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Ceol Tíre 21 21 Cbv."a nn Cb.01 TIr. hreann N• .,l.thr of tbe Folk 1Iv.e1c Soc!..t, of Ireland Beal taine ,., , o , T , , T Rs c.nt ".etingtl' 1I01i nahed' e Chronicles pl\ge 2 'Pi pe r s 1n London' , "hlk e r' . Hi bernian )fagaloine' ) '.s1:l11 folk .. v.~lc ' ) 'Fa ulkner' " Jov.rne l' 6 '1Iv..10 on t .. o flutes ' 6 'Dubltn Cour"nt' 1 'C~ercial recordine of B wehh Folk-Song Society lO Irisb trad itional ..uaic' Diecoer'"phy 10 Selllinar, 'Rel1g10v.. f olk song' : 'Tbe r ilel tn.di tion'. concert 17 '}!v.sic of reUgious son gs 11 i n lr18h' ' C.ol ' Y, 2 18 'Scotthb Ceel1 c pe .. 1.,,, ' 12 lilUe Clancy SlmVll e r School 19 Eaeter ph, 14 ' B:reton Nativity song' Id Na Ploba!.r! Ullleann 19 ' Bar dic religlov.s bymn e.nd 15 ' War acmga of tba O'By:rn ea ' 19 Ita ,"uetc ' Art, Council 20 Discussion 16 Bro.de.!.de ' b.llads' 17 'Tba long note' :Xl Sonea by Psddy Tunney 11 A. C. 11. 1982 :Xl Tbe nut .... ting will b. a Double B I. 1 1 , ~lNl'RODUCl' I OJl TH E FOR D E COL L E C T 1 0 II ~ C , , , , h • 1 l " " l i , 8 art,,1 "T , , FE , S C 'Cl , , , , S , , OS I Coo " I' , , e .. n d i " " 8 1\ t b n "' , SaturdeJ' 22 lI.ay 19B2 lit Bp . ... , 15 Henri ll tb St DUBLlIf 1 For l h .. l ..s t mee ting of the seaaon eee las t page , "Pi rerr< , " Lo n do n" f' I l' FR S I , I,O NDON Th ~ 1";; )- :(' "e~ " on ... a t. he(,.. m in tt,e Arts Building , 1'r1n1 t )' Colle ::~ , Dublin, on 3 Octobe r 1981 with " sboldng of the 001- Our v; rle otll"e Pipers in Lonao'l given in associat ion with tI,e Denn rtm .. nt of Irish in the college. The tal'<! 0;'11." recorded in Batt e rsea , 1.0ndoll, during the 'Sells" of lrelend' f estiva l ..hen fClf Over thre" weeks Na P{oh/lir{ Uilleann , the soci ety of uil­ l eann 1'1 pers, took OveT the Batters"'a Arts Ce n t re, mOUllting !! T'iping exhibi ti on "nd reci t als "nd ettr!lcting piPin g enthusi­ !lsts of every denomination from ell over Bri t "in , ae ~ell ae lOcal ~chool ohildren and residents . Tho e~hibltion oond"ted of h'el ve s e ts of pipes , sh old ones on loen from t he National Museum !lnd sir modern I ear ly iconoe r aphic and modern photographi c displays ; and demonstra­ tions of p1Pe-mnJcing and r ee d-ma king. There w", .. casu"l un­ schfldu1ed piping during t he day , recitals at 1unch- ti."1 e an d at nig ht , "nd a concert t o finish. AS 1I'ell es evokin/,\' t his varied activity, the taPe contains an introduction t o the inst ru"'ent by Breandan Breathnach , de­ monstrations of the skills 01 pipe and reed-making by Dan O'Dowd , snd p1ayin/,\' by Jimmy O' Brien-Moran, Paddy Keen an, Li.am 6 Ploinn . IInd Seamus Enn!s. (See also no 16) In the IInme moneth [May 15~~11l1so pa!lsed through the <:it­ io of London in warlike manner, to th<! number of seevon hundrocl. Irishmen , having for their wellPons darts and hnnguns .l'ith bagpipes before them: and 1n St Jllmes Park b<!~i~es W<!!ltminster the,Y mustered before the Kin B' . - Holin5hecl.'s Chronicles (in Ceol V i , 1981 , 22) C e 0 I T { r e 21 1 Courten"y tho celebrntod performer on tbe Irish pipos died lately in London of a droPey whicb. be wae uupposed to have contractod by hard dri.nk i ng. 'I'he body was interred in tbe churchyard of St blncras. 'I'he procoosion that attended tbe body wao exceedingly numerous. The number of those in mourning could not be lesa than 80 or 90 couples , who were preceded by two Iri oh piPers, one of whom played on the Union Pi Pee uBed fo""erly with such wonderful effect by Lbe deceased. All the expenses of the funeral were defrayed by CaPtain Leeson, into wbose corps be had some time since en­ listed a nd been appointed a ser geant. - Walker' s Ulbernian magazine Dublin 1794, P. 287 W E L S U F 0 L K LI U SIC Tbo folk music of en other country io alwaYs of in t erest, bOLb for its own Bak e and f'or the lig bt thrown on our muaic. When the country io our close Celtic neighbour thie intereot