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Seán Ó Riada, Ceoltóirí Cualann and Irish Traditional Music

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Seán Ó Riada, Ceoltóirí Cualann and Irish Traditional Music Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title A new model: Seán Ó Riada, Ceoltóirí Cualann and Irish traditional music Author(s) Egan, Malachy Bernard Publication Date 2020-07-19 Publisher NUI Galway Item record http://hdl.handle.net/10379/16170 Downloaded 2021-09-28T05:23:02Z Some rights reserved. For more information, please see the item record link above. A New Model: Seán Ó Riada, Ceoltóirí Cualann and Irish Traditional Music _________________________________________ Malachy Bernard Egan Submitted for the Degree of Ph.D. to the National University of Ireland, Galway Research Supervisor: Dr. Méabh Ní Fhuartháin Centre for Irish Studies School of Geography, Archaeology, and Irish Studies College of Arts, Social Sciences, and Celtic Studies National University of Ireland, Galway July 2020 Abstract Doctoral Thesis Title: A New Model: Seán Ó Riada, Ceoltóirí Cualann and Irish Traditional Music Volumes: 1 Author: Malachy Bernard Egan Supervisor: Dr. Méabh Ní Fhuartháin Discipline: Irish Studies School: School of Geography, Archaeology, and Irish Studies University: National University of Ireland, Galway Submitted: July 2020 This interdisciplinary thesis examines the history of Seán Ó Riada’s traditional ensemble Ceoltóirí Cualann and investigates the significance of the new group model for Irish traditional music that Ó Riada developed from 1960-1970. In particular, this study identifies Ceoltóirí Cualann as a demonstration of Ó Riada’s methodological approach to Irish traditional music. The history of ensemble performance within traditional music in Ireland is encapsulated by the various groups that emerge over the course of the twentieth century, particularly the varied models that develop from the 1960s onward. It is also a period in which the first generation to be born post-independence are redefining their cultural identity within the Irish Free State. Ó Riada’s position within such a generation, and the modes of expression he utilises as part of that process, is a central feature of this study. As part of this thesis, an interdisciplinary theoretical model is employed in which the opening two chapters outline a concise history and chronology of events; which is then followed by an evaluation of both the music and methodology adopted by Ó Riada in the remaining chapters. By identifying the formation of Ceoltóirí Cualann as a significant moment, this thesis explores the manner in which the group was formed, the direction they undertook, and the wider place of Ceoltóirí Cualann within Irish cultural life. This theoretical framework expands the epistemological field of Irish Studies, as well as drawing from the disciplines of cultural history, music studies and social geography. By adopting such a structure, it paves the way for further research in related fields. A New Model: Seán Ó Riada, Ceoltóirí Cualann and Irish Traditional Music Table of Contents Acknowledgements Introduction 1 Chapter 1 Seán Ó Riada and Irish Traditional Music 9 Chapter 2 Setting the Stage: Developing the Ceoltóirí Cualann Model 50 Chapter 3 ‘The Cualann Sound’: Recordings and Impact 86 Chapter 4 A New Model: Innovation and Reception 115 Conclusion 163 Bibliography 170 Acknowledgements Ní neart go cur le chéile As a postgraduate student in 2013, I attended a workshop for those who were interested in undertaking a PhD. As part of the discussion that day, the value of a strong support network was emphasised if we followed such a path. As I think back over the last number of years, I now fully appreciate those words of advice as I reflect on all who supported me along the way. Since the very outset of my PhD, I have been lucky to have the unwavering support of my supervisor, Dr Méabh Ní Fhuartháin, who guided and encouraged me every step of the journey. I will forever be grateful for her valued guidance, enthusiasm for the project and good humour over the last number of years. Thank you Méabh. I am deeply indebted to the Centre for Irish Studies for providing academic, pastoral, and financial support throughout my research; all of which was crucial to the successful completion of this thesis. For me, the Centre for Irish Studies is best described as a community, one that provides researchers with a rigorous but friendly academic environment through the support of staff and fellow students. A special word of thanks to the coordinator of the PhD programme, Professor Louis de Paor, for his encouragement, academic guidance and for providing a vibrant PhD support system that facilitates the intellectual development of all students. This sense of community is epitomised by the atmosphere that is fostered by all members of staff and I am grateful for their support, and chats, over the last few years. Alongside Méabh and Louis, many thanks to Dr Verena Commins, Dr Nessa Cronin and Dr Leo Keohane. A special word of