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The Cross-Strung Harp: History, Design, and Revival

At a Glance

Title: The Cross-Strung Harp: History, Design, and Revival

Total Categories: 4

Category Stats

  • Origins and Early History (16th-18th Century): 8 flashcards, 16 questions
  • 19th and Early 20th Century Chromatic Harps: 13 flashcards, 27 questions
  • Modern Revival and Contemporary Builders: 9 flashcards, 16 questions
  • Cross-Strung Harp Design and Configurations: 10 flashcards, 18 questions

Total Stats

  • Total Flashcards: 40
  • True/False Questions: 39
  • Multiple Choice Questions: 38
  • Total Questions: 77

Instructions

Click the button to expand the instructions for how to use the Wiki2Web Teacher studio in order to print, edit, and export data about The Cross-Strung Harp: History, Design, and Revival

Welcome to Your Curriculum Command Center

This guide will turn you into a Wiki2web Studio power user. Let's unlock the features designed to give you back your weekends.

The Core Concept: What is a "Kit"?

Think of a Kit as your all-in-one digital lesson plan. It's a single, portable file that contains every piece of content for a topic: your subject categories, a central image, all your flashcards, and all your questions. The true power of the Studio is speed—once a kit is made (or you import one), you are just minutes away from printing an entire set of coursework.

Getting Started is Simple:

  • Create New Kit: Start with a clean slate. Perfect for a brand-new lesson idea.
  • Import & Edit Existing Kit: Load a .json kit file from your computer to continue your work or to modify a kit created by a colleague.
  • Restore Session: The Studio automatically saves your progress in your browser. If you get interrupted, you can restore your unsaved work with one click.

Step 1: Laying the Foundation (The Authoring Tools)

This is where you build the core knowledge of your Kit. Use the left-side navigation panel to switch between these powerful authoring modules.

⚙️ Kit Manager: Your Kit's Identity

This is the high-level control panel for your project.

  • Kit Name: Give your Kit a clear title. This will appear on all your printed materials.
  • Master Image: Upload a custom cover image for your Kit. This is essential for giving your content a professional visual identity, and it's used as the main graphic when you export your Kit as an interactive game.
  • Topics: Create the structure for your lesson. Add topics like "Chapter 1," "Vocabulary," or "Key Formulas." All flashcards and questions will be organized under these topics.

🃏 Flashcard Author: Building the Knowledge Blocks

Flashcards are the fundamental concepts of your Kit. Create them here to define terms, list facts, or pose simple questions.

  • Click "➕ Add New Flashcard" to open the editor.
  • Fill in the term/question and the definition/answer.
  • Assign the flashcard to one of your pre-defined topics.
  • To edit or remove a flashcard, simply use the ✏️ (Edit) or ❌ (Delete) icons next to any entry in the list.

✍️ Question Author: Assessing Understanding

Create a bank of questions to test knowledge. These questions are the engine for your worksheets and exams.

  • Click "➕ Add New Question".
  • Choose a Type: True/False for quick checks or Multiple Choice for more complex assessments.
  • To edit an existing question, click the ✏️ icon. You can change the question text, options, correct answer, and explanation at any time.
  • The Explanation field is a powerful tool: the text you enter here will automatically appear on the teacher's answer key and on the Smart Study Guide, providing instant feedback.

🔗 Intelligent Mapper: The Smart Connection

This is the secret sauce of the Studio. The Mapper transforms your content from a simple list into an interconnected web of knowledge, automating the creation of amazing study guides.

  • Step 1: Select a question from the list on the left.
  • Step 2: In the right panel, click on every flashcard that contains a concept required to answer that question. They will turn green, indicating a successful link.
  • The Payoff: When you generate a Smart Study Guide, these linked flashcards will automatically appear under each question as "Related Concepts."

Step 2: The Magic (The Generator Suite)

You've built your content. Now, with a few clicks, turn it into a full suite of professional, ready-to-use materials. What used to take hours of formatting and copying-and-pasting can now be done in seconds.

🎓 Smart Study Guide Maker

Instantly create the ultimate review document. It combines your questions, the correct answers, your detailed explanations, and all the "Related Concepts" you linked in the Mapper into one cohesive, printable guide.

📝 Worksheet & 📄 Exam Builder

Generate unique assessments every time. The questions and multiple-choice options are randomized automatically. Simply select your topics, choose how many questions you need, and generate:

  • A Student Version, clean and ready for quizzing.
  • A Teacher Version, complete with a detailed answer key and the explanations you wrote.

🖨️ Flashcard Printer

Forget wrestling with table layouts in a word processor. Select a topic, choose a cards-per-page layout, and instantly generate perfectly formatted, print-ready flashcard sheets.

Step 3: Saving and Collaborating

  • 💾 Export & Save Kit: This is your primary save function. It downloads the entire Kit (content, images, and all) to your computer as a single .json file. Use this to create permanent backups and share your work with others.
  • ➕ Import & Merge Kit: Combine your work. You can merge a colleague's Kit into your own or combine two of your lessons into a larger review Kit.

You're now ready to reclaim your time.

You're not just a teacher; you're a curriculum designer, and this is your Studio.

This page is an interactive visualization based on the Wikipedia article "Cross-strung harp" (opens in new tab) and its cited references.

Text content is available under the Creative Commons Attribution-ShareAlike 4.0 License (opens in new tab). Additional terms may apply.

Disclaimer: This website is for informational purposes only and does not constitute any kind of advice. The information is not a substitute for consulting official sources or records or seeking advice from qualified professionals.


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Study Guide: The Cross-Strung Harp: History, Design, and Revival

Study Guide: The Cross-Strung Harp: History, Design, and Revival

Origins and Early History (16th-18th Century)

The inaugural cross-strung harp, designated as the 'arpa de dos órdenes', originated in Italy during the early 17th century.

Answer: False

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.

Related Concepts:

  • Where and when is the first cross-strung harp believed to have been developed?: The genesis of the cross-strung harp is attributed to late 16th-century Spain, where it was designated as the 'arpa de dos órdenes'.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.
  • What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?: Bartolomé Jovernardi's treatise, 'Tratado de la música,' published in 1634, included a description of the cross-strung harp alongside other musical instruments.

By the early 17th century, the 'arpa de dos órdenes' was employed exclusively within liturgical musical contexts.

Answer: False

As early as the 17th century, the 'arpa de dos órdenes' was established for use in both liturgical and secular music.

Related Concepts:

  • What was the initial use of the 'arpa de dos órdenes' in the early 17th century?: By the early 17th century, the 'arpa de dos órdenes' had become established in both liturgical and secular musical contexts.
  • What factors contributed to the decline in popularity of the Spanish 'arpa de dos órdenes'?: The decline of the 'arpa de dos órdenes' was multifaceted, notably influenced by the cultural ascendancy of Italian and French music and instruments, such as the violin, harpsichord, and lute, which displaced Spanish musical traditions and instruments like the 'arpa de dos órdenes' and the vihuela in courtly settings.
  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.

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

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.

Related Concepts:

  • What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?: Bartolomé Jovernardi's treatise, 'Tratado de la música,' published in 1634, included a description of the cross-strung harp alongside other musical instruments.
  • Who was Bartolomé Jovernardi, and what was his contribution to the cross-strung harp?: Bartolomé Jovernardi, in his 1634 treatise 'Tratado de la música', provided a description of a cross-strung harp and is credited with the invention of a chromatic variant of the instrument.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.

