chapter9 Objectives
In this chapter students will learn about:
• Historical and cultural context behind the development of Irish traditional music
• Three major styles of Irish music: traditional, neo-traditional, and post-traditional
• Instruments of Irish music (as well as selected vocal traditions)
• Major practitioners of the major styles, including Seamus Ennis, Sean Ó’Riada and CeoltóiríCualann, The Chieftains, Planxty, Altan, and Eileen Ivers.
• The effects of the Irish diaspora on the development of pan-Irish musical styles
Overview
Through centuries of struggle against British control and changing social, political, and cultural conditions, Irish music—particularly traditional Irish dance music—served as a centerpiece of Irish identity and social life. However much some elements of Irish music were transformed by contact with other cultures during the Irish diaspora, dance tune forms, medley-based musical designs, instruments, and rhythms remained essentially the same.
Following an overview of Irish history and Irish music, this chapter traces the evolutions and transformations of Irish dance music from its most traditional styles of the early 20th century through the Irish music revival, neo-traditional and post-traditional, since the 1960s. Case studies focusing on major practitioners guide students through this musical journey, which though focused mainly on the dance tune tradition also encompasses key dimensions of Irish vocal music including seannós.
Chapter 9 Music Journal
Part 1: Preliminary Listening and Information
The following series of activities is designed to provide a basic understanding of Irish music, a repertoire of terms of musical sounds for use in discussions of Irish music, and charts to allow quick identification of characteristics and sounds.
1. Listen to the three performances heard back-to-back on Online Musical Illustration #24 http://highered.mcgraw-hill.com/sites/0073526649/student_view0/musical_illustrations.html and use the following chart to make comments and observations about the style, instrumentation, melodic patterns, rhythm, texture, etc. of the examples. Note: Each of the three audio clips is a treatment of one characteristic Irish melodic figure.
Instrumentation (Instruments you notice being used) Comments/Observations
Traditional
Neo-traditional
Post-Traditional
• Next, listen to the examples of dance rhythms, scale types, and ornamentations typically heard in Irish traditional music in the Musical Guided Tour (Irish Traditional Dance Tunes) at the Online Learning Center, http://highered.mcgraw-hill.com/sites/0073526649/student_view0/musical_guided_tours.html
• Read and follow along with the audio on page 165 to become familiar with these stylistic traits and learn to recognize them in listening exercises throughout this chapter and when listening to other examples of Irish music.
• Read the Irish Music and Celtic Music and Cultures section (“Insights and Perspectives” box, page 169).
• As you listen to the recordings for this chapter notice the six unifying characteristics found in Irish music.
1 Prevalence of melodies based on specific scales and modes (major, Dorian, Mixolydian)
2 Identifiable styles of melodic ornamentation
3 Use of certain types of instruments (fiddles, pipes, flutes)
4 Dance tunes based on common dance rhythms (usually in duple or four-beat meters)
5 Standard forms for songs and dance tunes (e.g. AABB forms for dance tunes)
6 A close integration of music making with dancing
2. Scan through the chapter and identify instruments used in Irish traditional music. Complete the chart below including descriptions of the instruments, musical styles in which they are used, and comments about timbre or other characteristics that may aid in identifying a particular instrument when listening to Irish music. Other instruments beyond those on the list below may be added as well.
Instrument Description Styles of Music the Instrument is used in Comments
Uilleann pipes
Fiddle
Tinwhistle
Flute
Bodhrán
Accordion
Guitar
Irish bouzouki
Drumset
Irish Music in Context
Read the introductory information on Irish music (pages 157-160), the section on Irish Music in Context (Pages 160-162), and An Introduction to Irish Traditional Music (pages 162-164). Provide a brief response to the following questions of the historical and cultural issues surrounding the development of Irish traditional music.
3. What impact did the Irish potato famine have on the struggle for independence from Britain?
4. What state initiatives intended to preserve Irish traditional culture were established during the Irish Free State period and what was the effect of these efforts on the development of Irish traditional music?
