and regulation hold for the sense of harp this model covers, and on what evidence? provenance
Real-world use
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- One or two double-action pedal harps in a symphony or opera orchestra, covering glissandi, harmonics, and pedal-changed chromatic writing.
- Solo recital, chamber music, and film/studio scoring on the concert harp.
- Traditional dance and song accompaniment on lever harps in Irish, Scottish, Welsh and Breton sessions.
- Paraguayan, Venezuelan llanero and Mexican jarocho ensembles, often with the player standing and using fingernails.
- Weddings, funerals, hospital and palliative settings where a portable lever harp is carried to the bedside.
- Conservatory teaching (typically 47-string pedal harp) and amateur tuition on 22-38-string lever harps.
- Early-music performance on reconstructed Gothic, Renaissance, Baroque triple, and single-action pedal instruments.
- Airline and truck transport of a ~36 kg concert harp in a flight case, often as cargo rather than cabin baggage.
- Which of these real-world use hold for the sense of harp this model covers, and on what evidence? provenance
Typical measurements
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- String count - 22-47 (lap/folk to full concert) - strings
- Overall height - 90-190 - cm
- Mass - 5-40 - kg
- Sounding compass (concert pedal harp) - C♭1-G♯7 (about 6.5 octaves, 47 strings) - pitch
- Total static string tension (concert harp) - 9-14 - kN
- Pedal count - 0 or 7 - pedals
- Which of these typical measurements hold for the sense of harp this model covers, and on what evidence? provenance
Failure modes and hazards
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- Soundboard cracking, bellying or glue-joint failure under sustained string tension, worsened by humidity swings.
- Broken strings, especially high treble gut or nylon, and sudden detuning of gut in damp or dry rooms.
- Pedal-box and disc-regulation failure: buzz, rattles, or a string that will not seat in flat/natural/sharp.
- Neck or column damage and joint loosening in transport; the instrument is tall, heavy and top-heavy.
- Lever buzz, slipped cams, or broken sharping levers on folk harps.
- Tip-over onto a player, bystander or the soundboard; also pinched fingers in pedals and levers.
- Playing-related musculoskeletal strain (shoulders, wrists, back) from reach, weight of the instrument and repetition.
- Historical fittings of ivory, bone or restricted woods that create legal and conservation constraints on repair and crossing borders.
- Which of these failure modes and hazards hold for the sense of harp this model covers, and on what evidence? provenance
Regional variation
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- Ireland and Scotland distinguish the wire-strung cláirseach/clàrsach from the modern nylon- or gut-strung 'Celtic' lever harp; 'Irish harping' is a UNESCO-listed practice.
- Wales treats the triple harp (telyn deires) as the national form; the pedal harp is the concert default, not the folk default.
- Paraguay uses the arpa paraguaya as a national emblem, played standing, diatonic, often with nails; neighbouring llanera (Venezuela/Colombia) and jarocha (Veracruz) harps differ in size, stringing and repertory.
- Mainland European and North American orchestras default to the French Érard-type double-action pedal harp (Lyon & Healy, Salvi, Camac, etc.).
- Sahelian and Nile-basin traditions use arched open harps; Myanmar's saung gauk is the surviving court arched harp.
- In blues and harmonica trade usage, 'harp' means a mouth organ, not a chordophone - a naming collision, not a regional instrument variant.
- Which of these regional variation hold for the sense of harp this model covers, and on what evidence? provenance
Neighbouring kinds and how to tell them apart
Reported by the breadth pass; each item needs checking against its source before it becomes normative.
- Lyre - A lyre's strings run from a yoke held by two arms (Hornbostel-Sachs 321); a harp's strings leave a neck to a resonator in a plane perpendicular to the soundboard (322).
- Kora (and other bridge harps / harp-lutes) - Kora strings pass over a standing bridge on a skin-faced calabash; they are not attached across an open neck-to-soundboard plane as on a true harp.
- Zither (koto, psaltery, concert zither) - Zither strings lie parallel to the soundboard and there is no neck; harp strings stand off the soundboard from a neck.
- Guitar and other lutes - Lute strings run parallel to the soundboard along a neck with a fingerboard; harp strings do not lie along a fingerboard.
- Harmonica (blues harp) - A free-reed aerophone sounded by breath; no strings. Same vernacular name, unrelated object.
- Jew's harp / jaw harp - A lamellophone held to the mouth; the 'harp' in the name is historical, not organological.
- Lamp harp - A U-shaped shade-support on a lighting fixture; test is function (holds a finial and shade) versus a taut string choir on a resonator.
- Aeolian harp - Usually a box zither sounded by wind across the strings, not a plucked frame or open harp.
- Which of these neighbouring kinds and how to tell them apart hold for the sense of harp this model covers, and on what evidence? provenance
Sources
- Systematik der Musikinstrumente: Ein Versuch - Erich M. von Hornbostel and Curt Sachs, Zeitschrift für Ethnologie (Berliner Gesellschaft für Anthropologie, Ethnologie und Urgeschichte) - Organological definition of harps as composite chordophones whose strings stand perpendicular to the soundboard (class 322), and the open-harp versus frame-harp split.
- Harp - Grove Music Online (Oxford University Press) - Concert, folk, historical and regional harp types; pedal mechanism; orchestral use; distinction from lyres and zithers.
- Harps and Harpists - Roslyn Rensch (Indiana University Press, 2nd ed. 2007) - Construction, stringing, concert-harp dimensions, and the European pedal-harp lineage from Érard onward.
- Harp - Encyclopaedia Britannica (Encyclopædia Britannica, Inc.) - General morphology, historical arched and angular forms, and the modern orchestral harp as the default Western reference.
What the second pass must settle
- Does an existing Vercy world model already cover harp, requiring this registry entry to link to it rather than establish a separate model?
- Which harp traditions and unusual constructions must the recognition tests accommodate, and where are the boundaries with lyres and hybrid instruments?
- Which authoritative sources establish string specifications, tuning limits and replacement procedures for each supported harp type?
- How should normal construction-dependent soundboard or neck deformation be distinguished from damage requiring restricted use?
- Which measurable tolerances for tuning stability, mechanism accuracy and acoustic response are justified for different intended uses?