The 'arpa de dos órdenes' attained its peak popularity in the early 18th century prior to its decline.

Answer: False

The 'arpa de dos órdenes' reached its peak popularity in the late 17th century, with its decline extending into the early 18th century.

Related Concepts:

  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.
  • What factors contributed to the decline in popularity of the Spanish 'arpa de dos órdenes'?: The decline of the 'arpa de dos órdenes' was multifaceted, notably influenced by the cultural ascendancy of Italian and French music and instruments, such as the violin, harpsichord, and lute, which displaced Spanish musical traditions and instruments like the 'arpa de dos órdenes' and the vihuela in courtly settings.
  • What specific Italian and French instruments gained favor at court, contributing to the decline of Spanish instruments like the 'arpa de dos órdenes'?: The diminished prominence of the 'arpa de dos órdenes' and the vihuela was partially attributable to the growing preference for Italian and French instruments, including the violin, harpsichord, and lute, within courtly musical circles.

The decline of the 'arpa de dos órdenes' was partially attributable to a courtly preference for Spanish instruments such as the vihuela.

Answer: False

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.

Related Concepts:

  • What specific Italian and French instruments gained favor at court, contributing to the decline of Spanish instruments like the 'arpa de dos órdenes'?: The diminished prominence of the 'arpa de dos órdenes' and the vihuela was partially attributable to the growing preference for Italian and French instruments, including the violin, harpsichord, and lute, within courtly musical circles.
  • What factors contributed to the decline in popularity of the Spanish 'arpa de dos órdenes'?: The decline of the 'arpa de dos órdenes' was multifaceted, notably influenced by the cultural ascendancy of Italian and French music and instruments, such as the violin, harpsichord, and lute, which displaced Spanish musical traditions and instruments like the 'arpa de dos órdenes' and the vihuela in courtly settings.
  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.

The 'arpa de dos órdenes' was the precise appellation for the inaugural cross-strung harp developed in late 16th-century Spain.

Answer: True

The first cross-strung harp, originating in late 16th-century Spain, was indeed specifically known as the 'arpa de dos órdenes'.

Related Concepts:

  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.
  • Where and when is the first cross-strung harp believed to have been developed?: The genesis of the cross-strung harp is attributed to late 16th-century Spain, where it was designated as the 'arpa de dos órdenes'.
  • What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?: Bartolomé Jovernardi's treatise, 'Tratado de la música,' published in 1634, included a description of the cross-strung harp alongside other musical instruments.

Bartolomé Jovernardi's 'Tratado de la música' was published in the year 1634.

Answer: True

Bartolomé Jovernardi's work, 'Tratado de la música', which described the cross-strung harp, was published in 1634.

Related Concepts:

  • What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?: Bartolomé Jovernardi's treatise, 'Tratado de la música,' published in 1634, included a description of the cross-strung harp alongside other musical instruments.
  • Who was Bartolomé Jovernardi, and what was his contribution to the cross-strung harp?: Bartolomé Jovernardi, in his 1634 treatise 'Tratado de la música', provided a description of a cross-strung harp and is credited with the invention of a chromatic variant of the instrument.

The violin, harpsichord, and lute, being Italian and French instruments, contributed to the decline of the 'arpa de dos órdenes'.

Answer: True

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'.

Related Concepts:

  • What specific Italian and French instruments gained favor at court, contributing to the decline of Spanish instruments like the 'arpa de dos órdenes'?: The diminished prominence of the 'arpa de dos órdenes' and the vihuela was partially attributable to the growing preference for Italian and French instruments, including the violin, harpsichord, and lute, within courtly musical circles.
  • What factors contributed to the decline in popularity of the Spanish 'arpa de dos órdenes'?: The decline of the 'arpa de dos órdenes' was multifaceted, notably influenced by the cultural ascendancy of Italian and French music and instruments, such as the violin, harpsichord, and lute, which displaced Spanish musical traditions and instruments like the 'arpa de dos órdenes' and the vihuela in courtly settings.
  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.

In which geographical region and historical period is the initial development of the cross-strung harp generally situated?

Answer: Spain, late 16th century

The first cross-strung harp is believed to have been developed in Spain during the late 16th century.

Related Concepts:

  • Where and when is the first cross-strung harp believed to have been developed?: The genesis of the cross-strung harp is attributed to late 16th-century Spain, where it was designated as the 'arpa de dos órdenes'.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.

What was the primary functional application of the 'arpa de dos órdenes' during the early 17th century?

Answer: In both liturgical and secular music

By the early 17th century, the 'arpa de dos órdenes' was established for use in both liturgical and secular music.

Related Concepts:

  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.
  • What was the initial use of the 'arpa de dos órdenes' in the early 17th century?: By the early 17th century, the 'arpa de dos órdenes' had become established in both liturgical and secular musical contexts.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.

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

Bartolomé Jovernardi described a cross-strung harp in his 1634 work 'Tratado de la música' and is credited with inventing a chromatic variety.

Related Concepts:

  • Who was Bartolomé Jovernardi, and what was his contribution to the cross-strung harp?: Bartolomé Jovernardi, in his 1634 treatise 'Tratado de la música', provided a description of a cross-strung harp and is credited with the invention of a chromatic variant of the instrument.
  • What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?: Bartolomé Jovernardi's treatise, 'Tratado de la música,' published in 1634, included a description of the cross-strung harp alongside other musical instruments.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.

During which period did the 'arpa de dos órdenes' achieve its zenith of popularity?

Answer: Late 17th century

The 'arpa de dos órdenes' reached its peak popularity in the late 17th century.

Related Concepts:

  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.
  • What was the initial use of the 'arpa de dos órdenes' in the early 17th century?: By the early 17th century, the 'arpa de dos órdenes' had become established in both liturgical and secular musical contexts.

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

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.

Related Concepts:

  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.
  • What factors contributed to the decline in popularity of the Spanish 'arpa de dos órdenes'?: The decline of the 'arpa de dos órdenes' was multifaceted, notably influenced by the cultural ascendancy of Italian and French music and instruments, such as the violin, harpsichord, and lute, which displaced Spanish musical traditions and instruments like the 'arpa de dos órdenes' and the vihuela in courtly settings.
  • What specific Italian and French instruments gained favor at court, contributing to the decline of Spanish instruments like the 'arpa de dos órdenes'?: The diminished prominence of the 'arpa de dos órdenes' and the vihuela was partially attributable to the growing preference for Italian and French instruments, including the violin, harpsichord, and lute, within courtly musical circles.

What specific nomenclature was assigned to the initial cross-strung harp developed in Spain?

Answer: Arpa de dos órdenes

The first cross-strung harp developed in late 16th-century Spain was specifically known as the 'arpa de dos órdenes'.

Related Concepts:

  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.
  • Where and when is the first cross-strung harp believed to have been developed?: The genesis of the cross-strung harp is attributed to late 16th-century Spain, where it was designated as the 'arpa de dos órdenes'.
  • What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?: Bartolomé Jovernardi's treatise, 'Tratado de la música,' published in 1634, included a description of the cross-strung harp alongside other musical instruments.

