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Harpsichord (Dutch klavecimbel; Fr. clavecin; Ger. Cembalo, Clavicimbal, Flügel, Kielflügel; It. cembalo, clavicembalo; Lat. clavicembalum; Port. cravo; Sp. clave, clavicordio)locked

  • Edwin M. Ripin,
  • Howard Schott,
  • John Koster,
  • Denzil Wraight,
  • Beryl Kenyon de Pascual,
  • G. Grant O’Brien,
  • Alfons Huber,
  • William R. Dowd,
  • Charles Mould,
  • Lance Whitehead
  •  and Martin Elste


A stringed keyboard instrument, classified by Hornbostel and Sachs as a box zither; it is distinguished from the clavichord and the piano by the fact that its strings are plucked rather than struck, and characterized by an elongated wing shape like that of a grand piano. As in the grand piano, this shape results from the fact that the strings, growing progressively longer from treble to bass, run directly away from the player, in contrast to the oblique stringing of a spinet and the transverse stringing of a virginal. ‘Harpsichord’ is also used as a generic term (equivalent to Ger. ...

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R.M.A. [Royal Musical Association] Research Chronicle
Anuario musical
Early Music
D.H. Boalch: Makers of the Harpsichord and Clavichord 1440 to 1840
Zeitschrift der Internationalen Musik-Gesellschaft
S. Virdung: Musica getutscht (Basle, 1511/R)
Journal of the American Musical Instrument Society
Galpin Society Journal
M. Praetorius: Theatrum instrumentorum [pt ii/2 of PraetoriusSM]
Proceedings of the Royal Musical Association
Music & Letters
C. Burney: The Present State of Music in Germany, the Netherlands, and the United Provinces (London, 1773, 2/1775)
Analecta musicologica
Archiv für Musikforschung
M. Mersenne: Harmonie universelle
Revista de musicología
C. Burney: The Present State of Music in France and Italy (London, 1771, 2/1773)
Tijdschrift van de Vereniging voor Nederlandse muziekgeschiedenis [and earlier variants]
Revue musicale
Madrid, Biblioteca Nacional
Musical Quarterly