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Strings · 157 verified programs with a harp pathway

Harp: degrees, diplomas and programs

Harp study centres on the pedal harp in orchestral and solo contexts, with some programs also supporting lever and historical harps.

Also called: Pedal harp, Concert harp, Harfe, Harpe, Arpa.

What the listings below mean

A program is listed for harp only where its official page names the instrument in the title, as a major, or as a formal principal-study pathway. These are formal degree, diploma or certificate pathways; the page says which. An instrument taught in private lessons, or a teacher on the faculty, does not create a listing.

83 Bachelor’s · 60 Master’s · 7 Practice doctorate · 5 Diploma · 2 Certificate · 9 formal principal-study pathway, 123 named major, 25 named in the program title

157 programs

How results are ordered: alphabetically by institution, or by most recently checked when you choose that sort. There is no price ranking, because tuition in different currencies, fee categories and bases (per year, per credit, whole program) is not comparable. A program appears under a subject only through a verified link (dedicated degree, major, concentration or documented pathway). A value we could not verify is shown as “not published”, never as “no”. Items marked Sponsored are paid placements; they never change verification or order. Online programs are not counted as physically located in a state or city, and an institution’s location does not tell you whether it enrols students from your country.

Published harp audition repertoire

Copied from each program’s own admissions page. Requirements are specific to the program and intake: follow the link and check the current year.

