February 03, 2025

The Irish harp's stringing, A Semiomusicology task ?

The Irish Harp’s metal strings,

a semiomusicology task?

By Dr. Vincent Michaud-Laine (ELLIADD- Université de Franche-comté)

CC-BY-NC-ND

Reconstructing ancient Irish harps today is a task that requires as much imagination as factual data. Indeed, the broken, patched-up, re-broken, re-patched-up instruments in the museum cannot offer more than what feeble information can be gotten in their current state. Stringless, these instruments leave entirely to the modern appreciation, how they were strung, with what alloy and with tension. This question of stringing is sometimes a source of heated posturing arguments between specialists. These arguments, however, in all logic, should not even happen as we cannot know for sure, and all we do is conjecturing, and that should mean exploring several viable hypotheses, however contradictory we perceive them. These hypotheses should be approached with the same respect, and ultimately, if the goal is reconstructing a playable state, then the modern musician’s taste is paramount and legitimate as long as it does not make any other claims than that of imagining a sound of the past. Semiolinguistics can help, linked with knowledge gotten from metal working, luthiers and musicology, it can explore the question of how the ancient Irish spoke of the strings of their harps and how such explorations can guide and inspire the practice of today. Below is a brief example of how philology, semantics and semiotics can equip a vision of today, enriched by elements of past times. This is given as a short sample and does not pretend to reach any exhaustivity state but conveys a good impression of the possibilities and methodologies implied.

The name of the strings

In the Irish texts, one can find several lexemes used for /strings of a musical instrument/

TÉT (theoit, teóid, téd tead) /rope/ /cord/ /musical string/

51c4 "na deichtétae gl. decim chordarum"

Title	The Milan glosses on the Psalms
Editor	Stokes, Whitley, MRIA (1830-1909)
Editor	Strachan, John, 1862-1907

c. 9th century

Stokes studies the manuscrit MS Amb. C301 inf. known as Codex Ambrosianus and conserved in Milan, Italy, Bilioteca Ambriosiana. The gloses in old Irish were added above the latin commentary of the Psalms. In this occurence the Irish deichtétae is put in correspondance to the latin decim chordarum suggesting a correspondance tét -> chorda

/string/ ->/musical instrument's string/

647 " tét timpan"

Title	Amra Choluimb Chille
Title	The Bodleian Amra Choluimb Chille
Author	Dallan Forgall
Editor	Stokes, Whitley, MRIA (1830-1909)
Title	RC
	XX
Date	1899
	31-55, 132-83, 248-89, 400-37
	XXI
Date	1900
	133-36
Editor	Atkinson, Robert
Title	Lib. Hymn.
Date	1898

11-12^th century

There are a dozen of manuscripts that contain Amra Choluim Chille, or extracts, or related text, but the one that Stokes particularly used for his edition is known as Liber Hymnorum, dated 11-12^th century and conserved at the Trinity College library, under the reference MS 1441.

/string/ ->/musical instrument's string/

7019 "téta mendchrot"

Title	Lebor na hUidre
Title	Leabhar na h-Uidri: a collection of pieces in prose and verse, in the Irish language
Editor	O'Longan, Joseph
Publisher	Royal Irish Academy
Date	1870

Early 12^th century.

The Lebor na hUidre also called Book of the Dun Cow, is referenced MS 23 E25 at the Royal Irish Academy, Dublin. Tét is here associated with mendchrot, that is crott and the adjective menn/mend which means "clear voiced".

/string/ ->/musical instrument's string/

20"crott ... deich tétaib"

Title	Hibernica minora: being a fragment of an Old-Irish treatise on the Psalter with translation, notes and glossary and an appendix containing extracts hitherto unpublished from MS Rawlinson, B.512 in the Bodleian Library
Editor	Meyer, Kuno
Publisher	Clarendon Press
Date	1894

late 15th and early 16th centuries

Hibernica minora, is found in manuscript Rawlinson B.512 -> Ic folios 45a-47b. Here we have tét associated with crott.

/string/ ->/musical instrument's string/

I,70,59 "clairseor note aos teud"

Title	Foras feasa ar Éirinn: The history of Ireland
Author	Keating, Geoffrey, 1570?-1644?
Editor	Comyn, David, al. Dáithí Ó Coimín, MRIA (1854-1907) (vol. I)
Editor	Ó Duinnín, Pádraig, An t-Ath., "An Duinníneach", (1860-1934) (vols. II-IV)
Publisher	Published for the Irish Texts Society by D. Nutt
Date	1902-14

17^th century

The manuscript, dated c. 1634, containing the text of Keating, clarified and edited by Comyn is referenced UCD Franciscan MS A14 and is visible in the Irish University College Library, Dublin.