What was the title of Bartolomé Jovernardi's 1634 publication that included a description of the cross-strung harp?

Answer: Tratado de la música

Bartolomé Jovernardi's work published in 1634 that described the cross-strung harp was titled 'Tratado de la música'.

Related Concepts:

  • What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?: Bartolomé Jovernardi's treatise, 'Tratado de la música,' published in 1634, included a description of the cross-strung harp alongside other musical instruments.
  • Who was Bartolomé Jovernardi, and what was his contribution to the cross-strung harp?: Bartolomé Jovernardi, in his 1634 treatise 'Tratado de la música', provided a description of a cross-strung harp and is credited with the invention of a chromatic variant of the instrument.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.

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

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'.

Related Concepts:

  • What specific Italian and French instruments gained favor at court, contributing to the decline of Spanish instruments like the 'arpa de dos órdenes'?: The diminished prominence of the 'arpa de dos órdenes' and the vihuela was partially attributable to the growing preference for Italian and French instruments, including the violin, harpsichord, and lute, within courtly musical circles.
  • What factors contributed to the decline in popularity of the Spanish 'arpa de dos órdenes'?: The decline of the 'arpa de dos órdenes' was multifaceted, notably influenced by the cultural ascendancy of Italian and French music and instruments, such as the violin, harpsichord, and lute, which displaced Spanish musical traditions and instruments like the 'arpa de dos órdenes' and the vihuela in courtly settings.
  • When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?: The 'arpa de dos órdenes' attained its zenith of popularity in the late 17th century, experiencing a subsequent decline in usage extending into the early 18th century.

19th and Early 20th Century Chromatic Harps

The cross-strung chromatic harp depicted in the image was produced by Pleyel, Wolff, Lyon & Cie in the early 20th century.

Answer: True

The source indicates that the depicted cross-strung chromatic harp was produced by Pleyel, Wolff, Lyon & Cie in the early 20th century.

Related Concepts:

  • What instrument is depicted in the provided image?: The provided image depicts a cross-strung chromatic harp, specifically an instrument manufactured by Pleyel, Wolff, Lyon & Cie during the early 20th century.
  • Which company produced a cross-strung harp model in the late 19th century to address increasing chromaticism in orchestral music?: In the late 19th century, the Pleyel & Wolff Company of Paris developed a cross-strung harp model specifically to address the increasing demands of chromaticism in orchestral music, a challenge for harpists relying on single-action pedal systems.

Henry Greenway's cross-strung chromatic harp models were characterized by a singular pillar and a single neck.

Answer: False

Henry Greenway's designs were notable for their X-shaped double pillar and two necks, not a single pillar and one neck.

Related Concepts:

  • Who was Henry Greenway, and what was unique about his cross-strung chromatic harp model?: Henry Greenway, an English-born American harp builder active in the late 19th century, developed unique cross-strung chromatic harp models characterized by an X-shaped pillar and dual necks.
  • What distinctive features characterized the cross-strung chromatic harp designed by Henry Greenway?: The cross-strung chromatic harp designed by Henry Greenway, developed post-1895, was distinguished by its unique X-shaped double pillar and dual necks, as illustrated in the provided source.
  • Where can examples of Henry Greenway's cross-strung chromatic harps be found today?: Examples of Henry Greenway's cross-strung chromatic harps are preserved in prominent institutions, including the Metropolitan Museum in New York City and the National Music Museum in Vermillion, South Dakota.

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

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.

Related Concepts:

  • Which company produced a cross-strung harp model in the late 19th century to address increasing chromaticism in orchestral music?: In the late 19th century, the Pleyel & Wolff Company of Paris developed a cross-strung harp model specifically to address the increasing demands of chromaticism in orchestral music, a challenge for harpists relying on single-action pedal systems.
  • What problem did the Pleyel & Wolff Company's 'harpe chromatique' aim to solve for orchestral harpists in the late 19th century?: The Pleyel & Wolff Company's 'harpe chromatique' was conceived to mitigate the difficulties orchestral harpists encountered in navigating the escalating chromatic demands of late 19th-century orchestral repertoire, a task cumbersome with existing single-action pedal systems.
  • What instrument is depicted in the provided image?: The provided image depicts a cross-strung chromatic harp, specifically an instrument manufactured by Pleyel, Wolff, Lyon & Cie during the early 20th century.

Gustave Lyon designed the 'harpe chromatique' with two sets of strings, both tuned to a C major scale.

Answer: False

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.

Related Concepts:

  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.
  • What specific types of custom cross-strung harps did Gustave Lyon innovate between 1894 and 1930?: Between 1894 and 1930, Gustave Lyon implemented numerous design innovations and variations for the 'harpe chromatique', notably incorporating built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.

The 'harpe chromatique' featured strings that crossed closer to the neck, akin to the 'arpa de dos órdenes'.

Answer: False

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.

Related Concepts:

  • How did the string crossing of the 'harpe chromatique' differ from that of the 'arpa de dos órdenes'?: The 'harpe chromatique' featured a string crossing point near the vertical midpoint, facilitating access for both hands to both string sets at their point of maximal resonance. This design diverged from the 'arpa de dos órdenes', where strings intersected closer to the instrument's neck.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.
  • What was the primary benefit of the 'harpe chromatique's' string crossing point near the vertical midpoint?: The strategic placement of the 'harpe chromatique's' string crossing point near the vertical midpoint afforded players the advantage of accessing both string sets with either hand at the region of maximal resonance, thereby optimizing both playability and tonal projection.

Claude Debussy's 'Danses', published in 1904, represents a renowned classical composition specifically conceived for the 'harpe chromatique'.

Answer: True

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'.

Related Concepts:

  • What notable classical composition was written for the 'harpe chromatique'?: Claude Debussy's 'Danses' ('Danse sacrée' and 'Danse profane' for harp and strings), commissioned by Pleyel and published in 1904, stands as a prominent classical composition specifically conceived for the 'harpe chromatique'.

A distinct chromatic harp developed in the late 19th century achieved widespread global popularity and pedagogical adoption.

Answer: False

Another chromatic harp developed in the late 19th century gained only a small number of proponents and was mainly taught in Belgium, not globally.

Related Concepts:

  • Was there another chromatic harp developed in the late 19th century, and where was it primarily taught?: Indeed, a distinct chromatic harp emerged in the late 19th century, though it garnered limited adoption and was primarily instructed in Belgium.

Henry Greenway, an English-born American harp builder, constructed cross-strung chromatic harps featuring an X-shaped pillar.

Answer: True

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.

Related Concepts:

  • Who was Henry Greenway, and what was unique about his cross-strung chromatic harp model?: Henry Greenway, an English-born American harp builder active in the late 19th century, developed unique cross-strung chromatic harp models characterized by an X-shaped pillar and dual necks.
  • What distinctive features characterized the cross-strung chromatic harp designed by Henry Greenway?: The cross-strung chromatic harp designed by Henry Greenway, developed post-1895, was distinguished by its unique X-shaped double pillar and dual necks, as illustrated in the provided source.
  • Where can examples of Henry Greenway's cross-strung chromatic harps be found today?: Examples of Henry Greenway's cross-strung chromatic harps are preserved in prominent institutions, including the Metropolitan Museum in New York City and the National Music Museum in Vermillion, South Dakota.

