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From: IN%"[email protected]" 4-FEB-1993 22: 40: 05. 96 To: IN%" IRTRAD-L@irlearn. ucd. ie" CC:
,-
"Irish Traditional Music List"
"Multiple Recipients of"
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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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, Liam Og O'Flynn
Claddagh Records CCF30CD, 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 three musicians and their approach to traditional music. refer to the fact that this one hour video is available, 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
a film about the The sleeve notes
but as yet I don't
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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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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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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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. Venezuela 2. Miracles 3. a) Factory Girl
b) Same Old Man 4. Stormy Weather 5. Alice in Jericho 6. Fanny Hawke 7. It's Really pouring 8. Two of Us 9. Amiens 10. Red Dust 11. Dreams in the Morning 12. 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:
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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.
IRISH TRADITIONAL MUSIC ARCHIVE
TAISCE CHEOL DUCHAIS EIREANN
63 Merrion Square, Dublin 2 Ireland
Tel. 01- 619699 Fax 01-686260
Tel. (01) 771650/776921.
Public Hours: 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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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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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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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" 14-JAN-1993 11: 40: 00. 58 To: IN%"IRTRAD-L@IRLEARN. BITNET" "Multiple Recipients of" CC: Subj:Defining "traditional" (was RE: musical politics)
(I wrote and posted this tome two days ago in response to things Brendan
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Halpin and Michael Newton had been saying. I think it got lost 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: 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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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, it 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" lS-JAN-1993 00: 11: 14.76 To: IN%"IRTRAD-L@IRLEARN. BITNET" "Multiple Recipients of" 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
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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: [email protected] Phone: +44 865 278642 (work)
726758 (home) PGP 2. 0 key on request
From:IN%"[email protected]" "Irish Traditional Music List" 15-JAN-1993 02: 03: 06. 28 To: IN%" IRTRAD-L@IRLEARN. BITNET" "Multiple Recipients of" CC: Subj:RE: Defining "traditional" (was RE: musical politics)
On Thu, 14 Jan 93 17: 10: 08 +0000 Brendan Halpin said:
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> >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. Or, maybe, to what extent it adopts the idea of progress itself.
> 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] ------ - --- - ----- - ---------------END----------------------------------- - ------
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