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The inaugural cross-strung harp, designated as the 'arpa de dos órdenes', originated in Italy during the early 17th century.
Answer: False
Explanation: The first cross-strung harp, the 'arpa de dos órdenes', is believed to have been developed in Spain during the late 16th century, not Italy in the early 17th century.
By the early 17th century, the 'arpa de dos órdenes' was employed exclusively within liturgical musical contexts.
Answer: False
Explanation: As early as the 17th century, the 'arpa de dos órdenes' was established for use in both liturgical and secular music.
Bartolomé Jovernardi is credited with the invention of a chromatic variant of the cross-strung harp, which he documented in his 1634 treatise, 'Tratado de la música'.
Answer: True
Explanation: Bartolomé Jovernardi's 1634 work 'Tratado de la música' describes a cross-strung harp, and he is credited with inventing a chromatic variety of the instrument.
The 'arpa de dos órdenes' attained its peak popularity in the early 18th century prior to its decline.
Answer: False
Explanation: The 'arpa de dos órdenes' reached its peak popularity in the late 17th century, with its decline extending into the early 18th century.
The decline of the 'arpa de dos órdenes' was partially attributable to a courtly preference for Spanish instruments such as the vihuela.
Answer: False
Explanation: The decline of the 'arpa de dos órdenes' was due to the cultural displacement of Spanish music and instruments, including the 'arpa de dos órdenes' and the vihuela, in favor of Italian and French instruments.
The 'arpa de dos órdenes' was the precise appellation for the inaugural cross-strung harp developed in late 16th-century Spain.
Answer: True
Explanation: The first cross-strung harp, originating in late 16th-century Spain, was indeed specifically known as the 'arpa de dos órdenes'.
Bartolomé Jovernardi's 'Tratado de la música' was published in the year 1634.
Answer: True
Explanation: Bartolomé Jovernardi's work, 'Tratado de la música', which described the cross-strung harp, was published in 1634.
The violin, harpsichord, and lute, being Italian and French instruments, contributed to the decline of the 'arpa de dos órdenes'.
Answer: True
Explanation: The increasing favor of Italian and French instruments like the violin, harpsichord, and lute at court contributed to the cultural displacement and subsequent decline of Spanish instruments such as the 'arpa de dos órdenes'.
In which geographical region and historical period is the initial development of the cross-strung harp generally situated?
Answer: Spain, late 16th century
Explanation: The first cross-strung harp is believed to have been developed in Spain during the late 16th century.
What was the primary functional application of the 'arpa de dos órdenes' during the early 17th century?
Answer: In both liturgical and secular music
Explanation: By the early 17th century, the 'arpa de dos órdenes' was established for use in both liturgical and secular music.
Which historical figure described a cross-strung harp in his 1634 publication 'Tratado de la música' and is recognized for inventing a chromatic variant of the instrument?
Answer: Bartolomé Jovernardi
Explanation: Bartolomé Jovernardi described a cross-strung harp in his 1634 work 'Tratado de la música' and is credited with inventing a chromatic variety.
During which period did the 'arpa de dos órdenes' achieve its zenith of popularity?
Answer: Late 17th century
Explanation: The 'arpa de dos órdenes' reached its peak popularity in the late 17th century.
Which factor significantly contributed to the decline in the popularity of the Spanish 'arpa de dos órdenes'?
Answer: Cultural displacement in favor of Italian and French music and instruments
Explanation: The decline of the 'arpa de dos órdenes' was partly due to the cultural displacement of Spanish music and instruments in favor of Italian and French music and instruments at court.
What specific nomenclature was assigned to the initial cross-strung harp developed in Spain?
Answer: Arpa de dos órdenes
Explanation: The first cross-strung harp developed in late 16th-century Spain was specifically known as the 'arpa de dos órdenes'.
What was the title of Bartolomé Jovernardi's 1634 publication that included a description of the cross-strung harp?
Answer: Tratado de la música
Explanation: Bartolomé Jovernardi's work published in 1634 that described the cross-strung harp was titled 'Tratado de la música'.
Which Italian and French instruments achieved prominence at court, thereby contributing to the decline of the 'arpa de dos órdenes'?
Answer: Violin, harpsichord, and lute
Explanation: The violin, harpsichord, and lute were Italian and French instruments that gained favor at court, contributing to the cultural displacement and decline of the 'arpa de dos órdenes'.
The cross-strung chromatic harp depicted in the image was produced by Pleyel, Wolff, Lyon & Cie in the early 20th century.