Examples of Henry Greenway's cross-strung chromatic harps are exclusively housed in European museums today.

Answer: False

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.

Related Concepts:

  • Who was Henry Greenway, and what was unique about his cross-strung chromatic harp model?: Henry Greenway, an English-born American harp builder active in the late 19th century, developed unique cross-strung chromatic harp models characterized by an X-shaped pillar and dual necks.
  • Where can examples of Henry Greenway's cross-strung chromatic harps be found today?: Examples of Henry Greenway's cross-strung chromatic harps are preserved in prominent institutions, including the Metropolitan Museum in New York City and the National Music Museum in Vermillion, South Dakota.
  • What distinctive features characterized the cross-strung chromatic harp designed by Henry Greenway?: The cross-strung chromatic harp designed by Henry Greenway, developed post-1895, was distinguished by its unique X-shaped double pillar and dual necks, as illustrated in the provided source.

Gustave Lyon's 'lute harp', introduced in 1899, was a three-octave cross-strung harp equipped with gut strings.

Answer: False

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.

Related Concepts:

  • What material was used for the strings of the 'lute harp' created by Gustave Lyon in 1899?: Gustave Lyon's 1899 'lute harp,' a five-octave cross-strung instrument, was equipped with steel strings.

The 'harpe chromatique' was designed to resolve the issue of limited dynamic range for orchestral harpists.

Answer: False

The 'harpe chromatique' was developed to address the challenges of increasing chromaticism in orchestral music, not limited dynamic range.

Related Concepts:

  • What problem did the Pleyel & Wolff Company's 'harpe chromatique' aim to solve for orchestral harpists in the late 19th century?: The Pleyel & Wolff Company's 'harpe chromatique' was conceived to mitigate the difficulties orchestral harpists encountered in navigating the escalating chromatic demands of late 19th-century orchestral repertoire, a task cumbersome with existing single-action pedal systems.
  • Which company produced a cross-strung harp model in the late 19th century to address increasing chromaticism in orchestral music?: In the late 19th century, the Pleyel & Wolff Company of Paris developed a cross-strung harp model specifically to address the increasing demands of chromaticism in orchestral music, a challenge for harpists relying on single-action pedal systems.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.

The principal advantage of the 'harpe chromatique's' string crossing point was to facilitate easier tuning.

Answer: False

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.

Related Concepts:

  • What was the primary benefit of the 'harpe chromatique's' string crossing point near the vertical midpoint?: The strategic placement of the 'harpe chromatique's' string crossing point near the vertical midpoint afforded players the advantage of accessing both string sets with either hand at the region of maximal resonance, thereby optimizing both playability and tonal projection.
  • How did the string crossing of the 'harpe chromatique' differ from that of the 'arpa de dos órdenes'?: The 'harpe chromatique' featured a string crossing point near the vertical midpoint, facilitating access for both hands to both string sets at their point of maximal resonance. This design diverged from the 'arpa de dos órdenes', where strings intersected closer to the instrument's neck.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.

Gustave Lyon's innovations for the 'harpe chromatique' encompassed pedal-operated soundbox shutters and steel framing.

Answer: True

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.

Related Concepts:

  • What specific types of custom cross-strung harps did Gustave Lyon innovate between 1894 and 1930?: Between 1894 and 1930, Gustave Lyon implemented numerous design innovations and variations for the 'harpe chromatique', notably incorporating built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.

The 'lute harp', created by Gustave Lyon in 1899, utilized phosphor bronze wire strings.

Answer: False

The 'lute harp' by Gustave Lyon in 1899 was fitted with steel strings, not phosphor bronze wire strings.

Related Concepts:

  • What material was used for the strings of the 'lute harp' created by Gustave Lyon in 1899?: Gustave Lyon's 1899 'lute harp,' a five-octave cross-strung instrument, was equipped with steel strings.

Which manufacturing entity produced the cross-strung chromatic harp depicted in the provided image?

Answer: Pleyel, Wolff, Lyon & Cie

The provided image displays a cross-strung chromatic harp produced by Pleyel, Wolff, Lyon & Cie.

Related Concepts:

  • What instrument is depicted in the provided image?: The provided image depicts a cross-strung chromatic harp, specifically an instrument manufactured by Pleyel, Wolff, Lyon & Cie during the early 20th century.

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

Henry Greenway's cross-strung chromatic harp models were notably characterized by an X-shaped double pillar and two necks.

Related Concepts:

  • Who was Henry Greenway, and what was unique about his cross-strung chromatic harp model?: Henry Greenway, an English-born American harp builder active in the late 19th century, developed unique cross-strung chromatic harp models characterized by an X-shaped pillar and dual necks.
  • What distinctive features characterized the cross-strung chromatic harp designed by Henry Greenway?: The cross-strung chromatic harp designed by Henry Greenway, developed post-1895, was distinguished by its unique X-shaped double pillar and dual necks, as illustrated in the provided source.
  • Where can examples of Henry Greenway's cross-strung chromatic harps be found today?: Examples of Henry Greenway's cross-strung chromatic harps are preserved in prominent institutions, including the Metropolitan Museum in New York City and the National Music Museum in Vermillion, South Dakota.

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

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.

Related Concepts:

  • Which company produced a cross-strung harp model in the late 19th century to address increasing chromaticism in orchestral music?: In the late 19th century, the Pleyel & Wolff Company of Paris developed a cross-strung harp model specifically to address the increasing demands of chromaticism in orchestral music, a challenge for harpists relying on single-action pedal systems.
  • What problem did the Pleyel & Wolff Company's 'harpe chromatique' aim to solve for orchestral harpists in the late 19th century?: The Pleyel & Wolff Company's 'harpe chromatique' was conceived to mitigate the difficulties orchestral harpists encountered in navigating the escalating chromatic demands of late 19th-century orchestral repertoire, a task cumbersome with existing single-action pedal systems.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.

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.

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.

Related Concepts:

  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.
  • What specific types of custom cross-strung harps did Gustave Lyon innovate between 1894 and 1930?: Between 1894 and 1930, Gustave Lyon implemented numerous design innovations and variations for the 'harpe chromatique', notably incorporating built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.

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.

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.

Related Concepts:

  • How did the string crossing of the 'harpe chromatique' differ from that of the 'arpa de dos órdenes'?: The 'harpe chromatique' featured a string crossing point near the vertical midpoint, facilitating access for both hands to both string sets at their point of maximal resonance. This design diverged from the 'arpa de dos órdenes', where strings intersected closer to the instrument's neck.
  • What was the primary benefit of the 'harpe chromatique's' string crossing point near the vertical midpoint?: The strategic placement of the 'harpe chromatique's' string crossing point near the vertical midpoint afforded players the advantage of accessing both string sets with either hand at the region of maximal resonance, thereby optimizing both playability and tonal projection.
  • What was the specific name given to the first cross-strung harp developed in Spain?: The inaugural cross-strung harp, originating in late 16th-century Spain, was specifically designated as the 'arpa de dos órdenes'.

Which prominent classical composition was specifically composed for the 'harpe chromatique'?

Answer: Debussy's 'Danses'

Claude Debussy's 'Danses' is a famous classical composition written for the 'harpe chromatique'.

