• to interpret fingernail and damping techniques detailed in the Welsh Robert ap Huw harp manuscript;
• to adapt piobaireachd's highly ornamented variations to the clairseach;
• to interpret and perform repertoire of Denis O'Hampsey from the original Bunting manuscripts in Belfast (also using a replica of O'Hampsey's instrument and O'Hampsey's tuning);
• to interpret and perform the compositions of Cormac MacDermott, an Irish harper at the Elizabethan court;
• to use monofilament gold as well as silver strings;
• to establish a plausible role for the clairseach in the performance of Gaelic poetry.

Other contributions Ann has made to the instrument include:

• Ann authored the first tutor for the instrument, based upon the first tunes taught student harpers in the old tradition (Secrets of the Gaelic Harp and A Ga elic Harper's First Tunes);
• She created the "Combination" and "Forked Finger" playing techniques, only l ater to find historical evidence for their use;
• She created an idiomatic approach to Gaelic harp performance, coined the ter m "Coupled Hands" for it and authored a book to teach it;
• Ann and husband Charlie have discovered and elucidated a gendered tripartite symbolism embedded in Gaelic harp tradition & mythology.

Under the name "Clairseach" (Irish for "Gaelic harp"), Ann and Charlie perform a broad spectrum of repertoire--from traditional and historical to Ann's own compositions--throughout the United States, Europe and Australia. Their collaboration extends to giving presentations on their research in related areas such as Gaelic harp mythology and the performance of medieval bardic poetry. Ann inspires professionals and learners alike, and is frequently asked to lead workshops and masterclasses. Her definitive solo CD "Queen of Harps" documents the virtuosic capability of the Gaelic harp. Current projects with Charlie include investigating the symbiotic relationship between the harp and Gaelic bardic poetry, religious chant of the Celtic rite, medieval monophonic dance music, the presentation of Gaelic oral narrative poetry, the role of the clairseach in palliative care, and completing their investigation into the metallurgy of historical clairseach stringing.

William was a founding member and creative tour de force of Ossian in 1976, which became one of Scotland's best-loved traditional bands. The band, whose music influenced a generation of musicians, extensively toured the U.S. and Europe. Besides harp, he also plays tinwhistle bouzouki and piano.

While working with Ossian, William established himself as a composer and he has steadily knit together Celtic influences with classical instrumentation in a style uniquely his own. He has an impressive list of commissioned works and subsequent recordings, including "The Wellpark Suite," "St. Mungo," and "Inchcolm". A 1996 commission from the Scottish Chamber Orchestra resulted in "A Scottish Island", and also used traditional and classical music together. His commission, "Duan Albanach", was created for the 2002 opening of the Celtic Connections Festival in Glasgow. In 2007 he performed his work "Fantasia on Scottish Themes" with the Asheville Symphony, in North Carolina.

In December 2008 William was a featured performer with The Cape Cod Symphony with his composition "Columcille" and a new commission for the occasion "Christmas Day", his orchestration of some traditional Scottish melodies.

He has composed music in Scotland for the BBC and Scottish television and directed and performed the music for "The Battle of the Clans" for the History Channel.

William's performance on harp, whistle and bodhran is featured on the soundtrack of the movie "A Shot at Glory", starring Robert Duval and Michael Keaton, which was filmed in Scotland. William is also a trained Music Therapist since 1993 and has worked with children with Autism and Cerebral Palsy, as well as in a psychiatric setting, in hospitals and schools in Edinburgh and Aberdeen, Scotland, and also in Asheville, North Carolina.

In addition to his performances on Celtic Harp, William teaches and gives workshops on Harp, and Music Therapy.

Laura Zaerr's artistry as a soloist earned her the honor of being included on the American Harp Society Concert Artist Program. In this capacity she performed solo recitals throughout the United States. Locally she has appeared as part of the Abbey Bach Festival and the O.S.U. Winter Music Festival. She has also appeared as guest artist with several orchestras throughout Oregon and California, including the Rogue Valley Symphony, the Linfield Chamber Orchestra, and the Diablo Symphony in Walnut Creek. Aside from her solo work, Laura is a member of the Portland based Oregon Renaissance Band as well as the Celtic band Village Green, based in Corvallis. Laura has also served as the harpist for the Alaskan Cruise ship S.S. Universe Explorer.

In addition to harp performance, Laura studied composition at the University of Oregon with Derek Healey. Her compositions include works for string quartet, woodwind quintet, choir, and most recently a concerto for Celtic harp and orchestra. Laura blends her strong classical background with her love of Celtic harp music to achieve a dazzling showcase for the popular Celtic harp.

Laura Zaerr's artistic interests extend beyond classical music. She has collaborated with her sister Linda Marie, who is a medievalist, in storytelling. Their consort Psallite presents a collage of poetry, drama, and music from the Middle Ages. She and her father built an Irish harp which she now uses for performing traditional celtic music and Medieval Music. Their work can be seen and heard on a video of The Weddyng of Sir Gawain and Dame Ragnel funded by the National Endowment for the Arts.

Laura is currently an instructor at the University of Oregon. She has been guest teacher for harp festivals and workshops in California, Washington, and Canada, as well as organizing several concerts and workshops locally. She also maintains a lively private studio. When she's not involved with music Laura enjoys white-water kayaking.