ARPA. — Legendary tales recount the obscure, most ancient origin of the harp. Egyptian monuments depict harps variously adorned, which were perfected over time, increasing in size and in the number of strings. Greeks and Romans chiefly used the lyra. They nevertheless knew two types of harp: the Assyrian harp and the trigone (triangular in shape). In the 12th century the Irish held a true primacy in the use of the harp and in the technique of its construction, since in all manifestations of their life the harp played a very great part. The Irish harp soon spread to Germany, Flanders, France, Spain, and Italy, and enjoyed immense favour at the courts, especially during the Renaissance; with the first melodramas it began to form part of the orchestra. After the improvements made by the finest makers, Nadermann, Cousseneau, and especially Sebastiano Erard (1712–1831), who brought it to its present perfection, the harp came to be regarded as an integral part of an orchestral score.
In large concert organs, a percussion-harp stop is often provided, imitating the sound of the orchestral instrument of the same name. Alessandro Santini