Related Concepts:

  • What notable classical composition was written for the 'harpe chromatique'?: Claude Debussy's 'Danses' ('Danse sacrée' and 'Danse profane' for harp and strings), commissioned by Pleyel and published in 1904, stands as a prominent classical composition specifically conceived for the 'harpe chromatique'.

In which geographical region was an alternative chromatic harp, developed in the late 19th century, predominantly taught?

Answer: Belgium

Another chromatic harp developed in the late 19th century was primarily taught in Belgium.

Related Concepts:

  • Was there another chromatic harp developed in the late 19th century, and where was it primarily taught?: Indeed, a distinct chromatic harp emerged in the late 19th century, though it garnered limited adoption and was primarily instructed 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

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.

Related Concepts:

  • Where can examples of Henry Greenway's cross-strung chromatic harps be found today?: Examples of Henry Greenway's cross-strung chromatic harps are preserved in prominent institutions, including the Metropolitan Museum in New York City and the National Music Museum in Vermillion, South Dakota.
  • Who was Henry Greenway, and what was unique about his cross-strung chromatic harp model?: Henry Greenway, an English-born American harp builder active in the late 19th century, developed unique cross-strung chromatic harp models characterized by an X-shaped pillar and dual necks.
  • What distinctive features characterized the cross-strung chromatic harp designed by Henry Greenway?: The cross-strung chromatic harp designed by Henry Greenway, developed post-1895, was distinguished by its unique X-shaped double pillar and dual necks, as illustrated in the provided source.

What distinguished the 'lute harp' conceived by Gustave Lyon in 1899?

Answer: Being a five-octave cross-strung harp with steel strings.

Gustave Lyon's 'lute harp' from 1899 was notable for being a five-octave cross-strung harp fitted with steel strings.

Related Concepts:

  • What material was used for the strings of the 'lute harp' created by Gustave Lyon in 1899?: Gustave Lyon's 1899 'lute harp,' a five-octave cross-strung instrument, was equipped with steel strings.
  • What specific types of custom cross-strung harps did Gustave Lyon innovate between 1894 and 1930?: Between 1894 and 1930, Gustave Lyon implemented numerous design innovations and variations for the 'harpe chromatique', notably incorporating built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.

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.

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.

Related Concepts:

  • What problem did the Pleyel & Wolff Company's 'harpe chromatique' aim to solve for orchestral harpists in the late 19th century?: The Pleyel & Wolff Company's 'harpe chromatique' was conceived to mitigate the difficulties orchestral harpists encountered in navigating the escalating chromatic demands of late 19th-century orchestral repertoire, a task cumbersome with existing single-action pedal systems.
  • Which company produced a cross-strung harp model in the late 19th century to address increasing chromaticism in orchestral music?: In the late 19th century, the Pleyel & Wolff Company of Paris developed a cross-strung harp model specifically to address the increasing demands of chromaticism in orchestral music, a challenge for harpists relying on single-action pedal systems.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.

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.

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.

Related Concepts:

  • What was the primary benefit of the 'harpe chromatique's' string crossing point near the vertical midpoint?: The strategic placement of the 'harpe chromatique's' string crossing point near the vertical midpoint afforded players the advantage of accessing both string sets with either hand at the region of maximal resonance, thereby optimizing both playability and tonal projection.
  • How did the string crossing of the 'harpe chromatique' differ from that of the 'arpa de dos órdenes'?: The 'harpe chromatique' featured a string crossing point near the vertical midpoint, facilitating access for both hands to both string sets at their point of maximal resonance. This design diverged from the 'arpa de dos órdenes', where strings intersected closer to the instrument's neck.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.

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.

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.

Related Concepts:

  • What specific types of custom cross-strung harps did Gustave Lyon innovate between 1894 and 1930?: Between 1894 and 1930, Gustave Lyon implemented numerous design innovations and variations for the 'harpe chromatique', notably incorporating built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.
  • What problem did the Pleyel & Wolff Company's 'harpe chromatique' aim to solve for orchestral harpists in the late 19th century?: The Pleyel & Wolff Company's 'harpe chromatique' was conceived to mitigate the difficulties orchestral harpists encountered in navigating the escalating chromatic demands of late 19th-century orchestral repertoire, a task cumbersome with existing single-action pedal systems.

What material constituted the strings of the 'lute harp' developed by Gustave Lyon in 1899?

Answer: Steel

The 'lute harp', a five-octave cross-strung harp made by Gustave Lyon in 1899, was fitted with steel strings.

Related Concepts:

  • What material was used for the strings of the 'lute harp' created by Gustave Lyon in 1899?: Gustave Lyon's 1899 'lute harp,' a five-octave cross-strung instrument, was equipped with steel strings.
  • Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?: Gustave Lyon engineered the 'harpe chromatique' for Pleyel & Wolff. Its tuning comprised two distinct sets of strings: one calibrated to C major and the other to an F-sharp/G-flat pentatonic scale, mirroring a piano keyboard layout and enabling access to all chromatic notes from either side of the neck.
  • What specific types of custom cross-strung harps did Gustave Lyon innovate between 1894 and 1930?: Between 1894 and 1930, Gustave Lyon implemented numerous design innovations and variations for the 'harpe chromatique', notably incorporating built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.

Modern Revival and Contemporary Builders

The most significant resurgence of the cross-strung harp commenced in New York in 1987.

Answer: False

The largest resurgence or reinterpretation of the cross-strung harp began in California in 1987, not New York.

Related Concepts:

  • When and where did a significant resurgence or reinterpretation of the cross-strung harp begin?: A notable resurgence and reinterpretation of the cross-strung harp commenced in California in 1987.

Roland 'Robbie' Robinson, a luthier, repaired a cross-strung harp and subsequently published its description in the 'Folk Harp Journal'.

Answer: True

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'.

Related Concepts:

  • What is the significance of the 'Folk Harp Journal' in the context of the cross-strung harp's resurgence?: 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 he repaired, thereby facilitating the dissemination of information and fostering renewed interest.
  • Who was Roland 'Robbie' Robinson, and what was his role in the contemporary resurgence of the cross-strung harp?: Roland 'Robbie' Robinson, a Californian luthier and folk harp enthusiast, played a pivotal role in the instrument's contemporary revival. In 1987, he repaired a cross-strung harp, believed to be a student instrument from the Conservatoire Royal de Bruxelles' 'harpe chromatique' program, crafted by Welsh luthier John Thomas. Robinson subsequently disseminated a description and drawing of this instrument in the 'Folk Harp Journal'.
  • What was the name of the Welsh luthier believed to have made the cross-strung harp that Roland 'Robbie' Robinson repaired?: The cross-strung harp that Roland 'Robbie' Robinson repaired in 1987 is widely believed to have been crafted by the Welsh luthier John Thomas.

Emil Geering initiated the construction of cross-strung harps based on designs originating from the Conservatoire Royal de Bruxelles.

Answer: False

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.

Related Concepts:

  • How did Emil Geering contribute to the contemporary development of cross-strung harps?: Emil Geering, a retired machinist residing in British Columbia, contributed to the contemporary development of cross-strung harps by constructing instruments based on Roland 'Robbie' Robinson's publicly disseminated plans.

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

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.

Related Concepts:

  • Which American luthiers were persuaded to build cross-strung harp models after Ben Brown obtained one of Geering's harps?: Following musician Ben Brown's acquisition of an Emil Geering harp, he successfully encouraged American luthiers Dan Speer and Pat O'Laughlin (now retired) to develop and construct 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

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.

