Page 1 ,`1: reed ,"cd From: IN%"[email protected]" 4

,'1:
,-
reed ,"cd
From: IN%"[email protected]"
"Irish Traditional Music List"
4-FEB-1993 22: 40: 05. 96
To:
IN%" IRTRAD-L@irlearn. ucd. ie"
"Multiple Recipients of"
CC:
SUbj: Issue No. 2 of IRTRAD (the Irish Traditional Music Newsletter)
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IRTRAD
The Irish Traditional Music Newsletter
Issue No.
2
Jan 25, '93
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Keep those messages coming in.
They should all be sent to [email protected]
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CONTENTS
1. Editorial
[33]
2. Five New Recordings
[224]
3. The Irish Traditional Music Archive (Dublin)
[138]
4. The Traditional Music Archive at University College, Cork [15]
5. 1994 World Conference of the International Society for Music Education
[ 44 ]
6. Discussion on the term' Traditional'
[4 messages - 249]
7. Humour [60]
EDITORIAL
We are rather stunned by the amount of interest that the Irtrad-L list is
attracting, and because of the numbers of people who are subscribing we
have decided to make it a moderated list, and also the list listing has
been moved from Mail serve to Listserve.
This has caused some confusion
which is hopefully sorted out now at this stage.
We have had responses from
all sorts of people, from amateur enthusiasts to academics.
Although originally intended as a service for those involved in academic
research in Irish traditional music and related topics, we do not want to
discourage amateurs from subscribing and hopefully there will be enough of
the content to keep them interested.
At the moment though, could we ask
subscribers not to send us potted biographies unless you are actually
involved in research in which case a brief outline of the research topic is
all that is required!
But please do continue to send ideas and information,
and we will do our best to answer any questions that come up as well. We
would particularly ask subscribers outside Ireland to contribute such
things as notice of recordings and publications which might be of interest,
and which might not come to our notice here.
We welcome recordings and
publications for review sent to:
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6
Hammy Hamilton
c/o Music Dept.
U. C. C.
Co. Cork
Ireland.
This is the second edition of the newsletter and we intend that it will be
monthly from now on, appearing in the last week of each month.
If other information becomes available, especially about concerts and
events which would become irrelevant by the end of the month this will
appear separately.
Hammy Hamilton ARMU6001@IRUCCVAX
Paul McGettrick ARAR6013@IRUCCVAX
FIVE NEW RECORDINGS
NO. 1
The Fire Aflame
Matt Molloy, Sean Keane,
Claddagh Records CCF30CD,
Liam Og O'Flynn
4CCF30 (cassette) Release date 21/12/92
Three well known musicians on the Irish music scene combine in this record of
solos, duets and trios.
There are 13 tracks mostly of dance music but with
two airs and a poem by Brian Keenan, read by the author, with background
music by Matt Molloy.
Sean Keane and Matt Molloy are currently members of the Chieftains, and Liam
0' Flynn is best known for his work with the group Planxty.
The music on this recording is 'straight' dance music played with little
arrangement but with good sympathetic accompaniment.
The music was recorded in conjunction with the making of a film about the
three musicians and their approach to traditional music.
The sleeve notes
refer to the fact that this one hour video is available, but as yet I don't
know where or how much.
Watch this space !
Sean Keane: Fiddle
Matt Molloy: Flutes
Liam O'Flynn: Uilleann Pipes
Arty McGlynn: Guitar
Neil Martin: Cello, Keyboard
Noreen 0' Donoghue: Harp, Keyboard.
NO. 2
Beauty an Oileain:
Music and Song of the Blasket Islands
Claddagh Records CC56CD no price or release date available.
The Great Blasket is an island off the Irish speaking district of the West
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7
coast of Kerry.
It has been uninhabited since 1953 when the remaining
families were moved to the mainland when the island school was closed.
This
recording is of the island singers and musicians, mostly recorded after they
had moved to the mainland.
The music and songs (all in Irish) are very much
in the tradition of the West Kerry Gaeltacht, and this is a very important
collection of material from a group of performers who are so intimately from
the same area.