/string/ ->/musical instrument's string/

The term tét, in its meaning of "string of a musical instrument" is well attested in a relative stability, in a period going from the 9^th centry to the 17^th century (and later too of course and tead/teud still mean musical strings in modern Irish and Scots gaelic). It is associated with the following instruments: cithara (which can be a harp), crott (which IS a harp[1]), clairseach and timpan.

CLÍATH : /hurdle/ /woven/

110.y "re cliathaib ciuil"

Title	The banquet of Dun na n-Gedh and The battle of Magh Rath: an ancient historical tale now first published from a manuscript in the Library of Trinity College, Dublin; with a translation and notes
Editor	O'Donovan, John, MRIA (1809-1861)
Publisher	The Irish Archaeological Society
Date	1842

11.12^th century

The Banquet of Dun na nGed is present in a few manuscript throughout the corpus. As O'Donovan, like many of his peer, doesn't cite his sources extremely precisely, but mentions only " a manuscript in the Library of Trinity college" we need to give the full list of possible sources of this text :

Dublin, Royal Irish Academy, MS 535, olim 23 P 2, al. Yellow Book of Lecan, 319a1–324b44,

Dublin, Royal Irish Academy, Stowe MS 23 K 44,

Dublin, Royal Irish Academy, Stowe MS B iv 1,

Brussels, Bibliothèque Royale, Brussels MS 3410.

None of them are, nor ever were in the Trinity College.

/woven/ ->/musical instrument's strings/

Decl.ex 882 "ar chléith tana do thimpáin"

Title	Irish grammatical tracts
Editor	Bergin, Osborn Joseph, MRIA (1873-1950)
Title	Ériu (Supplement)
	VIII-X, XIV, XVII
Date	1916-55

17^th century.

The Irish Grammatical Tracts are a compilation of grammatical propriety exemple extracted from Irish bardic poems, the sources of which are : MS 24 P 8 (17^th century), Dublin, Royal Irish Academy, MS B iv 1a ( a miscellanous collection of loose vellum on unceetain origin, the language there is Middle Irish), Dublin, Royal Irish academy, Adv MS 72.2.4 (A collection of Irish verse, compiled by Séamus O Maolruanaigh, 18th century, paper. Obtained by Patrick Turner in Carrickonsuir, Ireland, ca. 1798-1802, and sold to the Highland Society of Scotland in 1809. ), Edinburgh, National Library of Scotland.

/woven/ ->/musical instrument's strings/

Clíath is attested in a «musical instrument’s string», in a collective poetic form, and is associated with timpan. It appears evident that when Clíath is poetic term, it rather is Tet, as a more technical term, the one that we will need to explore the co-text of, in the hope to find qualifiers and general context which could help understand the metal logic in the language of the ancient Irish.

Qualifying adjectives added, which might add precisions

"tét"+"humaide"+"cruit"

Lebor na hUidre 667[2] "teit humaide na crute" ( the brazen/bronze ? strings of the cruit)

Irish Grammatical tracks (see above) Decl. Ex. 1496 "binne iná in t-umha an-eistéacht" ( Sweet to listen to they are in their bronze ? [strings])

Measgra dánta 131,7[3] "ó táid gotha an umha fann, cuir-se téad charr in do chruit" ( as the voice of the brass ? is weak, do put a sturdy string onto your harp"

Dioghluim dána[4] 100.30 "nó go searg le snáth umha" ( or to waste, with a thread of brass ?)

The metal lexeme most associated with tet is UMA (umha is more modern orthography).It is impossible contextually to decide decisively between copper / Brass / bronze. The copper element seems to be what would be in common between copper, brass and bronze thus pleasing for an interpretation of umha being an alloy based on copper. Some little hints are though made in the text with a qualifying system of color: yellow / red / white.

Peter O'Connell's Irish English dictionnary (Dublin, Trinity College, MS 1396)

Bonn búidhe ...bonn ruadh (a yellow medal (brass?) a reddish medal (copper ? bronze ? or something else ?)

Title	Peter O'Connell's Irish-English dictionary (transcript in RIA)
Editor	O'Connell, Peter
Edition	transcript
Publisher	Royal Irish Academy

Gold is often associated with the colour red, (as opposed to brass?)