Answer: True
Explanation: The source indicates that the depicted cross-strung chromatic harp was produced by Pleyel, Wolff, Lyon & Cie in the early 20th century.
Henry Greenway's cross-strung chromatic harp models were characterized by a singular pillar and a single neck.
Answer: False
Explanation: Henry Greenway's designs were notable for their X-shaped double pillar and two necks, not a single pillar and one neck.
The Pleyel & Wolff Company developed a cross-strung harp model in the late 19th century to address the challenges posed by increasing chromaticism in orchestral music.
Answer: True
Explanation: The Pleyel & Wolff Company's 'harpe chromatique' was specifically designed in the late 19th century to manage the growing chromatic demands of orchestral repertoire, which were difficult for existing pedal systems.
Gustave Lyon designed the 'harpe chromatique' with two sets of strings, both tuned to a C major scale.
Answer: False
Explanation: Gustave Lyon's 'harpe chromatique' featured one set of strings tuned to C major and the other to an F-sharp/G-flat pentatonic scale.
The 'harpe chromatique' featured strings that crossed closer to the neck, akin to the 'arpa de dos órdenes'.
Answer: False
Explanation: The 'harpe chromatique' had its strings crossing near the vertical midpoint for greater resonance, which differed from the 'arpa de dos órdenes' where strings crossed closer to the neck.
Claude Debussy's 'Danses', published in 1904, represents a renowned classical composition specifically conceived for the 'harpe chromatique'.
Answer: True
Explanation: Claude Debussy's 'Danses' (comprising 'Danse sacrée' and 'Danse profane'), commissioned by Pleyel and published in 1904, is a famous work written for the 'harpe chromatique'.
A distinct chromatic harp developed in the late 19th century achieved widespread global popularity and pedagogical adoption.
Answer: False
Explanation: Another chromatic harp developed in the late 19th century gained only a small number of proponents and was mainly taught in Belgium, not globally.
Henry Greenway, an English-born American harp builder, constructed cross-strung chromatic harps featuring an X-shaped pillar.
Answer: True
Explanation: Henry Greenway was an English-born American harp builder who created distinctive cross-strung chromatic harp models with an X-shaped double pillar and two necks.
Examples of Henry Greenway's cross-strung chromatic harps are exclusively housed in European museums today.
Answer: False
Explanation: Examples of Henry Greenway's cross-strung chromatic harps can be found in American museums, specifically the Metropolitan Museum in New York City and the National Music Museum in Vermillion, South Dakota.
Gustave Lyon's 'lute harp', introduced in 1899, was a three-octave cross-strung harp equipped with gut strings.
Answer: False
Explanation: Gustave Lyon's 'lute harp' from 1899 was a five-octave cross-strung harp fitted with steel strings, not a three-octave harp with gut strings.
The 'harpe chromatique' was designed to resolve the issue of limited dynamic range for orchestral harpists.
Answer: False
Explanation: The 'harpe chromatique' was developed to address the challenges of increasing chromaticism in orchestral music, not limited dynamic range.
The principal advantage of the 'harpe chromatique's' string crossing point was to facilitate easier tuning.
Answer: False
Explanation: The primary benefit of the 'harpe chromatique's' string crossing point near the vertical midpoint was to enable both hands to reach both sets of strings at the point of greatest resonance, enhancing playability and sound quality, not easier tuning.
Gustave Lyon's innovations for the 'harpe chromatique' encompassed pedal-operated soundbox shutters and steel framing.
Answer: True
Explanation: Between 1894 and 1930, Gustave Lyon introduced several innovations for the 'harpe chromatique', including built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.
The 'lute harp', created by Gustave Lyon in 1899, utilized phosphor bronze wire strings.
Answer: False
Explanation: The 'lute harp' by Gustave Lyon in 1899 was fitted with steel strings, not phosphor bronze wire strings.
Which manufacturing entity produced the cross-strung chromatic harp depicted in the provided image?
Answer: Pleyel, Wolff, Lyon & Cie
Explanation: The provided image displays a cross-strung chromatic harp produced by Pleyel, Wolff, Lyon & Cie.
What constituted a distinctive design characteristic of the cross-strung chromatic harp conceived by Henry Greenway?
Answer: An X-shaped double pillar and two necks
Explanation: Henry Greenway's cross-strung chromatic harp models were notably characterized by an X-shaped double pillar and two necks.
Which company developed a cross-strung harp model in the late 19th century to address the growing chromatic demands of orchestral music?