A mine of information for anyone interested in the music and
song of Munster as well as anyone involved in the study of local or regional
style, no other commercially released recording exists (to my knowledge)
which has so many performers from one area performing such a wide range of
material.
There are 17 tracks, 10 of which are instrumental, and 7 songs.
Claddagh,
always excellent where sleeve notes are concerned, have surpassed themselves
on this occasion.
There is an explanatory booklet included, which has very
extensive notes in both Irish and English, including all the words of the
songs (original and translated), and photographs of all the performers.
This
is so thick that the recording and the notes are packaged in a double case,
but there is only one CD.
The performers are:
Seanin Mhicil 0 Suilleabhain: Fiddle
Muiris 0 Dalaigh: Accordion
Sean 0 Duinnshleibhe: Melodeon
Sean 0 Cearnaigh: Singer
Eiblhin Ni Chearna: Singer
Tomas 0 Dalaigh: Fiddle
Peaiti 0 Duinnshleibhe: Singer
Sean Cheaist 0 Cathain: Fiddle
Aine Ui Laoithe: Singer
Breanndan 0 Beaglaoich: Accordion
Song transcriptions, translations, and notes by Rionach Ui Ogain.
Music notes by Maire Ni Chaoimh.
Remastering by Harry Brads haw.
NO. 3
The Frost is All Over: Paul McGrattan
Claddagh Records CC58CD Also Cassette 4CC58 Release Date 7/12/92
(no price given)
Paul McGrattan is one of the new crop of young urban players of traditional
music who have learnt their skills from rural musicians who had moved to the
city.
This is basically a solo flute record, with accompaniment in the form
of guitar, piano, bodhran, and bouzouki.
There are 15 tracks as follows
1. Speed the Plough, The Abbey Reel, The Primrose Lass.
Reels (2.50)
2. The Hare in the Corn, Grainne's Welcome.
Jigs. (2.42)
3. The Sailor's Return, The Chattering Magpie, The House on the Hill.
Reels.
(2.58)
4. Slan le Maigh, The Tailor's Twist, The Mayo Reels.
Air, Hornpipe and
reels (5.32)
5. The Stone in the Field, John Egan's, Dublin Porter.
Reels (3.08)
Fiddle
and Flute duet
6. Up and Away, The Mountain Pathway, Egan's Polkas.
Polkas (3.45)
7. The Skylark, Jenny Dang the Weaver.
Reels (2.25)
8. The Frost is All Over, Coleman's Jig, The Rambling Pitchfork.
Jigs. (2 . 54)
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8
9. Maidhc Dainnin 0 Se's Slide, An Bothar 0 Thuaidh go Tra Li, Johnny
ry Leary' s Slide, Padraig 0' Keefe' s Slide.
Slides. (3.25)
10. Byrne's Hornpipes. (2.59) Flute Duet
11. Geehan's Reel, The Crosses of Annagh, An Untitled Reel.
Reels. (2.44)
12. Tracey's Jig, The Rose in the Heather, The Blackthorn Stick.
Jigs. (2.48)
13. Hardiman the Fiddler, Taim in Arrears.
Slip Jigs. (2.18)
14. Christmas Eve, The Old Bush, The Scholar.
Reels(2.58)
15. Sean sa Cheo, Tommy People's.
Reels(2.00)
Paul McGrattan: Flute and Tin Whistle
Arty McGlynn: Guitar
Noel O'Grady: Bouzouki
Paul 0' Shaughnessy: Fiddle
Noreen 0' Donoghue: Piano
Kevin Conneff: Bodhran
Matt Molloy: Flute
Paul Doyle: Bouzouki
Claddagh Records Ltd., Dame House, Dame St.,
Dublin 2, Ireland.
NO. 4
The Seville Suite
Timedance ' 92
Dun Briste
Tara CD 3030
(no price given)
Bill Whelan is well known in the contemporary music scene in Ireland as a
musician, producer, arranger and composer.
This work was commissioned by The
Dept. of the Taoiseach to commemorate Ireland's involvement in Expo' 92 in
Seville.