5. What factors contributed to the Irish musical revival of the 1960s?
6. Identify the five main categories of Irish traditional music.
7. What are the most common forms of Irish dance music?
8. Explain the difference between a Session and a Ceílí.
Chapter 9 Journal –
Part 2: Musical Explorations
Traditional Irish Dance Tunes and Medleys
Seamus Ennis played several major roles in the preservation of traditional Irish music, including performer (tin whistle player and, especially, uilleann pipes player), collector of songs, radio host, and folklorist.
9. Listen to “The Cuckoo’s Hornpipe” CD3-6. Use the chart below to record observations on melody, dance rhythms, form, ornamentation, etc.
“The Cuckoo’s Hornpipe”, Seamus Ennis, CD3-6
Time/Structure Text comments Your Comments/Observations
First Statement of Melody (AA’BB’)
0:00—0:11 = A
0:11—0:21 = A’
0:21—0:31 = B
0:31—0:40 = B’
Second Statement of Melody (AA’BB”)
0:40—0:49 = A
0:50—0:59 = A’
0:59—1:08 = B
1:09—1:18 = B’
Conclusion of Performance
1:18—1:28
10. Listen to Ennis’s uilleann pipe performance on CD3-7. Use the chart below to record observations on melody, dance rhythms, form, ornamentation, etc. Use the chart below to compare the style of this performance with Ennis’s tinwhistle performance in the previous example (CD3-6). Note the irregularities in Ennis’s playing such as dropped beats, omitted measures, and hesitations in playing technique.
“The First House in Connaught/The Copper Plate Reel” (Medley), Seamus Ennis, CD3-7
Time/Structure Textbook comments Your Comments/Observations
“The First House in Connaught”
First Statement of Melody (AA’BB”)
0:00—0:10 = A
0:10—0:18 = A’
0:18—0:26 = B
0:27—0:34 = B’
Second Statement of Melody (AA’BB’)
0:34—0:42 = A
0:43—0:51 = A’
0:51—0:59 = B
0:59—1:07 = B’
“The Copper Plate Reel”
First Statement of Melody (AA’BB”)
1:08—1:15 = A
1:16—1:24 = A’
1:24—1:32 = B
1:32—1:40 = B’
Second Statement of Melody (AA’BB’)
1:40—1:48 = A
1:49—1:56 = A’
1:57—2:05 = B
2:05—End = B’
11. The Modern Ensemble Sound – listen to tracks CD3-8, CD-3-10, and CD3-11. Place a check mark below where applicable for characteristics you notice.
Characteristic CD3-8 CD3-10 CD3-11
Performances are by groups
Variation in performance styles and textures in the playing of dance tune melodies is common
–Unison ornamented melody
–Varied versions of a single melody (heterophony)
–Divided-up melody
–Jazz-or rock-influenced textures featuring solo improvisation
Chording instruments are very prominent in the musical texture
Chordal accompaniment of dance tunes is highly developed
The rhythmic accompaniment patterns of the chording instruments often exhibit outside influences
Percussion instruments are sometimes used to reinforce the dance rhythms
Function of music to be listened to but not danced to
11. Read pages 176-177, about The Chieftains and their performance of “The Dingle Set”, then play CD ex. # 3-8. First, listen for evidence of traditional Irish musical practices as well as more modern influences (e.g., the modern ensemble sound as outlined above). Then use the chart below to note observations and comparison with other musical examples.
• Tap your foot or pat the beat with your finger or clap your hands while listening to the performance.
• Notice the spontaneous nature of traditional Irish performances compared to the more strictly arranged performances of The Chieftains.
• Notice the improvisation and ornamentation styles of Ennis and Moloney. (Moloney plays tinwhistle for the first song of the medley and uilleann pipes on the last [third] one.)
