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Thomas Kernan and the Fiddle Traditions of the Conmhaicne Region: a Critical Analysis of Selected Fiddle Sources 1844 to 1973

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Thomas Kernan and the Fiddle Traditions of the Conmhaicne Region: a Critical Analysis of Selected Fiddle Sources 1844 to 1973 Thomas Kernan and the fiddle traditions of the Conmhaicne region: a critical analysis of selected fiddle sources 1844 to 1973 Conor Ward, B.Comm., H.Dip. Ed., FCCA Thesis presented for the award of Doctor of Philosophy (PhD) Dundalk Institute of Technology Supervisors: Dr Daithí Kearney Dr Eibhlís Farrell Department of Creative Arts, Media and Music June 2018 Submitted to Dundalk Institute of Technology i Declaration We, the undersigned declare that this thesis entitled Thomas Kernan and the fiddle traditions of the Conmhaicne region: a critical analysis of selected fiddle sources 1844 to 1973 is entirely the author’s own work and has not been taken from the work of others, except as cited and acknowledged within the text. The thesis has been prepared according to the regulations of Dundalk Institute of Technology and has not been submitted in whole or in part for an award in this or any other institution. Author Name: Conor Ward Author Signature: Date: 09/05/2019 Supervisor Name: Dr Daithí Kearney Supervisor Signature: Date: 09/05/2019 ii Contents Page Declaration............................................................................................................................. ii Contents................................................................................................................................. iii Abstract.................................................................................................................................. ix Acknowledgements................................................................................................................ x Index of Figures..................................................................................................................... xii Index of Tables...................................................................................................................... xvii Index of Plates........................................................................................................................xx Chapter One – Introduction............................................................................................... 1 1.1 Introduction...................................................................................................................... 2 1.2 Rationale......................................................................................................................... 3 1.3 Aims of the research........................................................................................................ 5 1.4 Principal research questions............................................................................................ 5 1.5 Chapter outline.................................................................................................................6 1.6 Literature review..............................................................................................................11 1.7 Methodology ...................................................................................................................35 Part One Chapter Two – Locating Kernan’s music......................................................................... 54 2.1 Introduction...................................................................................................................... 55 2.2 Conmhaicne: region, culture and people......................................................................... 56 2.3 The earlier harping and piping traditions........................................................................ 61 2.4 Thomas Kernan (c1807-1887)……................................................................................ 65 iii 2.5 Historical collections of Conmhaicne music …………………………………….......... 69 2.6 Conclusion....................................................................................................................... 80 Chapter Three – The evolution of fiddle music in Conmhaicne..................................... 82 3.1 Introduction..................................................................................................................... 83 3.2 The arrival of the fiddle in Ireland.................................................................................. 83 3.3 The arrival of the fiddle in Kernan’s birthplace……….................................................. 84 3.4 Kernan’s blindness.......................................................................................................... 86 3.5 Kernan’s first students..................................................................................................... 87 3.6 Rapid growth: the creation of local fiddle clusters.......................................................... 92 3.7 Cultural nationalism in Conmhaicne............................................................................... 102 3.8 Decline of the fiddle tradition in Conmhaicne in the twentieth century......................... 103 3.9 Fr John Quinn and revival efforts................................................................................... 111 3.10 Conclusion..................................................................................................................... 114 Part Two Chapter Four – The Leonard-Kernan MS (1844-c1850)................................................ 116 4.1 Introduction..................................................................................................................... 117 4.2 Provenance: ‘fiddler on the roof’................................................................................... 118 4.3 Michael Leonard (c1835-1886) ...................................................................................... 120 4.4 Manuscript construction and layout................................................................................ 121 4.5 Chronology of manuscript............................................................................................... 127 4.6 Use of printed material.....................................................................................................131 iv 4.7 Motives............................................................................................................................ 133 4.8 Scribes............................................................................................................................ 136 4.9 Cultural imprint............................................................................................................. 139 4.10 Repertoire...................................................................................................................... 140 4.11 Kernan’s music: the early stage of modern Irish traditional music............................... 150 4.12 Music-making in the 1800s: reception and audience…………………………….…… 152 4.13 Conclusion..................................................................................................................... 156 Chapter Five – The McBrien-Rogers MS (c1900-c1950)................................................. 159 5.1 Introduction...................................................................................................................... 160 5.2 Provenance....................................................................................................................... 161 5.3 Manuscript construction and layout................................................................................ 164 5.4 Printed material in the collection..................................................................................... 167 5.5 Scribes.............................................................................................................................. 168 5.6 Sources of repertoire........................................................................................................ 171 5.7 Chronology of manuscript............................................................................................ 191 5.8 Conclusion..................................................................................................................... 192 Chapter Six – The Larry Smyth MS (c1900)................................................................... 194 6.1 Introduction...................................................................................................................... 195 6.2 Provenance of manuscript............................................................................................... 197 6.3 Lawrence Smyth (1866-1930)........................................................................................ 198 6.4 Manuscript construction and layout................................................................................ 199 6.5 Scribes.............................................................................................................................. 201 v 6.6 Sources of repertoire....................................................................................................... 202 6.7 Methods of transmission.................................................................................................. 205 6.8 Chronology of manuscript............................................................................................... 205 6.9 Repertoire........................................................................................................................ 209 6.10 Dissemination...............................................................................................................
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