Its inspiration comes from the exploits of Red Hugh 0' Donnell from
the Battle of Kinsale to this arrival in Spain.
The Seville Suite is a composition for orchestra and traditional instruments
and is rather after the manner of the suites by Shaun Davey, such as The
Brendan Voyage, and Granuaille.
Timedance ' 92 is a re-working of a piece which Whelan and Donal Lunny
composed when he was involved with the traditional group Planxty.
The Seville Suite.
1. Kinsale
2. O'Donnell's Lament
3. Pedro de Zubiaur
4. Fr. Conry's Jig
5. The Storm
6. The Coast of Galacia
7. The Road to La Corunna
8. Caracena
Davy Spillane: Uilleann Pipes
Martin O'Connor: Accordion
Mel Mercier: Bodhran
Mairead Nesbitt: Fiddle
Rodrigo Romani: Harp
Xose V. Ferrieros, Nando Casal: Whistle and Galacian pipes.
The RTE Concert Orchestra, Leader Alan Smale
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9
Timedance ' 92
1. The Humours of Barrack St.
2. Isercleran
3. The Ballymun Regatta.
Uilleann Pipes: Liam O'Flynn
Bouzouki, guitar, bodhran: Donal Lunny
Bouzouki, mandolin: Andy Irvine
Fiddle: Nollaig Casey
Piano, keyboards, and keyboard percussion: Bill Whelan
Strings: The Timedance String Ensemble, leader Audrey Collins
Dun Briste.
Whistle: Donal Lunny
Keyboards: Bill Whelan
Strings: The Timedance String Ensemble, leader Audrey Collins
NO. 5
Ri ta Connolly.
Tara CD 3029 (no price given)
Rita Connolly is a singer who is probably best know for her association with
Shaun Davey and his composition Granuaille.
This is her first solo recording
and consists of songs in the' contemporary folk' rather than traditional
mould.
There are 12 tracks.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Venezuela
Miracles
a) Factory Girl
b) Same Old Man
Stormy Weather
Alice in Jericho
Fanny Hawke
It's Really pouring
Two of Us
Amiens
Red Dust
Dreams in the Morning
Close your Eyes.
Rita Connolly: Vocals
Shaun Davey: Keyboards, Vocals
Davy Spillane: Low Whistle
Palle Mikkelborg: Trumper, Flugelhorn
Helen Davies: Harp
Mairtin O'Connor: Button Accordion
Liam O'Flynn: Uilleann Pipes
Ray Lynam: Vocals
The Voice Squad: Vocals
The Wind Machine: Brass
Paul MacAteer, Paul Moran: Drums
Eoghan O'Neill, John Drummond, Tony Molloy: Bass.
Des Moore, Greg Boland, Gerry O'Beirne, Phillip Donnelly, Anthony Drennan:
Page:
10
Guitars
James Delaney: Keyboards
Jack Bayle, Sean Fleming: Trombone
William Dowdall: Flute
Inez Connolly, Ursula Connolly, Peter Connolly: Vocals.
Members of the National Philharmonic Choir
Tara Records Ltd.,
8 Anne's Lane, Dublin 2, Ireland.
Tel. (01) 771650/776921.
IRISH TRADITIONAL MUSIC ARCHIVE
TAISCE CHEOL DUCHAIS EIREANN
63
Merrion Square,
Dublin 2
Ireland
Tel.
Fax
Public Hours:
01- 619699
01-686260
10 - 1,
2 - 5, Monday to Friday
The Irish Traditional Music Archive is an archive and resource centre for the
traditional song, music and dance of Ireland.
Set up by the Arts Council/An Chomhairle Ealaion in 1987 and also supported
by the Arts Council of Northern Ireland, it is the first body to be
exclusively concerned with the making of a comprehensive reference
collection of materials for the appreciation and study of Irish traditional
music.
These materials include chiefly sound recordings, and also books,
manuscripts, periodicals, pamphlets, photographs and other illustrations,
films, vidoes, musical instruments, and ephemera such as catalogues,
posters, programmes, newspaper clippings etc.
