Sounds of shimmering glissandi and resonant arpeggios combine with romantic and angelic imagery to form a stereotype of the modern pedal harp as an instrument capable of a relatively narrow band of expression. Similarly, its fundamentally diatonic design gives rise to issues with chromatic music that its pedal system addresses without fully negating. Taking pitch and timbre as means through which to reconsider the instrument, this paper presents an approach that reflects and celebrates the inherent properties of the harp whilst redefining what idiomatic writing might be. A reappraisal of the instrument’s sonic qualities contrasts typical sounds with alternative approaches to timbre. The pitch limitations of the harp inform a new method for localised and structural pitch organisation that is rooted in the pedal mechanism of the instrument. These new modalities and alternative timbres are illustrated with a range of compositional examples throughout.

中文翻译：

---

重新定义踏板竖琴的惯用语写作

闪闪发光的滑音和共鸣琶音的声音与浪漫和天使般的意象相结合，形成了现代踏板竖琴的刻板印象，它是一种能够进行相对狭窄表达的乐器。同样，其基本的全音阶设计会引起半音音乐的问题，而其踏板系统在没有完全否定的情况下就可以解决这些问题。本文将音高和音色作为重新考虑乐器的手段，提出了一种反映和颂扬竖琴固有特性的方法，同时重新定义了惯用的写作可能是什么。对乐器声音品质的重新评估将典型声音与其他音色方法进行对比。竖琴的音高限制为基于乐器踏板机制的局部和结构化音高组织提供了一种新方法。