03: Songs in Irish - Sean Nós Singing

the singing in Irish language

• exact origins are not clear

• similarities to monodic european traditions (chant-singing)

  —> close relationship between music and text

  —> employ modes/scales similarly

• norman and english themes as well as english and scottish melodies were adapted in irish poetry

• written by poets, performed by reciters to harp-accomp.

• poems were written to an existing melody

• recycling of melodies

• in the ealry times: elite, strict, educated bardic poetry

  —> Then: were supplanted by Amhrán = songs with accentual metres

  —> “songs of the people” and influenced by English and continental songs

• strong relationship between music and text

  —> words particularise the expression of the music

  —> music intensifies the emotions of the words

• highly expressiv trough music and text

• story of a song

  —> very important; audience has to understand the context of the song

  —> strong link between storytelling and singing in irish culture

• predominantly modal, some microtonal degrees in ornamentations

• ornamentations and variations as important features

• free and relaxed sense of pulse

• phrasing: to convey a sense and the melody´s overall shape and feeling

• use of glottal stop

• nasalization

• very little vibrato and dynamic variation

• regional differences

• individual techniques

• personal investment

• personal interpretation

Síle Denvir - Caisleán Uí Néill

• lyric love song from connacht

• this version: 1970s

• structure: AABB

• in ionian mode

• example for an old song that was adapted in many ways since then

• poetic stress patterns

• melodic contour

1. melismatic ornamentation

   • 1 syllable to several notes

   • rolls and turns

2. grace notes

   • a single, leading to a melody note

   • waver

   • similar to trill or vibrato

1. rhythmic variation

   • varying the values, holdings, lenghtening of notes within a musical phrase

   • varying the use of breakes or pauses between phrases

2. melodic variation

   • this is individual to singer and performance

   • varying the verses

• intimate, small

• close contact between singer and audience

• non expressive

• vocal encouragement from the audience

  —> joining in on a verse or phrase

• hand-widing

  —>swinging or rotating the hand of performer by listener

• na hamhráin mhóra

• caoin/keen

• laments

• love songs

• religious songs

• political song (the aisling)

• songs of political and social commentary

• =big, serious love songs

• most valued in the canon

• sung across all regions

  
  

• semi-improvised lament

• sung at wakes

• songs that praise specific person

• sung by professional keeners

• words representing grief

• example: Kitty Gallagher (Donegal): Keen for a Dead Child

• related to keening

• composed for personal and local events

  —> individual

  -> regional

• example: anach chuain

Kitty Gallagher (Donegal): Keen for a Dead Child

example for keening

• most common type of sean nos song

• most popular from 1600-1850

• many different themes of love within the tradition

• male or female perspective

• Example: Caisleán Uí Néill

• derived from christian narrative tradition of medieval europe

• often focused on crucifixion

• traditionally sung by women

• sorrowful repentant

• draw on lament poetry

• Example: CAOINEADHNA PÁISEOR CAOINEADH NA DTRÍMUIRE

Iarla Ó Lionáird

Caoineadh na dTrí Muire

• religious song/lament

• scene of the crucifixion

• song of passion

• instruments: accordion

• feature a beautiful woman who laments the state of the irish people

• predicts a better future for Ireland

• can also function as conventional love song

• less melismatic ornamentation than in Connemara

• mix of ornamentation, rhythmic variation in the performance

• subtle use of dynamics

• wider intervallic leaps

• wider ranging melodies

• pronounced melismatic ornamentation

• long, unbroken ornametated phrases

• free rhythm

• smaller melodic range with less intervallic leaps

• more nasalization

• example: Eancah Cuain - Amhrán Mhuighinse

Padraig O Tuama - Cath Cheim an Fhia

• political song from Munster

• about battle between agrarian secret society and british forces

• commemorative and call for future anti-colonial movements

Pol O Ceannabhain - Johnny Seoige

• song from connemara

• from time of the famine

• more regular rhythm

• rhythmic variation

  —> glottal stop, splitting one note into two shorter notes

• clean melodic style

  —> less melodic ornamentation used than in other regions

• example: An Mhaighdean Mhara; Máire Brhuinneall

Eanach Cuain

Joe Heany

• song from connemara

• air

• melismatic ornamentation

Úirchill An Chreagáin

singer: Aodh Ó Duibheannaigh

• Donegal

• from creggan in Armagh

• about the dream of a poet