A representative collection
of the traditional music of other countries is also being made.
The foundation of the Archive is the extensive Breandan Breathnach
Collection, made by the great expert in Irish traditional music who died in
1985.
This collection has been greatly added to by donation, copying and
purchase.
The Archive is situated at 63 Merrion Square, Dublin 2, and includes a
sound studio and a public access area for the audition and study of
materials.
The collection is open to the general public from 10 am - 1 pm
and 2 pm - 5 pm, Monday to Friday, or by arrangement.
Materials are for
reference only and items cannot be borrowed.
The copying of materials is
strictly in accordance with copyright law, and copyright clearance must be
arranged by users if necessary.
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11
Traditional music is a valuable part of historic Irish culture, and the
Archive aims to preserve this music and make it accessible by modern
archival methods.
New specialist systems have been devised for
classification, cataloguing and indexing.
All data is entered on computer
databases which allow comprehensive searching and speedy retrieval of
information.
Research has been undertaken in institutions in Ireland and
abroad to discover material, and a programme of copying has begun.
Traditional music is also a vigorous component of contemporary Irish
culture which enjoys widespread popularity even outside Ireland, and the
promotion and support of this aspect of the traditiona is also a function
of the Archive.
An especially important part of the Archive's work is
spreading a knowledge of traditional music in areas from which traditional
culture has disappeared, and this is being done by the support of informal
and formal educational institutions.
An information and advice service is
provided for the public library syste, arts centres, schools, and the
general public.
A register of traditional music events is kept.
The Archive is also acting as a focus of research into traditional music,
and advises researchers and collectors.
It has held conferences of active
field collectors who use audio, video and film.
It is co-operating with
research projects of other bodies engaged in related activities in Ireland
and in areas of Irish settlement abroad, and is a member of the
International Association of Sound Archives.
The first issues of a series of information leaflets [Nos. 1 and 2, dealing
with 'What is Irish Traditional Music ?' and 'Getting to hear Irish
Traditional Music', will appear in the next issue of IRTRAD.] , for students
and people coming to the music for the first time, have already appeared.
These deal with the nature and characteristics of Irish traditional music,
getting to hear the music, learning to perform it, and studying it, and are
available from the Archive.
The Archive, which is grant-aided by the Arts Council, has a staff of
three: Nicholas Carolan Administrator, Sadhbh Nic Ionraic Secretary, and
Kate 0' Dwyer Cataloguer.
Its operations are directed by a Board, appointed
by the Arts Council, which includes members with performing, collecting,
broadcasting and archival experience.
Members of the Board have included
Tom Munnelly Chairperson, Garech a Brun, Dr. Eamon de Buitlear, Ciaran
Cars on, Dr. Catherine Foley, Paddy Glackin, Cathal Goan, David Hammond, Ted
Hickey, Liam McNulty, Mary Mitchell, Terry Moylan, Naire Ni Chaoimh, Mattie
Joe Sheamais 0 Fatharta, Professor Breandan 0 Madagain, Dr. Micheal 0
Suilleabhain, Dr. Hugh Shields, Dr. Martin Stokes, Michael Tubridy and Dr.
Rionach Ui Ogain.
If you would like to support the Archive, you could
- donate materials of the types listed above
lend such materials for copying
supply information on any aspect of the music
- bring the Archive to the attention of potential supporters
- make a financial contribution either individually or by joining the
Friends of the Irish Traditional Music Archive.
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12
Friends of the Archive
For a minimum annual subscription of 5 pounds you can join the Friends of
the Irish Traditional Music Archive.
Members will be kept informed of the
development of the Archive, and can use its services and receive future
publications at a preferential rate.
Money donated is directed to various programmes as the donor wishes:
- Copying of unique,
rare and out-of-print materials in Irish sources
- Repatriation programme copying music materials held in archives outside
Ireland, especially those of Britain and North America
- Publishing and other special projects
- Purchase of currently available relevant materials
- General purposes
The Archive is an 'approved body' for receipt of tax-deductible donations
under the terms of the 1984 Finance Act.
