This is the first history of the harp in Scotland to be published. It sets out to trace the development of the instrument from its earliest appearance on the Pictish stones of the 8th century, to the present day. Describing the different harps played in the Highlands and the Lowlands of Scotland, the authors examine the literary and physical evidence for their use within the Royal Courts and “big houses” by professional harpers and aristocratic amateurs. They vividly follow the decline of the wire—strung clarsach from its links with the hereditary bards of the Highland chieftains to its disappearance in the 18th century, and the subsequent attempts at the revival of the small harp during the 19th and 20th centuries. The music played on the harp, and its links with the great families of Scotland are described.

The authors present, in this book, material which has never before been brought to light, from unpublished documents, family papers and original manuscripts. They also make suggestions, based on their research, about the development and dissemination of the early Celtic harps and their music. This book, therefore, should be of great interest, not only to harp players but to historians, to all musicians in the fields of traditional and early music, and to any reader who recognises the importance of these beautiful instruments, and their music, throughout a thousand years of Scottish culture.

Keith Sanger has a background in medical technology, but is well-known in the field of Scottish history for his imaginative and meticulous research. He has published many articles in academic journals relating to Highland history, early music and Scottish music. A piper himself, he developed an interest in the connection between Piobaireachd and Harp music, which, along with the harp-playing of his wife, Bella, led to a deeper investigation into she history and background of the Scottish and Irish harps in general. Over many years of study, he has amassed a vast amount of information on the subject, and this book will present at least part of this fascinating material to the public.

Alison Kinnaird is recognised as the foremost player of historical Scottish harp music. She has a degree in Celtic Studies and Archaeology. She plays both gut-strung and wire-strung harps, and has been researching the repertoire of these instruments in Scotland for more than twenty years. Her record album “The Harp Key - Crann nan Teud” (the alternative translation of the title of this book) was the first ever recording of Scottish harp music, and since then she has produced several other critically acclaimed recordings. She has also published two books a collection of her arrangements of Scottish harp tunes, and a tutor for the small harp. She is well-known as a performer and teacher, and, throughout the world, for her lecture recitals on the subject of the Scottish harp and its music. She also has an international reputation as an artist in glass.