“The Dingle Set” (Medley), The Chieftains, CD3-8
Time/Structure Text comments Your Comments/Observations
“Far from Home”
AABB AABB
0:00—0:07 = A
0:08—0:15 = A
0:16—0:23 = B
0:24—0:31 = B
0:32—0:39 = A
0:40—0:46 = A
0:47—0:55 = B
0:56—1:02 = B
“Gladstone”
AB AB
1:03—1:10 = A
1:11—1:18 = B
1:19—1:26 = A
1:27—1:34 = B
“The Scartaglen”
AB AB AB AB
1:35—1:42 = A
1:43—1:50 = B
1:51—1:58 = A
1:59—2:06 = B
2:07—2:14 = A
2:15—2:22 = B
2:23—2:30 = A
2:31—End = B
The 1970s: Second Generation of the Irish Music Revival
12. After reading the information on the second generation of the Irish Music Revival (pages 179-184), listen to CD3-10. First, listen for evidence of traditional Irish musical practices as well as more modern influences (especially the use of chording instruments as part of the ensemble). Then use the chart below to note your observations.
“The Emyvale/RílGanAinm/The Three Merry Sisters of Fate” (Medley), Altan, CD ex. # 3-10
Time/Structure/Key Text comments Your Comments/Observations
“The Emyvale”
ABAB
A Dorian
0:00—0:08 = A
0:08—0:16 = B
0:16—0:24 = A
0:24—0:32 = B
0:32—0:40 = A
0:40—0:48 = B
“RílGanAinm”
AABB AABB
D Dorian
0:48—1:04 = AA
1:05—1:19 = BB
Temporary modulation to C major
1:20—1:35 = AA
Back to D Dorian
1:36—1:43 = B
Modulate to C major
1:43—1:51 = B
“The Three Sisters of Fate”
AB AB AB AB A
Key alternates between D major and B Dorian
1:51—2:00 = A
2:00—2:07 = B
2:08—2:31 = ABA
2:31—2:38 = B
2:39–End—1:50 = A
The Post-Traditional World of Irish Music
Although in many diasporic communities around the world (especially in North America) Irish traditional music was tenaciously preserved as a connection to Irish culture and as a touchstone of Irish identity, musical cultures inevitably began to mix and create new styles and performance techniques. This rich cross-pollination gave rise to a transnational pan-Irish musical culture in the years since the Irish music revival of the 1960s. American-born Irish fiddler Eileen Ivers typifies the new generation of musicians, drawing upon a mosaic of styles and integrating these influences into her homebase of Irish music.
13. After reading the information on post-traditional Irish music and Ivers (pages 184-186), listen to CD3-11. First, listen for evidence of traditional Irish musical practices as well as more modern influences.
Use the chart below to note your observations.
“Gravelwalk” (Medley), Eileen Ivers, CD ex. # 3-11
Time/Structure/Key Text comments Your Comments/Observations
0:00—0:20 = Introduction
“Fermoy Lasses”
0:21—0:28 = A
E Dorian
0:28—0:35 = A’
0:36—0:50 = AA’
0:50—1:04 = BB’
From E Dorian to G major
1:05—1:18 = AA’
0:48—1:04 = AA
1195—1:33 = BB
1:33—1:47 = A’A’
“The Noisy Curlew” [AKA “Jack McGuire’s”]
1:48—2:01 = AA’
2:02—2:15 = BB’
29
2:15—2:29 = A’A’
2:29—2:43 = ABAB
Interlude [Jazz-rock style; not based on any Irish tune]
2:43—2:57
Electric bass solo
2:58—3:22
Electric violin solo
3:23—3:26
Transition based on “Fermoy Lasses”
“Gravelwalks to Granie”
3:26—3:40 = AB
A Dorian
3:40—3:47 = C
D Major
3:47—4:01 = DD’
C major
4:01—END
ABCDD’ then D’D’D’D’ vamp to end.
Chapter 9 Music Journal – Part 3: Reflections
What in this chapter, was new to me?
What in this chapter, would I like to know more about?
Of the music examples from Chapter 9, which of these did you enjoy the most? Why?
Of the musical examples in Chapter 9, which did you enjoy the least or find to be challenging to listen to? Why?
Other thoughts or comments about Chapter 9
CHAPTER 10—THE RIVER AND THE PATH: CONVERSATION AND COLLECTIVE EXPRESSION IN WEST AFRICAN MUSICS
Complete the following and save it in WORD (.docx).
