Category Archives: research

Restoration of the Brian Boru harp

On Thursday I was at the National Museum of Scotland store in Granton, a suburb north of Edinburgh. I went there with Karen Loomis, to look at the plaster-cast of the Trinity College harp which is kept in the store. We had a very productive hour, inspecting, measuring and photographing the cast, and discussing aspects of the cast and how it related to the real thing in the Long Room at Trinity College, and to later illustrations and depictions of the harp.

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Trinity College harp neck decoration

I am halfway through preparing a sheet, laying out the decorative scheme of the neck of the Trinity College harp.

I thought of doing this two years ago, when I did my scheme for the pillar, but I never got round to it until now.

I will eventually put both the halves together in one sheet, and publish it on Early Gaelic Harp Info, but for now you can get a sneak preview of the left side.

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Facts, speculation, and making things up

The study of the historical Gaelic harp traditions of Ireland and Scotland is unusual in its scope, materials and foundations. Of course it shares many aspects with other disciplines. As a combination of historical research and performance art, it does not fit easily into mainstream historical or artistic disciplines. In this, it shares a lot with other historically-informed performance (HIP) practice disciplines, such as harpsichord, lute, or baroque violin. However, historical Gaelic harp is different from other HIP areas because of its nature as an oral tradition. Other areas of HIP deal with dead or extinct literate traditions; one can get hold of an 18th century harpsichord instruction manual, and sit at an original or reproduction instrument, and do what the book tells you to. This is not possible for an extinct oral tradition.

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Quill shim

In Karen Loomis’s PhD thesis (volume 3, p.379-380) she prints two photographs of a shim from tuning pin hole no.23 on the Queen Mary harp. One shows the shim extracted; it is made from a split section of a feather quill.

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This photo shows how pin no.29 was going into the neck far too far, because its hole was too big.

On my replica, pins 29 and 30 have needed shimming for some years now. I had originally tried paper, and subsequently sheet brass, but I was inspired by this discovery, to pull the pins and try quill shims.

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Ceòl Rí Innse Gall

I am preparing for Wednesday’s concert here in St Andrews. I am going to play a programme of “Ceòl Rígh Innse Gall”, my speculative re-imaginings of medieval West-Highland ceremonial music. This project is still very much a work-in-progress, and I am still thinking hard about how this music should work, and what sources of inspiration and musical material to raid.

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Interview with Allan MacDonald and Barnaby Brown

Earlier today I listened to this newly-published interview with Allan MacDonald and Barnaby Brown, online at altpibroch.com. I think this is an excellent new development on this admirable website and I look forward to hearing future installments in this series!

I was interested to hear Allan’s comments on ‘cronan’, and reflected on its use in the harp tradition to describe the string an octave below na comhluighe. I was pleased to hear Barnaby picking up on its relationship with the bass drone of the bagpipe.

Tuning pin

I have acquired an interesting old tuning pin. This is an early Irish harp tuning pin, probably dating from the sixteenth to the eighteenth century. I bought it from an Irish antiquities and coin dealer, who told me it was found in Co. Monaghan.

I’m very interested to consider this in the context of the surviving old harps, and to think about how most of us nowadays use modern pins, and how the differences have implications for the use and tuning of the harp.

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Aonghus Mac ind Óg ⁊ an tiompán

As part of a big push to re-do my stringing paper at earlygaelicharp.info, I was searching for the reference to the tiompán with strings of “ór dearg” (red gold), which Ann Heymann refers to in her article Strings of Gold.

I was pleased when I finally tracked it down, to find that the person holding the instrument is Aonghus, son of Boann and  the Dagda, who lived in Newgrange, at Brú na Bóinne. This is the same Aonghus an Bhroga referred to in the praise poem to Aonghas Òig, Rì Innse Gall, which I was working on last year.

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