Donations of sums from 100 pounds
to 10,000 pounds qualify for tax relief at the highest tax rate of the
donor.
For further information write to the Archive at
63 Merrion Square,
Dublin 2,
Ireland
Cuirtear failte i gconai roimh fhoisruchain as Gaeilge.
THE TRADITIONAL MUSIC ARCHIVE
UNIVERSITY COLLEGE, CORK
The Traditional Music Archive of University College, Cork houses some of the
oldest archival material in Ireland in that it houses the Henebry wax
cylinders.
These wax cylinders were collected by the Rev. Richard Henebry in
the early part of this century.
The archive houses more than 800 audio and
video tapes.
The audio recordings include wax cylinders, reel to reel tapes,
D.A.T. and cassette tapes.
The majority of these tapes contain original
field recordings.
The archive also houses old instruments, photographs,
periodicals, ephemera and more than 300 undergraduate and postgraduate
projects relating to Irish and World music.
Mary Mitchell is the acting archivist. The archive is at present undergoing
computerization.
The database system in use is called "INMAGIC PLUS" which
is a flexible and versatile database management system ideally suited for
this work.
This system is also used by 'The Irish Traditional Music Archive'
Dublin.
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13
From: IN%" RICHMOND@CFRVM. BITNET"
"John W. Richmond, Ph. D. (813) 974-2311"
13-JAN-1993 20: 33: 38.43
To:IN%"[email protected]"
"Multiple recipients of list MUSIC"
CC:
SUbj: 1994 World Conference of the International Society for
Music Education
Proposals are being sought currently from music scholars and performing
artists world-wide to present papers, clinics/workshops, and/or appear at a
poster session of the 1994 World Conference of the International Society for
Music Education, July 18-23, 1994, in Tampa, Florida, U.S.A. The theme of the
Conference is Mustcal Connections: Tradition and Change.
Further, musical groups and recitalists representing a broad range of musical
traditions are being sought for the Conference program to illustrate the
breadth of music-making from around the world. Groups presenting art music,
traditional and folk musics, ancient and/or contemporary musics, jazz, and
other musical styles are encouraged to apply. Ensembles invited to perform on
the Conference program will be encouraged to perform music by native
composers of the country from which the ensemble comes, and which illustrate
the evolution of musical traditions of that country.
The International Society for Music Education was formed by the United
Nations Educational, Scientific, and Cultural Organization (UNESCO), under
the auspices of the International Music Council, to "stimulate Music
Education throughout the world as an integral part of general education."
ISME accomplishes this goal through its biennial conferences, publications,
cooperation with national music education organizations, and the work of the
ISME Commissions (which address special interests in music education).
Prospective participants/performers are asked to submit their requests for
applications to the ISME Administrator no later than April 1, 1993. For
additional information and to obtain the name of the appropriate regional
ISME representative to whom application materials should be sent, contact:
Ms. Elizabeth Smith, ISME Administrator, Music Education Information and
Research Centre, University of Reading, Bulmershe Court, Reading RG6 1HY, UK;
Telephone +44-734-318846; FAX +44-734-318846 or 352080.
The 1994 World Conference of the International Society for Music Education is
being co-hosted by the University of South Florida and the City of Tampa.
Dr. John W. Richmond, University of South Florida, School of
Music FAH 110, 4202 E. Fowler Ave., Tampa, FL 33620-7350
BITNET: richmond@cfrvm INTERNET: [email protected]
From:IN%"[email protected]"
"Irish Traditional Music List"
11: 40: 00. 58
To: IN%"IRTRAD-L@IRLEARN. BITNET"
"Multiple Recipients of"
CC:
Subj:Defining "traditional" (was RE: musical politics)
14-JAN-1993
(I wrote and posted this tome two days ago in response to things Brendan
Page:
14
Halpin and Michael Newton had been saying.
somewhere, so I'm re-posting it now.)
Date: Tue, 12 Jan 1993 13: 33: 37 +0000
To: [email protected]
Subject: Defining "traditional" (was RE:
I think it got lost
musical politics)
live read Brendan and Michaelis comments on "traditional", and while
there's much I agree with, I still want to stick to my guns and say
that the only thing which uniquely identifies "traditional" in "Irish
traditional music" is playing or singing style -- though cultural and
social context certainly help shape what that style is.