Attach a file of the same (and do a copy/paste into the text box too as a back up) and submit right here in the
Chapter 10 Music Journal Assignment
Your Name
Chapter 10 Objectives
In this chapter students will learn about:
• Historical context of African music and the African diaspora
• Ladysmith Black Mambazo and the isicathamiya vocal genre of South Africa
• West African drumming in Akan Fontomfrom music
• Various drums and percussion instruments
• Unifying features and diversity of music in Africa
• The kora and its traditions and music
• Global contexts of West African music and cultural expression
Overview
Musical traditions of West Africa south of the Sahara are the principal focus of this chapter. These musics are linked by key musical Africanisms that are shown to be common to diverse African musicultural traditions as well as many traditions of the African diaspora. Selected drumming-based traditions are introduced and explored, although the tradition of a chordophone, the kora, is central. Nonpercussion-based instruments and traditions (including vocal traditions) of West Africa and other regions of the continent are introduced as well. Traditional, neo-traditional, and post-traditional forms of musical expression are encountered. Throughout the chapter, themes of polyvocality, musical conversation, and homage unify the discussion.
Akan Drum Proverb (“Talking Drum”), CD3-12
This example is an excerpt from a recording of the Akan proverb of the river and the path that opens this chapter.
1. Listen for the pitch, rhythm, and timbre patterns of the Twi tonal language are replicated by the pitch, rhythm, and timbre patterns played on the atumpan. Comment on what you notice here.
The atumpan is an open goblet drum on a base. It is played in pairs, usually by a master drummer using two angular sticks. The membrane is stretched across the head of the drum inside a metal ring, which is anchored to 7 to 8 conical pegs around the outside of the drum. The two atumpan drums are tuned to each other. The lowest tone is identified with the mother and symbolizes woman. The highest tone is identified with man. These two sounds are needed to send signals from one village to another. Akan languages are tonal with three tones: high, mid and low. The atumpan is therefore ideally suited to send messages.
Click on the link below to the Virtual Instrument Museum from Wesleyan University.
The Atumpan page from the Virtual Instrument Museum at Wesleyan University
Look for the “Video” heading, and the video, “Atumpan Video 1” and click on Broadband 200 kbs to view.
Chapter 10 Music Journal
Part 1: Information
2. Define the following:
Key Terms Definitions, Explanations, or Comments
Akan
Drum speech
Tonal language (e.g., Twi)
Atumpan
Polyvocality
Kora
Mande
Jeliya
Griot
Isicathamiya
African diaspora
Fontomfrom
Africanisms (musical)
Jeli
Heridtaryjeli families (Kouyate, Diabate, Sissoko)
Praise songs (in jeliya)
Bala
Koni
Kumbengo
Birimintingo
Sataro
Sauta
Fon
Chapter 10 Music Journal
Part 2: Questions/Music Listening and Analysis
Ladysmith Black Mambazo and Isichatamiya
Isichatamiya is an a cappella vocal genre that emerged out of a synthesis of traditional Zulu singing and Christian hymnody. Ladysmith Black Mambazo was a dominant force in this genre even before their 1980s “discovery” by Paul Simon. After appearing on Simon’s Graceland album, Ladysmith Black Mambazo issued a series of award-winning recordings, earning a Grammy for Shaka Zulu in 1988. The group has gone on to perform with major artists from across the globe. Ladysmith Black Mambazo and the Graceland project have been the subject of important ethnomusicological publications by the likes of Steven Feld (in Music Grooves), Louise Meintjes (an important article in the journal Ethnomusicology from 1990), VeitErlmann (Nightsong), and Carol Muller (in her book Focus: Music of South Africa).
African Musics in Context
Africa retains some of the oldest extant musical traditions. But music in Africa, in many respects, is the heartbeat of modern, global musical expression as well. These styles have spread throughout the world in the African diaspora. Read pages 194-199.