ia especially keen. D. Ray Saor, flond of tbe Folkloro Dept in the Welsh Folk Museum, Cardiff, presented an illuminating sur­ vey of Welsh f olk music at a meeting on 14 November in Bus­ well'e Hotel, Dublin . Mr Saer joined the Museum in the early 1960s and since tben be hae collected ex t ensively from Welab­ l anguage eingere . He is ed! tor of the Welsh Folk Song fuc1ety Journal and has publiahed a collection of songs from oral tra­ dition snd articles on Carol singing . Ch the evidence of twentieth-century recordings tbe Irish and Welsb ethnic vocal traditions a re s trikingly dissimilar. The styl e of WelR~16n guaee singers recorded in the field does not greatly alter that impression . Whether male or fema-Ie tbey have large resonant voices, pitched low, with forceful projection, often e lot of vibrato , and a leisurely tempo. "'11' e 1 " h f 0 1 k lII u s i c" lJynsml<: va riation end ftn c, nim.'\htd emoHon,,} deHve ry li r e comm­ On . IIhytlat e Pa U ernB a r e Bimple end melodJ' 11ne" undecor at­ ed. There 111 litt le rubato. Th ere i " , howeve r, eom e evidence thftt before 1650 t he t wo t rftditlcma we r e IOo re alike . .e16h alnging la'Iderwent !I dr..... '""" tic ch ~nf: e In the Vlctorlftn Period . This W(1.8 brought about by ths promotion of con6Tegll tlona l a ingi ng In the eervice" and f en tivah of t he Hon-Con fol1lli et Chapel, the church o f !no"t l 'e18h spe/l.kers. The Ideal W/l.II dow, firmly projected , uniform s ing ing direc ted by a pr ecentor. Variation wc,,, f or­ b idden. Slurring "nd nll$a llty were to be eradicated . The i n­ troduction of tonic eolf" In the ch"pel-based char,.} eoo i~ ties f rom 1661 brought sbout wl deepr ead mU ll lcal I lterlloy. The oral w~a deprecieted , and by th't end of the century the bulk of the nati on wall wlIII vllreed i n the traditl0ll9 of er t lIuslc. The Elnteddfod movement , beSlnnlng In 1615 ftnd oPerating from vilh,r,c to notlon,, 1 level , fo~t o red a ge l f-consciou9 and for.,.. 81 at t itude t o lIulIlc-m"klng throue:h the anll1.J'aee And pro­ nounce .. entn of 1 te adjudicator s. Seculsr singing even In the or ll l t radition wss e ffected. Tbe r e is plentJ' of eighteenth and nlneteentb-centurJ' evi­ dence of ethnically dietlnc tlve , or llll,1 tr"nsmiUed IIO nga which l'I\o s ed from region to reGion and deve l oped 10clll veri­ IIntll. Such nre o Ull ~o be found in lIIanuacrl pt, In t he .ehb Polk Rong Socte tJ' Journal , and In the BBC and WPM " rehivee . Love eong" predo.. l n"te, ... 1 th som" humorous longs IInd quite (I few rltu~ 1 sel\90nsl e0ll8a. "ela~l",ngu"e:e 00llg<! Are IOO" U.v IJ' r lc"} l l ong na rr" tive bsll"ds li r e rare. Homo formo of tradltl on{l. l olnglng "ere pr ee erved by Church ,,"d oh"pel. The tr(ldltton of cnrol Ring ing wna verJ' vlgofou" in th". ch ... peh of North "nleo , wh i ch h"d unique enrlJ' 1I0 rnlng (5 o 'c.) enrol services . The r eol htton of blhlicel texta to C e 0 1 T { l' e , orally received 'tunes' in t~e Sunday schools may be medievel in o r igin . Hwyl , the me lodic chanting of t he ~ore emotional Pa rts of a sermon. is a t leaet aB old as the eighteenth cen­ tury. The eiateddfodllu preeerved p eni l1~ singing , the d nging of traditional utaJIzas t o harp accompaniment. Originally the si nge r .se re ~u ired to match his vers es spontaneously to any tWle the ha r per might play . but no'. tile proCtlss is formali sed and complex har moni sed a rrangemen t s ar e tbe rule. Tbe ins tru~ental tradition withered with the sln~ng and in so:!!e places disappeared . The medieval beI'dic tradit i on r e coS"" ni eed tile hlyn and the c"th - the lIat'P and the crowd _ but botb declined with t he end ing of arietocratic patronaa' in the eigh t een th century , and the ha rp, having changed trom a Gotllic to the l a r ge triple harp form do~lnant in North Wales, only eurvived because of the elsteddfodau .
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