Answer: The Pleyel & Wolff Company
Explanation: The Pleyel & Wolff Company produced a cross-strung harp model in the late 19th century specifically to address the challenges of increasing chromaticism in orchestral music.
Describe the tuning scheme employed for Gustave Lyon's 'harpe chromatique' developed for the Pleyel & Wolff Company.
Answer: One set to C major and the other to an F-sharp/G-flat pentatonic scale.
Explanation: Gustave Lyon's 'harpe chromatique' was tuned with one set of strings to C major and the other to an F-sharp/G-flat pentatonic scale.
Identify a significant distinction in the string crossing mechanism between the 'harpe chromatique' and the 'arpa de dos órdenes'.
Answer: The 'harpe chromatique' strings crossed near the vertical midpoint for greater resonance.
Explanation: The 'harpe chromatique' featured strings crossing near the vertical midpoint for enhanced resonance, a design that differed from the 'arpa de dos órdenes' where strings crossed closer to the neck.
Which prominent classical composition was specifically composed for the 'harpe chromatique'?
Answer: Debussy's 'Danses'
Explanation: Claude Debussy's 'Danses' is a famous classical composition written for the 'harpe chromatique'.
In which geographical region was an alternative chromatic harp, developed in the late 19th century, predominantly taught?
Answer: Belgium
Explanation: Another chromatic harp developed in the late 19th century was primarily taught in Belgium.
In which prominent institution can an example of Henry Greenway's cross-strung chromatic harps be currently located?
Answer: The Metropolitan Museum in New York City
Explanation: One of Henry Greenway's cross-strung chromatic harps is displayed at the Metropolitan Museum in New York City, and another at the National Music Museum in Vermillion, South Dakota.
What distinguished the 'lute harp' conceived by Gustave Lyon in 1899?
Answer: Being a five-octave cross-strung harp with steel strings.
Explanation: Gustave Lyon's 'lute harp' from 1899 was notable for being a five-octave cross-strung harp fitted with steel strings.
What specific challenge did the Pleyel & Wolff Company's 'harpe chromatique' seek to address for orchestral harpists during the late 19th century?
Answer: Difficulty managing increasing chromaticism with single-action pedal systems.
Explanation: The 'harpe chromatique' was developed to solve the problem of orchestral harpists struggling to manage increasing chromaticism with the then-prevalent single-action pedal systems.
What was the principal advantage conferred by the 'harpe chromatique's' string crossing point, situated near the vertical midpoint?
Answer: It enabled both hands to reach both sets of strings at the point of greatest resonance.
Explanation: The primary benefit of the 'harpe chromatique's' string crossing point near the vertical midpoint was to allow both of the player's hands to reach both sets of strings at the point of greatest resonance, enhancing playability and sound quality.
Which of the subsequent options represents an innovation introduced by Gustave Lyon for the 'harpe chromatique' during the period of 1894 to 1930?
Answer: Built-in tuning reeds and pedal-operated soundbox shutters.
Explanation: Between 1894 and 1930, Gustave Lyon introduced several innovations for the 'harpe chromatique', including built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.
What material constituted the strings of the 'lute harp' developed by Gustave Lyon in 1899?
Answer: Steel
Explanation: The 'lute harp', a five-octave cross-strung harp made by Gustave Lyon in 1899, was fitted with steel strings.
The most significant resurgence of the cross-strung harp commenced in New York in 1987.
Answer: False
Explanation: The largest resurgence or reinterpretation of the cross-strung harp began in California in 1987, not New York.
Roland 'Robbie' Robinson, a luthier, repaired a cross-strung harp and subsequently published its description in the 'Folk Harp Journal'.
Answer: True
Explanation: Roland 'Robbie' Robinson, a luthier and folk harp enthusiast, repaired a cross-strung harp in 1987 and published its description and drawing in the 'Folk Harp Journal'.
Emil Geering initiated the construction of cross-strung harps based on designs originating from the Conservatoire Royal de Bruxelles.
Answer: False
Explanation: Emil Geering began building cross-strung harps based on Roland 'Robbie' Robinson's published plans, not directly from designs from the Conservatoire Royal de Bruxelles.
Subsequent to Ben Brown's acquisition of a Geering harp, he successfully convinced American luthiers Dan Speer and Pat O'Laughlin to construct their own models.
Answer: True
Explanation: Musician Ben Brown, after obtaining an Emil Geering harp, persuaded American luthiers Dan Speer and Pat O'Laughlin to develop their own cross-strung harp models.
