HUP! 1 The Presence of Virtuosity in Irish Traditional Music Kieran McCarthy Fell University of North Carolina at Chapel Hill Faculty Mentor: Brooks de Wetter-Smith University of North Carolina at Chapel Hill ABSTRACT In April 2013, I designed a research project to explore connections between classical flute playing and Irish traditional music. I hoped to discover if learning traditional flute and under- standing its surrounding musical culture could positively affect my classical flute studies. The information I collected provided the basis for this paper, in which several parameters for the term “virtuosity” are defined and analyzed in relation to Irish traditional instrumental music. These parameters were chosen using articles from scholarly journals that examine characteris- tics of virtuosity beyond exceptional technical facility. Such characteristics include a perform- er’s emotional impact, musical creativity, and the ability to think critically about his or her music. Additional aspects of virtuosity that were considered were: recognition from others in the field of Irish traditional music; the presence of competition; the dedication necessary to be considered an authority capable of expanding the musical style; and the performance longevity as an individual or group to influence the genre for an extended period of time. irtuosity was first defined toward the end Such traits might be viewed as contradictory Vof the seventeenth century as an excess to virtuosity, if one acknowledges only the of natural proficiency that sets one apart from Merriam-Webster Dictionary definition, but others in his or her field2. A standard defini- virtuosity has been analyzed through many tion today is “great ability or skill shown by a lenses. Upon deeper investigation, it becomes musician, performer, etc.”3 This explanation evident that Irish music possesses not only implies dazzling mastery of one’s instrument the “pyrotechnics”4 suggested by the basic and thrilling spontaneity in performance. A definition, but also other characteristics that commonly held belief is that technical prow- are essential to a multilayered understanding ess is the only factor taken into account. of the concept of virtuosity. Some elements of Irish music fit the narrow Examining diverse aspects of music and confines of this idea, while others demon- performance will help to construct a more strate consistency, stability, and resilience holistic view of virtuosity. For example, the of a musical genre or performer over time. basic description above may be expanded to 1 “Hup” is often used to indicate an upcoming transition from the current tune into another. Other players either are familiar with the new tune and join in after the first few notes, or don’t, and wait for the next tune or set. 2 Marc Pincherle. “Virtuosity,” 3 Merriam-Webster Online Dictionary. http://www.merriam-webster.com/dictionary/virtuosity (accessed April 29, 2014). 4 William F. Apthorp. “The Virtuoso and the Public,” Musical World 57, no. 11 (March 1879): 167. 5 Vernon A. Howard. “Virtuosity as a Performance Concept,” Philosophy of Music Education Review 5, no. 1 (Spring 1997): 43 http://www.jstor.org/stable/40495412 (accessed 8/22/2013). 1 Explorations |Humanities and Fine Arts include personal style and “meaning-mak- parameters for virtuosity outlined above, it ing.”5 Vernon A. Howard presents the idea would be beneficial to have some insight into that virtuosic performances are interpretive its essential components. For example, ITM realizations. They do not merely reproduce and Irish dance12 are closely linked. This previous renditions of a work6 but require means that steady rhythm is crucial. individual creativity and convey emotion. He asserts that a performer must have the ability Having good dancers to play for was vital to think critically about music. The performer for the band’s lift and rhythm… ‘We looked should understand the background and tra- out for one good group of set dancers…and we played to [them] all evening…As long as dition within the genre, and should be able 13 to explain how and why he or she produces they kept dancing, we kept playing.’ music in a particular manner. Howard also establishes that to be considered a virtuoso, Another indispensible element is a performer or group needs recognition from ornamentation. an audience “comprised not only of…specta- The traditional tune itself operates only as a tors, but also critics, colleagues, and institu- melodic outline…it is incomplete. The degree tions that judge the quality of performances of variation and ornamentation that occurs 7 and performers in the relevant domain.” in…performance is its defining characteris- Like Howard, author Marc Pincherle con- tic. The execution…is heavily dependent on siders competition and virtuosity to be natu- the skill and…imagination of the player…In ral companions.8 He also poses the idea that this way each time a player plays a tune…it virtuosi are influential to the musical tradi- will differ very subtly