  • Royal Conservatoire The Hague: Master Classical Music
    • Two solo works different in style; one movement of a solo concerto.
  • University of Illinois Urbana-Champaign: Master of Music
    • Applicants should prepare: | • Three contrasting works from different historical periods and styles, including at least one solo work from the 20th or 21st century. Chosen solo works should be memorized. | • An orchestral excerpt or cadenza. | Applicants who submit a recorded audition should include repertoire consisting of 30 to 45 minutes of music. Selections should include contrasting works, as specified above, as well as an orchestral excerpt or cadenza. Movements from concerti or chamber music are acceptable. Orchestral excerpts or cadenzas, and chamber music do not have to be performed from memory. | It is highly recommended that all graduate candidates attend an on-campus audition. If an applicant is unable to travel to campus for a live audition, the faculty will accept a recorded audition, and a virtual interview may occur. Graduate applicants who would like to submit a recorded audition should upload the audition directly to their Graduate College application. | Cookie Settings
  • Lawrence University: Bachelor of Music (B.Mus.)
    • Two solos (applicant’s choice) in contrasting styles demonstrating technical and interpretive abilities. Harp applicants are encouraged to perform solos from memory. | An orchestral excerpt or cadenza from the standard repertoire. | An introductory video is required for recorded auditions | Harp Studio
  • DePaul University: Bachelor of Music
    • We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire​ | Etudes (choose one of the following) ​Bochsa: Etude 1 (Allegro Moderato) from Cinquante Etudes, Book 1 | Naderman: Sonata n. 2 from Sept Sonates Progressives I | Lariviere: 1st etude n. 36 Allegro​​​​​ | Solo Free choice from standard solo repertoire
  • University of Illinois Urbana-Champaign: Bachelor of Music
    • • Performance of a minimum of two works representing different historical periods and styles. At least one solo work should be from the 20th or 21st century (e.g., B. Andrès, M. Grandjany, P. Hindemith, H. Renié, C. Salzedo, M. Tournier, etc.). | • An orchestral excerpt or cadenza. | Harp applicants are encouraged to perform solo works from memory. Etudes and orchestral excerpts or cadenzas do not have to be performed from memory. | On-campus audition dates can be found here . It is highly recommended that all undergraduate candidates attend an on-campus audition. If you are unable to audition on-campus, please select the “recorded” audition format preference on your supplemental music form. Undergraduate applicants who would like to submit a recorded audition should follow the steps outlined here .
  • Cleveland Institute of Music: Bachelor of Music
    • Harp: Audition Requirements Undergraduate 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Grandjany: Fantasie Pierné: Impromptu-Caprice. Op. 9 4. One solo work of choice that represents your artistic identity 5. Orchestral Excerpts: Cadenza, from The Nutcracker and Verdi: La Forza del Destino Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Master of Music, Graduate Diploma, and Artist Diploma 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Houdy: Sonate Fauré: Impromptu Grandjany: Rhapsodie Salzedo: Variations on a theme in ancient style 4. One solo work of choice that represents your artistic identity 5. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic group. 6. Orchestral Excerpts: Ravel: Cadenza from Tzigane and Berlioz: Symphonie Fantastique Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Doctor of Musical Arts 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. A forty-minute recital that includes: One solo work from the Baroque or Classical period One standard solo work by a French composer One contrasting standard work by a Twentieth-Century composer One solo work of choice that represents your artistic identity One contemporary solo work, composed since 2000. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic grou
  • Cleveland Institute of Music: Master of Music
    • Harp: Audition Requirements Undergraduate 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Grandjany: Fantasie Pierné: Impromptu-Caprice. Op. 9 4. One solo work of choice that represents your artistic identity 5. Orchestral Excerpts: Cadenza, from The Nutcracker and Verdi: La Forza del Destino Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Master of Music, Graduate Diploma, and Artist Diploma 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Houdy: Sonate Fauré: Impromptu Grandjany: Rhapsodie Salzedo: Variations on a theme in ancient style 4. One solo work of choice that represents your artistic identity 5. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic group. 6. Orchestral Excerpts: Ravel: Cadenza from Tzigane and Berlioz: Symphonie Fantastique Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Doctor of Musical Arts 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. A forty-minute recital that includes: One solo work from the Baroque or Classical period One standard solo work by a French composer One contrasting standard work by a Twentieth-Century composer One solo work of choice that represents your artistic identity One contemporary solo work, composed since 2000. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic grou
  • Cleveland Institute of Music: Graduate Diploma
    • Harp: Audition Requirements Undergraduate 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Grandjany: Fantasie Pierné: Impromptu-Caprice. Op. 9 4. One solo work of choice that represents your artistic identity 5. Orchestral Excerpts: Cadenza, from The Nutcracker and Verdi: La Forza del Destino Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Master of Music, Graduate Diploma, and Artist Diploma 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Houdy: Sonate Fauré: Impromptu Grandjany: Rhapsodie Salzedo: Variations on a theme in ancient style 4. One solo work of choice that represents your artistic identity 5. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic group. 6. Orchestral Excerpts: Ravel: Cadenza from Tzigane and Berlioz: Symphonie Fantastique Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Doctor of Musical Arts 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. A forty-minute recital that includes: One solo work from the Baroque or Classical period One standard solo work by a French composer One contrasting standard work by a Twentieth-Century composer One solo work of choice that represents your artistic identity One contemporary solo work, composed since 2000. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic grou
  • Cleveland Institute of Music: Artist Diploma
    • Harp: Audition Requirements Undergraduate 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Grandjany: Fantasie Pierné: Impromptu-Caprice. Op. 9 4. One solo work of choice that represents your artistic identity 5. Orchestral Excerpts: Cadenza, from The Nutcracker and Verdi: La Forza del Destino Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Master of Music, Graduate Diploma, and Artist Diploma 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Houdy: Sonate Fauré: Impromptu Grandjany: Rhapsodie Salzedo: Variations on a theme in ancient style 4. One solo work of choice that represents your artistic identity 5. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic group. 6. Orchestral Excerpts: Ravel: Cadenza from Tzigane and Berlioz: Symphonie Fantastique Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Doctor of Musical Arts 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. A forty-minute recital that includes: One solo work from the Baroque or Classical period One standard solo work by a French composer One contrasting standard work by a Twentieth-Century composer One solo work of choice that represents your artistic identity One contemporary solo work, composed since 2000. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic grou
  • Cleveland Institute of Music: Artist Certificate
    • Harp: Audition Requirements Undergraduate 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Grandjany: Fantasie Pierné: Impromptu-Caprice. Op. 9 4. One solo work of choice that represents your artistic identity 5. Orchestral Excerpts: Cadenza, from The Nutcracker and Verdi: La Forza del Destino Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Master of Music, Graduate Diploma, and Artist Diploma 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Houdy: Sonate Fauré: Impromptu Grandjany: Rhapsodie Salzedo: Variations on a theme in ancient style 4. One solo work of choice that represents your artistic identity 5. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic group. 6. Orchestral Excerpts: Ravel: Cadenza from Tzigane and Berlioz: Symphonie Fantastique Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Doctor of Musical Arts 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. A forty-minute recital that includes: One solo work from the Baroque or Classical period One standard solo work by a French composer One contrasting standard work by a Twentieth-Century composer One solo work of choice that represents your artistic identity One contemporary solo work, composed since 2000. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic grou
  • Cleveland Institute of Music: Doctor of Musical Arts
    • Harp: Audition Requirements Undergraduate 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Grandjany: Fantasie Pierné: Impromptu-Caprice. Op. 9 4. One solo work of choice that represents your artistic identity 5. Orchestral Excerpts: Cadenza, from The Nutcracker and Verdi: La Forza del Destino Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Master of Music, Graduate Diploma, and Artist Diploma 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. One solo work from the Baroque or Classical period 3. One solo work from the standard harp literature such as: Hindemith: Sonata Houdy: Sonate Fauré: Impromptu Grandjany: Rhapsodie Salzedo: Variations on a theme in ancient style 4. One solo work of choice that represents your artistic identity 5. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic group. 6. Orchestral Excerpts: Ravel: Cadenza from Tzigane and Berlioz: Symphonie Fantastique Solos must be memorized. Music may be used for the Warm-Up and the Orchestral Excerpts. Doctor of Musical Arts 1. Advanced/Professional Warm-Up from On Playing the Harp by Yolanda Kondonassis (Carl Fischer) 2. A forty-minute recital that includes: One solo work from the Baroque or Classical period One standard solo work by a French composer One contrasting standard work by a Twentieth-Century composer One solo work of choice that represents your artistic identity One contemporary solo work, composed since 2000. One solo work composed by a woman and/or a person from an underrepresented racial/ethnic grou
  • DePaul University: Master of Music
    • We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | ​ Etude (choose one of the following): ​Bochsa: Etude No. 1 (Allegro moderato) from Cinquante Etudes Book 1 | Naderman: Sonata No. 2 from Sept Sonates Progressives I | Lariviere: Etude No. 36 (Allegro​) ​ | ​ Solo A free choice from standard solo repertoire | Three orchestral excerpts of your choice . Examples include: ​Tchaikovsky: Cadenzas from the Nutcracker or Swan Lake ballets | Bartok: Concerto for Orchestra, Movement IV mm. 43-59 | Verdi: La Forza del Destino Overture