"Traditional" means more than playing in a session down the pub. The
session is a relatively recent invention: it came in at Se an 0 Riada's
suggestion earlier this century. Previously, music was used solely for
dancing, and songs to entertain or inflate a patron's ego at his
expense. And there is nothing unique about traditional music in these
contexts -- modern rock & pop does much the same for most people in
our cultures nowadays, even if it is recorded and packaged up, and
rich people commission composers to write them classical music. Rock
and pop is heard in homes and pubs, and trad music in concert halls.
Nor can "traditional" refer to instruments already established in use
in the Irish tradition, since it's only the uilleann pipes and the
harp which have native Irish roots. The fiddle was imported from, er,
somewhere or other way back whenever. The flute came in as flute
design changed and well-off classical players began to cast off their
old wooden "simple system" flutes at bargain prices in exchange for
the new Boehm metal flutes. The accordion is a recent non-native
addition too, and I don't think there are many (may 0 Riada forgive
me) who'd dispute the fact that there are piles of accordion players
who produce great traditional music.
Bouzoukis, pianos, citterns and guitars are in a slightly odd
position, since -- generally -- they accompany the tune rather than
play it. That's new. As far as I know, in the olden days, just a
rhythmic melody line was used. The addition of harmony to accompany it
has come in as listening to the music rather than dancing to it has
become the main reason for music being played. Personally, I welcome
it: when I'm playing I enjoy the support of a good bouzouki or cittern
player. When tunes are played on plucked string instruments, though,
I find myself thinking that fiddles, pipes, and flutes have more scope
for decoration in their playing. (Brendan, I remember Dick Gaughan
put out an album full of guitar tunes some years back: I think
he succeeded in playing trad music, just as Brady and McGlynn do. )
"Traditional" must imply change as the years go by, as both Brendan
and Michael stressed.
Firstly because if it didn't, playing styles
would become fossilised, uncreative, and dead boring. Second, as
as social context changes (eg dancing --> listening at sessions),
the emphasis on what is required in the music changes too: it could just be
(that's a cue for a bit of waffle here) that modern playing is more
highly ornamented and rock-music influenced because the stress has
gone away from the necessity merely to provide strict tempo music for
dancers. And third, as different instruments become available to trad
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15
players, the different features of those instruments may influence the
style of the music produced -- for example, some decoration that's
straightforward on the fiddle, like a roll round a C, is next to
impossible on a flute or whistle (if it's Cl), and flute players use
half-notes (accidentals?) more often in their playing nowadays because
more flutes with keys that aren't knackered have become available.
It's the combination and re-combination of things like these that has
influenced what can still today be recognised as "traditional" music
style. Cultural and social things help shape changes, but ultimately
it's the culturally and socially influenced musicians and the styles
they choose to accept and produce who determine what "traditional
music" style is and how it remains different from other musical
styles.
As you said, Brendan, i t looks like synthesisers and electronic
instruments aren't going to be adopted into mainstream traditional
music -- for social reasons (they're impractical to carry around pubs
and houses, where most trad music goes on) and cultural reasons
(electronic instruments are perceived by many to be against the "back
to the roots" feel associated with traditional music). But as
electronic instruments change, who knows? It might be like the
introduction of the accordion all over again. Once more as Brendan
says, there are no musical reasons why they can't be adopted. And with
regard to Glackin & Jackson, I'd say that Glackin is "hardcore"
traditional, while Jackson varies between non-trad accompaniment and
tune-playing in a reasonably trad style.
Well, that's just my $1000.02 worth. Please feel free to go on
disagreeing if you like, Brendan & Michael.
Gavin
[email protected]
From:IN%"[email protected]"
"Irish Traditional Music List"
00: 11: 14.76
To: IN%"IRTRAD-L@IRLEARN. BITNET"
"Multiple Recipients of"
lS-JAN-1993
cc:
Subj:RE:
Defining "traditional"
(was RE:
musical politics)
Michael Newton ([email protected]) writes:
>
>
>
>
>
>
There is this idea that people tacitly accept that "things have to
change and adapt and evolve or they'd be dead".