529 "di òr derg" (or red gold)

Title	Saltair na Rann. A Collection of early Middle-Irish poems. Edited from Ms. Rawl. B 502 in the Bodleian Library
Editor	Stokes, Whitley, MRIA (1830-1909)
Publisher	Clarendon Press
Date	1883

There are mentions of Derg + Uma when the colour needs to be precised and this could be translated as bronze

5477 derccuma

Title	Die altirische Heldensage Táin Bó Cúalnge nach dem Buch von Leinster: in Text und Uebersetzung mit einer Einleitung
Editor	Stokes, Whitley, MRIA (1830-1909)
Editor	Windisch, Ernst, 1844-1918
Title	Irische Texte: mit Übersetzungen und Wörterbuch

Max Niemeyer Verlag, in his Zeitschrift für celtische Philologie (XXXVIII 246-47) in 1896, states that dergór, red-gold, designates the purified de-silvered gold.

Buidhe + creduma : yellow brass

O'Davoren's Glossary : MS Egerton 88 ( London, British Library, 1564) and MS 1317 (Dublin, Trinity College, 17^th century)

555 creduma buidhe

Title	O'Davoren's Glossary
Editor	Stokes, Whitley, MRIA (1830-1909)
Title	Archiv für celtische Lexikographie
	II
Date	1904

Finn + uma: White uma

Acallam na senórach : RIA MS 24 P 5 or Book of Lismore

2441 fedana finduma

Title	Acallam na Senórach
Editor	Stokes, Whitley, MRIA (1830-1909)
Title	Irische Texte
	IV
Date	1900

Créd = tin créduma = tinned-copper, can't designate brass as brass isn't supposed to contain tin ?

CONCLUSIONS:

Umha seems to be used to designate any manner of noble metals alloys with copper as a main base. The use of prefixes or colour adjectives can sometimes add more precision as to what contents.

If the presence of precious metal such as gold cannot be confirmed beyond any doubt, the intense usage of umha in the semantic field of jewelry and the presence of at least three qualifying colors, yellow, red and white, still in use to qualify the variety of gold alloy (according to their contents rate of copper and silver) could very well be a hint of alloys of gold (always on a base of copper) being called umha as well. There is therefore no rational reason, outside of conjectural lines to exclude strings made of gold. Such gold strings were put to the test in modern reconstructions and worked beautifully.

It also appears to us that claiming that alloy and string making techniques were, in the ancient times, not as good as ours and that this would plead for gold being impossible to use, are made in the context of harps made and strung nowadays, with quite a high tension, defined in some epideictic way of “sounding good” which has strictly no historical no scientific value. The historical harps could well have been strung with much lower tension and produce in that configuration a sound that’s perceived as good in their times, as the perception is always culturalized. The Irish Museums are filled with gold items, and gold thread, owing to the presence on the island of gold mines. The Irish developed and refined techniques of metallurgy which were not feeble nor flimsy.

The conjectures that would exclude gold as a string material in ancient times (a practice totally attested on other string instruments) are only valid if they stay in the field of science, meaning they accept to be refuted when new and enriching elements (such as the linguistic study) are added to the line of thoughts. Refutation not necessarily meaning cancelation. A feat that can be difficult to understood and accept if one is in research of Truth and defines truth and not-truth as mutually exclusive in a doxic fixated way. Science only has an ethic of true and wrong, which is based on repeatability and refutability along a scientific consensus on the methodological lines. True and wrong in science aren’t fixed categories but rather an ethical pathway with a referential that by essence must remain mobile and evolving. In this understanding, as long as each hypothesis stays conscious of its own projective and interpretative nature, allays that appears to be contradictory can and should be explored equally.

However, when historical documents, organology analysis, and linguistic exploration do not conclude in an extremely decisive way, the scientific and historical debates close, and the artistic process can start. Separately. There should not be cause for disputes but rather for diverse experiments, of both of a speculative scientific way first and projecting artistic nature then, left in the hands of competent makers and players, who, with gold or not, will enchant our ears and enlarge the realm of possibilities both in making music today and understanding/imagining what could have been.

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[1] As demonstrated in our work, Vincent Michaud-Laine, La sémiomusicologie de la harpe gaélique ancienne, Paris, Classiques Garnier, 2024, p.120-129.

[2]MS 23 E 25, (12^th century) Dublin, Royal Irish Academy. The passage is also cited in Revue Celtique, pub. Emille Bouillon, and ed. Henri Gaidoz 1870-1885, issue no XX, 64,6.

[3]Measgra dánta: miscellaneous Irish poems, O'Rahilly T.F., Cló Ollsgoile Corcaighe, 1927. the poem cited is sourced from MS 23 I 4 ( 18^th century p. 41) and MS 23 I 23 ( p. 109) both conserved at Dublin, Royal Irish Academy.

[4]Dioghluin Dána, L. MacKenna, Oifig an tSoláthair, 1938. Based on three manuscripts at Dublin, Royal Irish academy : MS 3 110 (23 L 17) MS " 172 ( 23 F 169, and MS 73 70 ( 23 H 8) /c 17^th century)