About harp study

The concert harp has strings plucked with the fingers and a set of pedals that change pitch, so a harpist learns to coordinate both hands with the feet. Degree-level training builds finger technique, glissandi and harmonics, and pedal management in complex harmonic passages, as well as the care of a delicate instrument that needs frequent tuning and string replacement.

Repertoire spans solo works, sonatas and concertos, and a rich body of chamber music in combination with flute, voice, strings and other instruments. Orchestral playing is an important track, though harp positions in orchestras are few, which shapes how programs advise students on careers. Some departments also teach lever harp, Celtic or folk harp, or historical harps such as the baroque triple harp, and some include accompaniment and ensemble work with voices.

Typical degree contexts include the Bachelor of Music in harp performance, the Master of Music, and practice doctorates such as the Doctor of Musical Arts. Because harp cohorts are small and instruments are expensive, availability of harp as a specialization is more limited than for many other instruments, and some schools offer it only occasionally or through a visiting teacher arrangement.

What study typically involves

  • Harp technique, including finger placement, glissandi and harmonics
  • Pedal techniques and enharmonic handling
  • Solo and chamber repertoire
  • Orchestral parts and excerpts for harp
  • Accompaniment and collaborative playing with voices and instruments
  • Tuning, string changing and instrument maintenance
  • Sight-reading, theory and aural training
  • Lever or historical harp study in some programs

Award titles. Harp study can be recognised through a Bachelor of Music or BMus and a Master of Music or MMus. Some institutions award an Artist Diploma or a graduate or postgraduate diploma for advanced players; these are diploma awards and are not master's degrees. The Doctor of Musical Arts is a practice doctorate. Names and frameworks differ by country, and this directory makes no equivalence claims.

A program is listed under harp in this directory only when its official page names the instrument in the title, as a major, or as a formal principal-study option. A visiting teacher or a faculty harpist does not count on its own. Many schools do not offer harp as a degree specialization.

Auditions and admissions guidance

General orientation only. Each program publishes its own repertoire, format and deadlines; this directory cannot guarantee acceptance.

Harp auditions are generally live, though prescreening recordings are used by some programs. Because harps are difficult to transport, schools often provide an instrument for the audition, but this should be confirmed in advance. Panels commonly ask for contrasting works that demonstrate technique, tone and pedal control.

Orchestral excerpts may be requested at graduate level, and sight-reading and theory or aural tests are common. Applicants who play lever harp may be asked how they plan to transition to the pedal harp.

Each program publishes its own repertoire and audition format, and these change by year. Read the current-year audition page for each school and ask about instrument provision. Nothing here guarantees admission.

See also preparing for auditions and prescreening vs final auditions.

Costs and funding

Harpists are in demand for chamber and orchestral settings, and some programs link scholarships to ensemble needs. Graduate harpists may sometimes work as accompanists or in studio-teaching roles, depending on the school.

Funding varies by institution, country and year, and many students receive only partial support. Ask each program about harp-specific awards.

Costs beyond tuition. Harpists may face substantial costs for instrument purchase or rental, regular tuning and regulation, replacement strings, and transport, since a concert harp requires a vehicle and often a trolley. Insurance, moving costs for performances and accompanist or ensemble fees are other possibilities.