Harper Tasche developed a three-octave model of the cross-strung harp and recorded the inaugural compact disc dedicated to the instrument in 1998.
Answer: False
Explanation: Harper Tasche developed a five-octave model of the cross-strung harp with Blessley Instruments and recorded the world's first CD dedicated to it in 1998.
The cross-strung harp repaired by Roland 'Robbie' Robinson was believed to have been crafted by the French luthier Gustave Lyon.
Answer: False
Explanation: The cross-strung harp repaired by Roland 'Robbie' Robinson is believed to have been made by the Welsh luthier John Thomas, not Gustave Lyon.
The Conservatoire Royal de Bruxelles maintained a 'harpe chromatique' program, for which a student instrument was specifically constructed.
Answer: True
Explanation: The Conservatoire Royal de Bruxelles indeed had a 'harpe chromatique' program, and a student instrument for this program was later repaired by Roland 'Robbie' Robinson.
The 'Folk Harp Journal' contributed to the contemporary resurgence of the cross-strung harp through the publication of Roland 'Robbie' Robinson's description of the instrument.
Answer: True
Explanation: Roland 'Robbie' Robinson's publication of the cross-strung harp's description and drawing in the 'Folk Harp Journal' was instrumental in disseminating information and fostering its contemporary revival.
Identify the temporal and geographical origin of the most significant resurgence of the cross-strung harp.
Answer: California in 1987
Explanation: The largest resurgence or reinterpretation of the cross-strung harp began in California in 1987.
Who was Roland 'Robbie' Robinson, and what was his specific contribution to the contemporary resurgence of the cross-strung harp?
Answer: A luthier who repaired a cross-strung harp and published its description.
Explanation: Roland 'Robbie' Robinson was a luthier and folk harp enthusiast who repaired a cross-strung harp and subsequently published its description and drawing in the 'Folk Harp Journal', contributing to its contemporary resurgence.
What was Emil Geering's contribution to the contemporary evolution of cross-strung harps?
Answer: He began building cross-strung harps based on Roland 'Robbie' Robinson's published plans.
Explanation: Emil Geering, a retired machinist, contributed to the contemporary development of cross-strung harps by building them based on Roland 'Robbie' Robinson's published plans.
Following Ben Brown's acquisition of a Geering harp, which American luthiers were subsequently convinced to construct their own cross-strung harp models?
Answer: Dan Speer and Pat O'Laughlin
Explanation: After Ben Brown acquired one of Emil Geering's harps, he persuaded American luthiers Dan Speer and Pat O'Laughlin to build their own models.
Which individual collaborated with Blessley Instruments to develop a five-octave cross-strung harp model and subsequently recorded the world's inaugural compact disc dedicated to the instrument in 1998?
Answer: Harper Tasche
Explanation: Harper Tasche developed a five-octave model of the cross-strung harp with Blessley Instruments and recorded the world's first CD dedicated to it in 1998.
Which Welsh luthier is believed to have constructed the cross-strung harp subsequently repaired by Roland 'Robbie' Robinson?
Answer: John Thomas
Explanation: The cross-strung harp repaired by Roland 'Robbie' Robinson is believed to have been made by the Welsh luthier John Thomas.
For which specific program was the harp repaired by Roland 'Robbie' Robinson initially designated as a student instrument?
Answer: The Conservatoire Royal de Bruxelles' 'harpe chromatique' program
Explanation: The harp repaired by Roland 'Robbie' Robinson was believed to have been a student instrument for the 'harpe chromatique' program at the Conservatoire Royal de Bruxelles.
What is the historical significance of the 'Folk Harp Journal' concerning the resurgence of the cross-strung harp?
Answer: It disseminated information about the instrument through Roland 'Robbie' Robinson's publication.
Explanation: The 'Folk Harp Journal' played a crucial role in the cross-strung harp's resurgence by publishing Roland 'Robbie' Robinson's description and drawing of the instrument, thereby disseminating vital information.
A cross-strung harp allocates a distinct string for each of the twelve semitones within the chromatic scale, a design principle that contrasts with pedal harps, which employ pedals for the articulation of accidentals.
Answer: True
Explanation: The fundamental characteristic of a cross-strung harp is its provision of a dedicated string for every semitone, eliminating the need for mechanical devices like pedals or levers to produce accidentals.
Contemporary cross-strung harps are generally larger than their historical counterparts and feature heavier string tension.
