Forearm muscles activity of harp players.

The practice of a musical instrument requires fine dexterity, repetitive, fast, and precise movements, as well as important efforts to set the instrument into vibration, while adopting postures often unnatural for the human body. As a result, musicians are often subject to pain and musculoskeletal disorders. In the case of plucked string instruments and especially the concert harp, the plucking force is directly related to the strings' tension. Consequently, the choice of the strings has to be made based on both, the musician feel while playing, and the musculoskeletal consequences. This paper investigates how the string properties and the playing dynamics affect the finger and wrist muscle activity during harp playing. This study first emphasized the noteworthy recruitment of the flexor and extensor muscles (42% and 29% of MVC, respectively). Findings outlined further that the fingering choice, the adopted playing dynamics and the string's material govern the muscular activity level and the playing control. Such results are a first step to better understand how the harp ergonomics may affect the player's integrity and help them decide the most suitable stringing for their practice.

Experimental study of AO and T1 modes of the concert harp.

String instruments are usually composed of a set of strings, a soundboard, and a soundbox with sound holes, which is generally designed to increase the sound level by using the acoustic resonances of the cavity. In the case of the harp, the soundbox and especially the sound holes are primarily designed to allow access to the strings for their mounting. An experimental modal analysis, associated to measurements of the acoustic velocity in the holes, shows the importance of two particular modes labeled A0 and T1 as it was done for the guitar and the violin. Their mode shapes involve coupled motions of the soundboard's bending and of the oscillations of the air pistons located in the sound holes. The A0 mode is found above the frequency of the lowest acoustically significant structural mode T1. Thus, the instrument does not really take advantage of the soundbox resonance to increase its radiated sound in low frequencies. However, contribution of mode A0 is clearly visible in the response of the instrument, confirming the importance of the coupling between the soundboard and the cavity.