Related Concepts:

  • Who developed a five-octave model of the cross-strung harp with Blessley Instruments, and what was their notable achievement?: Harper Tasche, a musician based in Washington State, collaborated with Blessley Instruments of Vancouver, Washington, to develop a five-octave cross-strung harp model. In 1998, Tasche achieved the notable feat of recording the world's inaugural compact disc exclusively featuring the cross-strung harp.

The cross-strung harp repaired by Roland 'Robbie' Robinson was believed to have been crafted by the French luthier Gustave Lyon.

Answer: False

The cross-strung harp repaired by Roland 'Robbie' Robinson is believed to have been made by the Welsh luthier John Thomas, not Gustave Lyon.

Related Concepts:

  • Who was Roland 'Robbie' Robinson, and what was his role in the contemporary resurgence of the cross-strung harp?: Roland 'Robbie' Robinson, a Californian luthier and folk harp enthusiast, played a pivotal role in the instrument's contemporary revival. In 1987, he repaired a cross-strung harp, believed to be a student instrument from the Conservatoire Royal de Bruxelles' 'harpe chromatique' program, crafted by Welsh luthier John Thomas. Robinson subsequently disseminated a description and drawing of this instrument in the 'Folk Harp Journal'.
  • What was the name of the Welsh luthier believed to have made the cross-strung harp that Roland 'Robbie' Robinson repaired?: The cross-strung harp that Roland 'Robbie' Robinson repaired in 1987 is widely believed to have been crafted by the Welsh luthier John Thomas.
  • For what program was the harp repaired by Roland 'Robbie' Robinson originally intended as a student instrument?: The harp restored by Roland 'Robbie' Robinson is thought to have served as a student instrument within the 'harpe chromatique' program at the Conservatoire Royal de Bruxelles.

The Conservatoire Royal de Bruxelles maintained a 'harpe chromatique' program, for which a student instrument was specifically constructed.

Answer: True

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.

Related Concepts:

  • Which musical institution had a 'harpe chromatique' program for which a student instrument was made?: The Conservatoire Royal de Bruxelles maintained a 'harpe chromatique' program, for which a student instrument, subsequently repaired by Roland 'Robbie' Robinson, is believed to have been constructed.

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

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.

Related Concepts:

  • What is the significance of the 'Folk Harp Journal' in the context of the cross-strung harp's resurgence?: 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 he repaired, thereby facilitating the dissemination of information and fostering renewed interest.
  • Who was Roland 'Robbie' Robinson, and what was his role in the contemporary resurgence of the cross-strung harp?: Roland 'Robbie' Robinson, a Californian luthier and folk harp enthusiast, played a pivotal role in the instrument's contemporary revival. In 1987, he repaired a cross-strung harp, believed to be a student instrument from the Conservatoire Royal de Bruxelles' 'harpe chromatique' program, crafted by Welsh luthier John Thomas. Robinson subsequently disseminated a description and drawing of this instrument in the 'Folk Harp Journal'.

Identify the temporal and geographical origin of the most significant resurgence of the cross-strung harp.

Answer: California in 1987

The largest resurgence or reinterpretation of the cross-strung harp began in California in 1987.

Related Concepts:

  • When and where did a significant resurgence or reinterpretation of the cross-strung harp begin?: A notable resurgence and reinterpretation of the cross-strung harp commenced 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.

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.

Related Concepts:

  • What is the significance of the 'Folk Harp Journal' in the context of the cross-strung harp's resurgence?: 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 he repaired, thereby facilitating the dissemination of information and fostering renewed interest.
  • Who was Roland 'Robbie' Robinson, and what was his role in the contemporary resurgence of the cross-strung harp?: Roland 'Robbie' Robinson, a Californian luthier and folk harp enthusiast, played a pivotal role in the instrument's contemporary revival. In 1987, he repaired a cross-strung harp, believed to be a student instrument from the Conservatoire Royal de Bruxelles' 'harpe chromatique' program, crafted by Welsh luthier John Thomas. Robinson subsequently disseminated a description and drawing of this instrument in the 'Folk Harp Journal'.
  • What was the name of the Welsh luthier believed to have made the cross-strung harp that Roland 'Robbie' Robinson repaired?: The cross-strung harp that Roland 'Robbie' Robinson repaired in 1987 is widely believed to have been crafted by the Welsh luthier John Thomas.

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.

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.

Related Concepts:

  • How did Emil Geering contribute to the contemporary development of cross-strung harps?: Emil Geering, a retired machinist residing in British Columbia, contributed to the contemporary development of cross-strung harps by constructing instruments based on Roland 'Robbie' Robinson's publicly disseminated plans.
  • Which American luthiers were persuaded to build cross-strung harp models after Ben Brown obtained one of Geering's harps?: Following musician Ben Brown's acquisition of an Emil Geering harp, he successfully encouraged American luthiers Dan Speer and Pat O'Laughlin (now retired) to develop and construct their own cross-strung harp models.

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

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.

Related Concepts:

  • Which American luthiers were persuaded to build cross-strung harp models after Ben Brown obtained one of Geering's harps?: Following musician Ben Brown's acquisition of an Emil Geering harp, he successfully encouraged American luthiers Dan Speer and Pat O'Laughlin (now retired) to develop and construct their own cross-strung harp 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

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.

Related Concepts:

  • Who developed a five-octave model of the cross-strung harp with Blessley Instruments, and what was their notable achievement?: Harper Tasche, a musician based in Washington State, collaborated with Blessley Instruments of Vancouver, Washington, to develop a five-octave cross-strung harp model. In 1998, Tasche achieved the notable feat of recording the world's inaugural compact disc exclusively featuring the cross-strung harp.

Which Welsh luthier is believed to have constructed the cross-strung harp subsequently repaired by Roland 'Robbie' Robinson?

Answer: John Thomas

The cross-strung harp repaired by Roland 'Robbie' Robinson is believed to have been made by the Welsh luthier John Thomas.

Related Concepts:

  • What was the name of the Welsh luthier believed to have made the cross-strung harp that Roland 'Robbie' Robinson repaired?: The cross-strung harp that Roland 'Robbie' Robinson repaired in 1987 is widely believed to have been crafted by the Welsh luthier John Thomas.
  • Who was Roland 'Robbie' Robinson, and what was his role in the contemporary resurgence of the cross-strung harp?: Roland 'Robbie' Robinson, a Californian luthier and folk harp enthusiast, played a pivotal role in the instrument's contemporary revival. In 1987, he repaired a cross-strung harp, believed to be a student instrument from the Conservatoire Royal de Bruxelles' 'harpe chromatique' program, crafted by Welsh luthier John Thomas. Robinson subsequently disseminated a description and drawing of this instrument in the 'Folk Harp Journal'.
  • What is the significance of the 'Folk Harp Journal' in the context of the cross-strung harp's resurgence?: 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 he repaired, thereby facilitating the dissemination of information and fostering renewed interest.

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

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.