Answer: False
Explanation: Contemporary cross-strung harps are often designed on a Celtic or folk model, featuring smaller soundboxes, lighter string tension, and a more compact size compared to historical models.
The '7x5' string configuration, commonly employed in contemporary cross-strung harps, allocates seven diatonic notes to one set of strings and five accidentals to the other within each octave.
Answer: True
Explanation: In the '7x5' string configuration, each octave features seven diatonic notes on one set of strings and the five 'accidentals' on the other set.
The '7x5' string configuration is challenging to master due to the absence of a familiar diatonic 'home row' of strings.
Answer: False
Explanation: The '7x5' string configuration is considered easier to learn because it provides a familiar concept with a diatonic 'home row' of strings.
Within the '6x6' string configuration, each set of strings is tuned to a chromatic scale.
Answer: False
Explanation: In the '6x6' string configuration, each set of strings is tuned to a whole-tone scale, not a chromatic scale.
A '6x6' harp is capable of achieving a wider tonal range than a '7x5' harp of comparable dimensions, owing to its reduced number of strings per octave in each row.
Answer: True
Explanation: A '6x6' harp can achieve a broader range than a '7x5' harp of similar size because it has only six strings per octave in each row, allowing for more octaves within the same physical space.
A cross-strung harp is typically classified as a single-course harp.
Answer: False
Explanation: A cross-strung harp is classified as a multi-course harp because it features multiple sets or rows of strings.
Glenn Hill constructed a hybrid '6x6' cross-strung harp, incorporating a sharpening lever on each string, in 1995.
Answer: False
Explanation: Glenn Hill of Mountain Glen Harps built a hybrid '6x6' cross-strung harp with a sharpening lever on each string in 1992, not 1995.
Philippe SRL Clément developed a '7x5x7' crossing double harp, incorporating pedal-activated damping rods for the lowest strings, during the late 1980s.
Answer: True
Explanation: In the late 1980s, Philippe SRL Clément innovated a '7x5x7' crossing double harp that featured pedal-activated damping rods for its lowest strings.
In what fundamental aspect does a cross-strung harp diverge from pedal harps?
Answer: It provides a dedicated string for each of the twelve semitones of the chromatic scale.
Explanation: A cross-strung harp fundamentally differs from pedal harps by providing a dedicated string for each of the twelve semitones of the chromatic scale, eliminating the need for pedals to produce accidentals.
Which materials are commonly employed for strings in contemporary cross-strung harps?
Answer: Gut, nylon, or wire strings
Explanation: Contemporary cross-strung harps are typically built with gut, nylon, or wire strings.
What constitutes the most prevalent string configuration for contemporary cross-strung harps?
Answer: A '7x5' configuration
Explanation: The most common string configuration for contemporary cross-strung harps is the '7x5' setup.
Identify an advantage inherent in the '7x5' string configuration for cross-strung harps.
Answer: It offers a familiar concept with a diatonic 'home row' of strings.
Explanation: An advantage of the '7x5' string configuration is that it provides a familiar concept with a diatonic 'home row' of strings, making it easier to learn.
Describe the tuning methodology for the '6x6' string configuration in cross-strung harps.
Answer: Each set of strings is tuned to a whole-tone scale.
Explanation: In the '6x6' string configuration, each set of strings is tuned to a whole-tone scale.
What advantage does the '6x6' string configuration offer in comparison to the '7x5' configuration?
Answer: It requires only two sets of fingering patterns for major scales.
Explanation: A benefit of the '6x6' string configuration is that it requires only two sets of fingering patterns for major scales, simplifying execution.
Based on its string arrangement, what is the general classification of a cross-strung harp?
Answer: A multi-course harp
Explanation: A cross-strung harp is generally classified as a multi-course harp, indicating it has multiple sets or rows of strings.
Which individual constructed a hybrid '6x6' cross-strung harp, featuring a sharpening lever on each string, in 1992?
Answer: Glenn Hill of Mountain Glen Harps
Explanation: Glenn Hill of Mountain Glen Harps in Oregon built a hybrid '6x6' cross-strung harp with a sharpening lever on each string in 1992.
Identify a particular innovation introduced by Philippe SRL Clément for cross-strung harps during the late 1980s.
Answer: A '7x5x7' crossing double harp with pedal-activated damping rods.
Explanation: In the late 1980s, Philippe SRL Clément developed a '7x5x7' crossing double harp that included pedal-activated damping rods for the lowest strings.