Well, sorry folks,
but this is a belief we get from the "progressive" culture we live
in in the West in modern times, and is *not* something which is
found in more archaic cultures and ethnic groups, such as the very
ones from whom we are borrowing this music.
If you mean the old communities from which we get this music were
Page:
16
part of a society that was very stable and unchanging over a long
period, then (let's not pussyfoot) it's just so much bunk. (If
you're talking about an attitude to change, rather than the reality
of change, then it's different.) It's as if there's a time version
of ethnocentrism, where we look at the present and see how dynamic
and confusing it is, and see how impressive recent changes are, and
then we look at the past (of which we have very limited, filtered,
knowledge) and paint it as a contrast to the dynamism and change of
the present (sort of like "we're so cultured/they're so savage" vs.
"modern life is so fast/life in the past was so slow"). Of course
the past was different (no traffic jams, so maybe faster: -) ), but
in many respects it was less different than we think. Of course
there was change, of course there were new influences. The
development of the potato as a staple probably changed lives more
than industrialisation in the C20th, and the famine had a bigger
impact on the structure of Irish society than WWII did on English
society.
And even without macro-level changes like these, there will be
incidental on-going change: new instruments arrive and are
incorporated (e.g. the concertina), there's exposure to other forms
of music or dance -- the set is related to the quadrille, for
instance. And even in a hypothetical state of no external change
whatsoever, the re-creation of the music across the generations
will involve change, simply because of human individuality and
i nventi venes s.
There has never really been a time when change wasn't happenning,
even though the changes of the past may have been qualitatively
different from those of the present.
(Sorry for the hot air, but I've been writing about this issue all
day for my thesis. )
Brendan
PS: I'd prefer to think of the music as re-created, not borrowed.
If you can play it (even changing it, even on a guitar: -) ) or
appreciate it, then do! It's yours!
Brendan Halpin
Nuffield College
Oxford OX1 1NF
United Kingdom
Email:
Phone:
[email protected]
+44 865 278642 (work)
726758 (home)
PGP 2. 0 key on request
From:IN%"[email protected]"
"Irish Traditional Music List"
02: 03: 06. 28
To: IN%" IRTRAD-L@IRLEARN. BITNET"
"Multiple Recipients of"
CC:
Subj:RE: Defining "traditional" (was RE: musical politics)
On Thu,
Page:
17
14 Jan 93 17: 10: 08 +0000 Brendan Halpin said:
15-JAN-1993
>
>If you mean the old communities from which we get this music were
>part of a society that was very stable and unchanging over a long
>period, then (let's not pussyfoot) it's just so much bunk. (If
>you're talking about an attitude to change, rather than the reality
>of change, then it's different. )
My "knowledge," such as it is, of Celtic communities, is of an
outlier, Appalachia, "the mountainous backyards of several of our
Southern states," as William Goodell Frost, president of Berea (Ky.)
College, defined it, in 1893. More harm than good has been done by
stereotyping Appalachia as a land that time forgot. Such stereotyping
seems a myth-making necessity for those who would exploit (i.e.,
underdevelop) such regions. But stability and isolation and attitudes
toward change are relative.
Capitalism came late to most parts of
Appalachia. Largely preindustrial lifeways and attitudes meant that
older ways of music-making were not so much preserved (that implies
stasis) but developed appropriate to time and place.
So, for instance,
the archaic solo fiddle styles of Appalachia in the 19th century were
not so much a preservation of baroque practice as a conscious development
by great artists in the direction of a particular sound whose
possibilities were inherent in the past but did not emerge until
that time and place.
(For an example, hear Edden Hammons, a West
Virginia fiddler born 1874 who, among other things in his repertoire,
played "The Blackbird," and titled it "Queen of the Earth and Child of
the Stars.") I think that's how traditions work when they work well.