Related Concepts:

  • For what program was the harp repaired by Roland 'Robbie' Robinson originally intended as a student instrument?: The harp restored by Roland 'Robbie' Robinson is thought to have served as a student instrument within the 'harpe chromatique' program at the Conservatoire Royal de Bruxelles.
  • Who was Roland 'Robbie' Robinson, and what was his role in the contemporary resurgence of the cross-strung harp?: Roland 'Robbie' Robinson, a Californian luthier and folk harp enthusiast, played a pivotal role in the instrument's contemporary revival. In 1987, he repaired a cross-strung harp, believed to be a student instrument from the Conservatoire Royal de Bruxelles' 'harpe chromatique' program, crafted by Welsh luthier John Thomas. Robinson subsequently disseminated a description and drawing of this instrument in the 'Folk Harp Journal'.

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.

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.

Related Concepts:

  • What is the significance of the 'Folk Harp Journal' in the context of the cross-strung harp's resurgence?: 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 he repaired, thereby facilitating the dissemination of information and fostering renewed interest.

Cross-Strung Harp Design and Configurations

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

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.

Related Concepts:

  • What is a cross-strung harp, and how does it fundamentally differ from other harp types?: A cross-strung harp, or chromatic double harp, is a multi-course instrument featuring two intersecting, non-contacting rows of strings. Its fundamental distinction from pedal or lever harps lies in its provision of a dedicated string for each of the twelve semitones of the chromatic scale, eliminating the need for mechanical accidentals.
  • What is the most common string configuration for contemporary cross-strung harps, and how is it organized?: The prevalent string configuration for contemporary cross-strung harps is the '7x5' arrangement. This design allocates seven diatonic notes per octave to one set of strings and the remaining five chromatic 'accidentals' per octave to the other set.
  • What is the general classification of a cross-strung harp based on its string arrangement?: Based on its string arrangement, a cross-strung harp is categorized as a multi-course harp, signifying the presence of multiple sets or rows of strings.

Contemporary cross-strung harps are generally larger than their historical counterparts and feature heavier string tension.

Answer: False

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.

Related Concepts:

  • What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?: Contemporary cross-strung harps utilize gut, nylon, or wire strings and are available in diverse sizes, typically spanning two to five or more octaves. These instruments frequently adopt a Celtic or folk design aesthetic, featuring more compact soundboxes, reduced string tension, and smaller overall dimensions compared to their historical predecessors.
  • What is the general classification of a cross-strung harp based on its string arrangement?: Based on its string arrangement, a cross-strung harp is categorized as a multi-course harp, signifying the presence of multiple sets or rows of strings.
  • What is the most common string configuration for contemporary cross-strung harps, and how is it organized?: The prevalent string configuration for contemporary cross-strung harps is the '7x5' arrangement. This design allocates seven diatonic notes per octave to one set of strings and the remaining five chromatic 'accidentals' per octave to the other set.

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

In the '7x5' string configuration, each octave features seven diatonic notes on one set of strings and the five 'accidentals' on the other set.

Related Concepts:

  • What is the most common string configuration for contemporary cross-strung harps, and how is it organized?: The prevalent string configuration for contemporary cross-strung harps is the '7x5' arrangement. This design allocates seven diatonic notes per octave to one set of strings and the remaining five chromatic 'accidentals' per octave to the other set.
  • What are the advantages of the '7x5' string configuration for cross-strung harps?: The '7x5' string configuration presents several pedagogical advantages, including a familiar conceptual framework (diatonic and accidental notes) and the presence of a diatonic 'home row' of strings, which facilitates learning. Furthermore, each major scale possesses a distinct fingering pattern, and fundamental chords manifest in recognizable spatial patterns or groupings.
  • What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?: Contemporary cross-strung harps utilize gut, nylon, or wire strings and are available in diverse sizes, typically spanning two to five or more octaves. These instruments frequently adopt a Celtic or folk design aesthetic, featuring more compact soundboxes, reduced string tension, and smaller overall dimensions compared to their historical predecessors.

The '7x5' string configuration is challenging to master due to the absence of a familiar diatonic 'home row' of strings.

Answer: False

The '7x5' string configuration is considered easier to learn because it provides a familiar concept with a diatonic 'home row' of strings.

Related Concepts:

  • What are the advantages of the '7x5' string configuration for cross-strung harps?: The '7x5' string configuration presents several pedagogical advantages, including a familiar conceptual framework (diatonic and accidental notes) and the presence of a diatonic 'home row' of strings, which facilitates learning. Furthermore, each major scale possesses a distinct fingering pattern, and fundamental chords manifest in recognizable spatial patterns or groupings.

Within the '6x6' string configuration, each set of strings is tuned to a chromatic scale.

Answer: False

In the '6x6' string configuration, each set of strings is tuned to a whole-tone scale, not a chromatic scale.

Related Concepts:

  • Describe the '6x6' string configuration for cross-strung harps.: The '6x6' string configuration represents a less common arrangement wherein each set of strings is tuned to a whole-tone scale, diverging from the diatonic and accidental tuning scheme characteristic of the '7x5' configuration.

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

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.

Related Concepts:

  • What are the benefits of the '6x6' string configuration compared to the '7x5' configuration?: The '6x6' configuration offers the advantage of requiring only two distinct fingering patterns for major scales (one for roots on the left-strung strings and another for roots on the right-strung strings). Moreover, a '6x6' harp can attain a wider tonal range than a '7x5' harp of comparable physical dimensions, owing to its reduced number of strings per octave in each row.

A cross-strung harp is typically classified as a single-course harp.

Answer: False

A cross-strung harp is classified as a multi-course harp because it features multiple sets or rows of strings.

Related Concepts:

  • What is the general classification of a cross-strung harp based on its string arrangement?: Based on its string arrangement, a cross-strung harp is categorized as a multi-course harp, signifying the presence of multiple sets or rows of strings.
  • What is a cross-strung harp, and how does it fundamentally differ from other harp types?: A cross-strung harp, or chromatic double harp, is a multi-course instrument featuring two intersecting, non-contacting rows of strings. Its fundamental distinction from pedal or lever harps lies in its provision of a dedicated string for each of the twelve semitones of the chromatic scale, eliminating the need for mechanical accidentals.
  • What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?: Contemporary cross-strung harps utilize gut, nylon, or wire strings and are available in diverse sizes, typically spanning two to five or more octaves. These instruments frequently adopt a Celtic or folk design aesthetic, featuring more compact soundboxes, reduced string tension, and smaller overall dimensions compared to their historical predecessors.

Glenn Hill constructed a hybrid '6x6' cross-strung harp, incorporating a sharpening lever on each string, in 1995.

Answer: False

Glenn Hill of Mountain Glen Harps built a hybrid '6x6' cross-strung harp with a sharpening lever on each string in 1992, not 1995.

Related Concepts:

  • Who built a hybrid '6x6' cross-strung harp that included a sharpening lever on each string, and in what year?: In 1992, Glenn Hill of Mountain Glen Harps in Oregon constructed a hybrid '6x6' cross-strung harp, distinguished by the inclusion of a sharpening lever on every string.

Philippe SRL Clément developed a '7x5x7' crossing double harp, incorporating pedal-activated damping rods for the lowest strings, during the late 1980s.

Answer: True

In the late 1980s, Philippe SRL Clément innovated a '7x5x7' crossing double harp that featured pedal-activated damping rods for its lowest strings.