thanks to Samantha Williams who ensures that every aspect of the Centre runs so smoothy and is always at hand when we knock on her door with a problem for her to solve! Alongside staff, I have benefited from the friendship and support of my fellow PhD students, past and present, over the last five years. In particular, this was epitomised at Meitheal, the Irish Studies Postgraduate Reading Group based at the Centre. By presenting my work as part of this forum, receiving valuable feedback, and discussing the vibrant research being undertaken by my colleagues, it was an invaluable environment throughout my PhD journey. In addition, the Irish Studies Seminar Series and Comhrá Cheoil, the Irish Music Studies reading group, provided further opportunities for discussion and debate which was both beneficial to my own work, and broadened my academic skills through the range of topics we discussed. I would also like to thank members of my Graduate Research Committee in the Centre, who provided such valuable advice over the last five years. I greatly appreciated the space I was given to discuss every aspect of my project, as well as research issues that arose, during our annual meetings. Thank you to the current members of my GRC, Professor Louis de Paor, Dr Verena Commins and Professor Sean Ryder; as well as previous members Professor Lillis Ó Laoire and Dr Tony Varley. At the core of this project is the ensemble Ceoltóirí Cualann and the history of the group throughout the 1960s. Although my research uncovered various interpretations of the ensemble template in both primary and secondary sources, I am extremely grateful to Paddy Moloney, Seán Ó Sé and Michael Tubridy for giving of their time to meet and discuss their experiences. Finally, I would like to acknowledge the contribution of my parents, who have supported and encouraged me throughout my entire education. My mother, Marian, has been a wonderful support and friend throughout this project, particularly this last year as I approached the finish line. It is with deep regret that my father, Malachy snr., is no longer with us to see this thesis completed, particularly as he was so proud when I first embarked on this journey. Passing away in October 2015, his encouragement and memory has guided me through these last few years. I would like to dedicate this thesis to his memory. A New Model: Seán Ó Riada, Ceoltóirí Cualann and Irish Traditional Music Introduction Seán Ó Riada’s [1931-1971] work within Irish traditional music, and the manner in which he utilised group performance to explore wider debates within the genre, form the basis for this thesis. The aim of this study is to chart the history of Ó Riada’s traditional ensemble Ceoltóirí Cualann,1 evaluate the significance of the new template, and redress the lack of a comprehensive evaluation of Ó Riada’s methodological approach towards Irish traditional music. Ceoltóirí Cualann represents the beginning of a period in which ensemble performance within Irish traditional music expanded through modes of production, presentation, and repertoire. By identifying the formation of the group as a significant moment, this thesis argues that the development of Ceoltóirí Cualann represents a demonstration of Ó Riada’s methodological approach to Irish traditional music. As will be outlined throughout this study, Ó Riada engages in two interlinking processes as part of his direction of Ceoltóirí Cualann which form central elements of his engagement with Irish traditional music. Firstly, the development of a distinctive ensemble model for Irish traditional music, as distinguished by Ó Riada’s choice of repertoire and production of Ceoltóirí Cualann; and secondly, the manner in which Ó Riada treats his new group template as a medium to express his own musical ideas, rather than operating Ceoltóirí Cualann as a conventional musical band. The changing nature of group performance within Irish traditional music during the second half of the twentieth century defines the variety of new ensembles that emerge in Ireland throughout the 1960s, 1970s and 1980s. These group models are defined not only by musical features, such as repertoire and performance techniques, but also by their production on stage and through recorded albums. Defining what 1 For the purposes of this thesis, the spelling of ‘Ceoltóirí Cualann’ does not include a séimhiú (Ceoltóirí Chualann). Although a séimhiú is common in secondary material, its exclusion is notable within primary sources. From examining Ó Riada's papers, the use of both is obvious across articles, album covers and newspaper reviews. By not including a séimhiú, this thesis asserts that 'Ceoltóirí Cualann' is an accurate historical depiction of the original development of the group due to the lack of a séimhiú in the majority of primary sources. It is also to be noted that Tomás Ó Canainn, who also referenced primary material from the 1960s, consistently did not include a séimhiú in ‘Ceoltóirí Cualann’ throughout his published biography of Ó Riada.
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