Best to all,
Jeff Titon
From:IN%"[email protected]" 16-JAN-1993 18: 36: 23.16
To:IN%"[email protected]"
"Multiple Recipients of"
CC:
Subj:RE: Defining "traditional" (was RE: musical politics)
On Jan 14,
5: 10pm, Brendan Halpin wrote:
> Michael Newton ([email protected]) writes:
> > ["Change or die" is our idea, because we have a culture that
> >
is "progressive"]
> If you mean the old communities from which we get this music were
> part of a society that was very stable and unchanging over a long
> period, then (let's not pussyfoot) it's just so much bunk. (If
I think you're just talking past each other.
There is a school of
thot that says the standard western, or maybe American, culture
has the idea of Progress built-in to it -- or at least into large
parts of it.
As a result we tend to think things MUST change.
However, this school contends that's not universal among all cultures.
As for the rest of the items you mention, so what if there's a lot of
random change in the scenery? What is important is whether the
musical culture has a consensus that change is a good or bad thing, &
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how it accepts & adapts to new conditions.
it adopts the idea of progress itself.
Or, maybe, to what extent
> There has never really been a time when change wasn' t happenning,
> even though the changes of the past may have been qualitatively
> different from those of the present.
And quantitatively different.
Have a look at Breandan Breathnach/s
book for example.
Over a long period of time -- the 1200/s to the
18th century -- the few descriptions of Irish music that exist are
more or less consistent with each other.
The same few instruments are
mentioned, & the same kinds of comments are made about the styles of
playing.
The fiddle may not have arrived until the 1500 / s or 1600 / s.
It isn/t really until the 20th century that all the new instruments
get used, is it? Is there another time when so much cross-cultural
mixing has taken place? I don/t know that this means Irish traditional
music is conservative by nature; perhaps it/s a question of opportunity.
However the example you cited of set dancing coming from quadrilles
does suggest that the tradition will do some pretty extensive
refurbishing of any new ideas it imports.
HUMOUR
From:
IN%"[email protected]"
"Irish Traditional Music List" 19-JAN- 1993
13: 57: 49.64
To: IN%" IRTRAD-L@IRLEARN. BITNET"
"Multiple Recipients of"
cc:
SUbj: 10 Disgusting Things Ir Trad Flute Players Do
10 Disgusting Things Irish Traditional Flute Players Do
1.
Eat crsips immediately before playing, subsequently splattering
those nearby with bits of chewed soggy potato.
2.
Blow hard down the flute at irregular but frequent intervals so that
the accumulated wet gunge goes on people's shoes (or earholes or other
orifices, depending on the angle of the flute).
3.
While playing, hold the end of the flute over people's pints of
beer and cups of tea so the wet gunge drips slowly into the glass
or cup as playing progresses. (Best done to other players' drinks,
as they don't notice till it's too late.)
4.
Between tunes, bounce the end of the flute gently on the knee so
that the gunge runs out and leaves a soggy wet patch on their trounsers.
5.
Insult fiddle players for playing tunes with notes lower than
bottom D or C in (not disgusting unless you're a fiddle player) .
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6.
Insert a peanut at the embouchure of the flute, close all holes,
point flute at nearby dog or other pet as available, then blow hard.
A successful strike on the dog/pet often depends on the blood/alcohol
level of the flute player. Flute players with Low C# and C keys are
reccomended to close those keys for that little extra accuracy and
a slight but satisfying "zing".
7.
As 6, except flute player mimes tune-playing for a few minutes
after inserting the peanut. Then the aim can be at, say, a fiddle
player doing tunes with too many low notes. After blowing, resume
the mime/play position immediately so the fiddle player hasn't a clue
where the attack came from. Repeat as necessary.
8.
Try to rob drink from bars by pretending flute is the barrel of
an antique gun and pointing it at bar staff (seldom succesful).
9.
Use cork grease for <CENSORED>.
10.
Regularly smear flute with rancid oil (preferably oil from a
tin of sardines past its use-by date) This also enhances the
level of disgustingness acheived under items 2, 3, and 4.
The Flute:
truly Irish Traditional Music's most disgusting instrument.
Gavin
[email protected]
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