Related Concepts:

  • What was a specific innovation by Philippe SRL Clément for cross-strung harps in the late 1980s?: During the late 1980s, Philippe SRL Clément introduced a notable innovation for cross-strung harps: a '7x5x7' crossing double harp featuring 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.

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.

Related Concepts:

  • What is a cross-strung harp, and how does it fundamentally differ from other harp types?: A cross-strung harp, or chromatic double harp, is a multi-course instrument featuring two intersecting, non-contacting rows of strings. Its fundamental distinction from pedal or lever harps lies in its provision of a dedicated string for each of the twelve semitones of the chromatic scale, eliminating the need for mechanical accidentals.
  • What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?: Contemporary cross-strung harps utilize gut, nylon, or wire strings and are available in diverse sizes, typically spanning two to five or more octaves. These instruments frequently adopt a Celtic or folk design aesthetic, featuring more compact soundboxes, reduced string tension, and smaller overall dimensions compared to their historical predecessors.
  • What is the general classification of a cross-strung harp based on its string arrangement?: Based on its string arrangement, a cross-strung harp is categorized as a multi-course harp, signifying the presence of multiple sets or rows of strings.

Which materials are commonly employed for strings in contemporary cross-strung harps?

Answer: Gut, nylon, or wire strings

Contemporary cross-strung harps are typically built with gut, nylon, or wire strings.

Related Concepts:

  • What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?: Contemporary cross-strung harps utilize gut, nylon, or wire strings and are available in diverse sizes, typically spanning two to five or more octaves. These instruments frequently adopt a Celtic or folk design aesthetic, featuring more compact soundboxes, reduced string tension, and smaller overall dimensions compared to their historical predecessors.
  • What is the most common string configuration for contemporary cross-strung harps, and how is it organized?: The prevalent string configuration for contemporary cross-strung harps is the '7x5' arrangement. This design allocates seven diatonic notes per octave to one set of strings and the remaining five chromatic 'accidentals' per octave to the other set.
  • What is the general classification of a cross-strung harp based on its string arrangement?: Based on its string arrangement, a cross-strung harp is categorized as a multi-course harp, signifying the presence of multiple sets or rows of strings.

What constitutes the most prevalent string configuration for contemporary cross-strung harps?

Answer: A '7x5' configuration

The most common string configuration for contemporary cross-strung harps is the '7x5' setup.

Related Concepts:

  • What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?: Contemporary cross-strung harps utilize gut, nylon, or wire strings and are available in diverse sizes, typically spanning two to five or more octaves. These instruments frequently adopt a Celtic or folk design aesthetic, featuring more compact soundboxes, reduced string tension, and smaller overall dimensions compared to their historical predecessors.
  • What is the most common string configuration for contemporary cross-strung harps, and how is it organized?: The prevalent string configuration for contemporary cross-strung harps is the '7x5' arrangement. This design allocates seven diatonic notes per octave to one set of strings and the remaining five chromatic 'accidentals' per octave to the other set.
  • What is the general classification of a cross-strung harp based on its string arrangement?: Based on its string arrangement, a cross-strung harp is categorized as a multi-course harp, signifying the presence of multiple sets or rows of strings.

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.

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.

Related Concepts:

  • What are the advantages of the '7x5' string configuration for cross-strung harps?: The '7x5' string configuration presents several pedagogical advantages, including a familiar conceptual framework (diatonic and accidental notes) and the presence of a diatonic 'home row' of strings, which facilitates learning. Furthermore, each major scale possesses a distinct fingering pattern, and fundamental chords manifest in recognizable spatial patterns or groupings.
  • What is the most common string configuration for contemporary cross-strung harps, and how is it organized?: The prevalent string configuration for contemporary cross-strung harps is the '7x5' arrangement. This design allocates seven diatonic notes per octave to one set of strings and the remaining five chromatic 'accidentals' per octave to the other set.

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.

In the '6x6' string configuration, each set of strings is tuned to a whole-tone scale.

Related Concepts:

  • Describe the '6x6' string configuration for cross-strung harps.: The '6x6' string configuration represents a less common arrangement wherein each set of strings is tuned to a whole-tone scale, diverging from the diatonic and accidental tuning scheme characteristic of the '7x5' configuration.
  • What are the benefits of the '6x6' string configuration compared to the '7x5' configuration?: The '6x6' configuration offers the advantage of requiring only two distinct fingering patterns for major scales (one for roots on the left-strung strings and another for roots on the right-strung strings). Moreover, a '6x6' harp can attain a wider tonal range than a '7x5' harp of comparable physical dimensions, owing to its reduced number of strings per octave in each row.

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.

A benefit of the '6x6' string configuration is that it requires only two sets of fingering patterns for major scales, simplifying execution.

Related Concepts:

  • Describe the '6x6' string configuration for cross-strung harps.: The '6x6' string configuration represents a less common arrangement wherein each set of strings is tuned to a whole-tone scale, diverging from the diatonic and accidental tuning scheme characteristic of the '7x5' configuration.
  • What are the benefits of the '6x6' string configuration compared to the '7x5' configuration?: The '6x6' configuration offers the advantage of requiring only two distinct fingering patterns for major scales (one for roots on the left-strung strings and another for roots on the right-strung strings). Moreover, a '6x6' harp can attain a wider tonal range than a '7x5' harp of comparable physical dimensions, owing to its reduced number of strings per octave in each row.

Based on its string arrangement, what is the general classification of a cross-strung harp?

Answer: A multi-course harp

A cross-strung harp is generally classified as a multi-course harp, indicating it has multiple sets or rows of strings.

Related Concepts:

  • What is the general classification of a cross-strung harp based on its string arrangement?: Based on its string arrangement, a cross-strung harp is categorized as a multi-course harp, signifying the presence of multiple sets or rows of strings.
  • What is a cross-strung harp, and how does it fundamentally differ from other harp types?: A cross-strung harp, or chromatic double harp, is a multi-course instrument featuring two intersecting, non-contacting rows of strings. Its fundamental distinction from pedal or lever harps lies in its provision of a dedicated string for each of the twelve semitones of the chromatic scale, eliminating the need for mechanical accidentals.
  • What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?: Contemporary cross-strung harps utilize gut, nylon, or wire strings and are available in diverse sizes, typically spanning two to five or more octaves. These instruments frequently adopt a Celtic or folk design aesthetic, featuring more compact soundboxes, reduced string tension, and smaller overall dimensions compared to their historical predecessors.

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

Glenn Hill of Mountain Glen Harps in Oregon built a hybrid '6x6' cross-strung harp with a sharpening lever on each string in 1992.

Related Concepts:

  • Who built a hybrid '6x6' cross-strung harp that included a sharpening lever on each string, and in what year?: In 1992, Glenn Hill of Mountain Glen Harps in Oregon constructed a hybrid '6x6' cross-strung harp, distinguished by the inclusion of a sharpening lever on every string.

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.

In the late 1980s, Philippe SRL Clément developed a '7x5x7' crossing double harp that included pedal-activated damping rods for the lowest strings.

Related Concepts:

  • What was a specific innovation by Philippe SRL Clément for cross-strung harps in the late 1980s?: During the late 1980s, Philippe SRL Clément introduced a notable innovation for cross-strung harps: a '7x5x7' crossing double harp featuring pedal-activated damping rods for its lowest strings.

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