aeolian harp

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Related to Aeolsharfe: aeolian harp, wind harp

Aeolian harp

n.
An instrument consisting of an open box over which are stretched strings that sound when the wind passes over them. Also called wind harp.

[From Aeolian, relating to Aeolus, god of the winds.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

aeolian harp

n
(Instruments) a stringed instrument that produces a musical sound when a current of air or wind passes over the strings. Also called: wind harp
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

aeo′lian harp′


n.
a box with an opening across which are stretched a number of strings of equal length that are tuned in unison and sounded by the wind.
[1785–95]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.aeolian harp - a harp having strings tuned in unisonaeolian harp - a harp having strings tuned in unison; they sound when wind passes over them
harp - a chordophone that has a triangular frame consisting of a sounding board and a pillar and a curved neck; the strings stretched between the neck and the soundbox are plucked with the fingers
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
They are preceded by "Der Kuss," by Ludwig Holty, as rewritten by Johann Heinrich Voss, (45) and followed by "Der Schmied," by Uhland, and "An eine Aeolsharfe," by Eduard Morike.
(53) It seems to me, however, that the title page was simply intended to communicate the title of the opus collection and the publication order of the songs within it to the publisher, Peter Joseph Simrock, since both the unpaginated Brno manuscript and an independently paginated Abschnft containing only "An eine Aeolsharfe" were used as Stichvorlage for the first edition.
This idea of "wordless text-setting" is not new to Henze: both the Sieben Liebeslieder (1984-85) for cello and orchestra, and An eine Aeolsharfe (1985-86) for concertante guitar and fifteen instruments, based on four Eduard Morike poems, are similarly conceived.