from the last time…14 tion in which they perform, stating, “Music is indebted to virtuosi and improvisation.” He As a mere framework for an individual believes that the title “virtuoso” carries a re- performer’s interpretation, a tune would be sponsibility to advance and expand a musical unornamented only when played by a be- genre,9 requiring that the musician so titled ginner. It is much simpler to learn the basic be considered an authority in his or her field. melody and add variations as the player im- This position is attained with dedication and proves than to try to include such elements time. Piano virtuoso Jeremy Denk addresses immediately. the need for both when he discusses attention There are several ways to incorporate or- to detail and commitment in players who are namentations in trad. Triplets may replace considered virtuosi.10 Classical voice profes- a quarter note or eighth notes, trills may be sor Louise Toppin11 names “staying power” added, or a dotted quarter note may be inter- as a necessary characteristic of virtuosity. rupted with triple tonguing. Other variations She defines this as a career of a performer involve slight melodic alterations, such as or group with consistent performing en- playing in thirds to the other musicians or us- gagements over an extended period of time. ing quintessentially Irish ornaments: the cut, Each of these criteria for virtuosity will be tap, roll, and cran. A cut starts on the main assessed to determine its relationship to Irish melody note, goes up a step, then quickly re- traditional instrumental music, also referred turns to the main note. A tap is the opposite to as “ITM” or “trad.” of a cut; starting on the main note, it quickly Before exploring ITM in relation to the goes down a step before returning. A roll 6 Ibid, 45. 12 Visit http://www.youtube.com/watch?v=hY_4uK5VSdM for an 7 Ibid, 49. example of Irish dancing. 8 Pincherle, “Virtuosity.” 13 P.J. Curtis quotes Kitty Linnane, Notes from the Heart: A 9 Ibid. Celebration of Traditional Irish Music (Dublin: Torc, 1995), 120. 10 Jeremy Denk video interview https://www.youtube.com/ 14 Nuala O’Connor, Bringing It All Back Home: The Influence of Irish watch?v=MThqIWwzL78 00:39 – 1:19. Music (London: BBC Books, 1991), 3-4. 11 For more information on professor Louise Toppin, visit: https://music. unc.edu/facstaff/toppin or http://louisetoppin.com/ 2 Kieran McCarthy Fell is cut-then-tap in quick succession. A cran members, peers, and spectators. During my warbles, varying the quality of the main note. independent research project in summer Technically, it is a series of 2 or 3 cuts that 2013, I attended the County Limerick fleadh result in 5- or 7-note crans, respectively. It to observe an event for solo flute players be- takes practice to incorporate these ornaments tween the ages of 12 and 15. After each had organically, and their use is a mark of a ca- played a set21, the two judges discussed pri- pable trad musician. The number and type vately to choose first, second, and third place. selected for any given tune is an indication of They explained the criteria for placement to the musician’s individual style. the players and the audience before announc- Some critics of virtuosity cling to the idea ing the winners. The requirement that stood that it refers solely to technique, and that mu- out most to me was the development of in- sic performed by a virtuoso will be subjected dividual style. The judges stated that by age entirely to his or her whim. They argue that 12, a competing musician should have an the mark of a true musician lies in allowing emergent personal flair that is evident to a the composer’s essence to speak,15 rather seasoned listener. The presence of individual than impressing an audience with technical creativity in a competitive context adheres to fireworks or presenting an individual in- two of Howard’s requirements for virtuosity. terpretation. In trad, however, the common Each winner would receive a medal and tunes originate predominantly from dance proceed to compete at the provincial level music and airs of seventeenth and eighteenth in the Munster Fleadh. The final competition century Ireland.16 Therefore, many tunes of the year is the Fleadh Cheoil na hÉireann are not associated with a specific composer. (All-Ireland Music Festival).22 The winner Perhaps in such cases, a critic of virtuosity of this competition is awarded a trophy, but could accept true musicianship as the ability more significantly, he or she gains recogni- to allow the music’s essence to speak. Irish tion within the ITM community. Until re- traditional music has a freedom that resonates cently, anonymity was an established and ac- with the desire to feel all-encompassing joy,17 cepted characteristic of Irish music, resulting but the airs possess an achingly compelling from its history as an aural tradition passed depth that speaks to the human capacity for down through generations of amateur instru- longing, heartbreak, and loss.18 Trad musi- mentalists.