3. What are some of the major international popular music styles that have their roots in African musical traditions?
4. Briefly describe the role of music in communal rituals and ceremonies.
Instruments and Basic Rhythm Patterns
• Listen to Musical Guided Tour #4 at the Online Learning Center (http://highered.mcgraw-hill.com/sites/dl/free/0073526649/914465/Bakan_2e_Ch7_MGT.mp3) following the transcript on pages 199-200.
• Listen to the dawuro bell rhythm and clap the rhythm pattern (notated on p. 200) as the example is played a second time.
• After the Musical Guided Tour is complete, try to clap each of the rhythms in Figure 10.1 (page 200).
• The Fontomfrom instruments:
Dawuro = iron bell
From = tall, heavy low-pitched drum
Atumpan = large and heavy, medium-pitched drum
Eguankoba = thin and tall, high-pitched drum
Akan Fontomfrom Music, EyisamMbensuon (group), CD ex. # 3-14
Akan chiefs in Ghana use certain types of traditional music, instruments, and ensembles to symbolize their power and stature. Ensembles of royal drums such as Fontomfrom are played at events where the chief makes a public appearance. At such occasions, the chief may dance to the accompaniment of such drum ensembles. Read pages 198-202.
5. On which type of drum does the ensemble leader play?
6. Listen to CD3-14 use the following chart to record observations you notice in the music.
Section Comments/Observations
0:00—0:32
0:00
From signals beginning of performance
0:02
Dawuro entry
0:08
Atumpan and eguankoba enter
0:27
Drum rhythms become more clearly synchronized
0:33—0:47
0:48—1:02
1:03—1:32
1:33—end
Musical Africanisms
Although there are many different African musics, many musics of sub-Saharan African, and of West Africa in particular, do exhibit certain key, readily identifiable features and musicultural characteristics that are widely shared. Ethnomusicologists identify these as musical Africanisms.
Use the following chart to create a reference guide to these Africanisms for use in subsequent listening experiences.
Musical Africanism Description/Explanation
Complex polyphonic textures
Layered ostinatos with varied repetition
Conversational element
Improvisation
Timbral variety
Distinctive pitch systems and scales
Read the list provided on pages 202-203, refer to musical examples drawn from CD ex. 3-14 as well as other examples from the CD set or elsewhere, as appropriate.
More than Drumming: African Musical Diversity
Drumming is not the basis of most music in Africa. There are highly developed forms of vocal music and music for instruments other than drums. Read pages 203-204.
7. Listen to CD2-4, in which Central African BaMbuti people perform a purely vocal form of polyphonic music. How does this style and form relate to the drumming ensemble selection heard on CD3-14? List any of the Africanisms you notice in this amazing pygmy music.
8. Listen to the chordophone examples heard on CD2-8 (nkokwane musical bow) and CD3-15 (Ugandan endongo). Compare the timbres of these two instruments.
The Kora and Its Musicultural World
The kora is a 21-string spike harp chordophone of the Mande peoples of West Africa. Combining features of harp and guitar, the kora is arguably the most widely known nonpercussion instrument of sub-Saharan Africa and has become an international symbol of “African music.”
9. What characteristics are common to all spike harps?
10. What unique feature justifies classifying the kora under two categories of harp?
The jeli and the art of jeliya
The principal exponents of the kora and its art are the hereditary class of professional Mande culture known as jeli (jelilu). The jelilu are the griots of the Mande culture. Living members of the principal hereditary jeli families can trace their lineage back across many generations.
11. Name the principal hereditary jeli families. Have other cultures produced intergenerational lineages of performers or composers?
12. What roles are played by the griot in West African culture?
13. What is the term for a female jeli? What differentiates the performance roles of male and female jeli? Identify the most revered and famous female jeli.
14. What is a bala?
15. Describe the structure and playing structure of the koni. Refer to the photo on page 207.
16. What Western chordophone may be descended from the koni?
Seckou Keita: Kora master, Jeli, and Radical Royal
While it is frowned upon in Mande society for people of non-jeli families to play jeli instruments or practice the art of jeliya, disapproval is especially severe for persons of Mande royal lineage. However, there have been individuals who have broken rank and defied cultural convention.
17. Identify the world beat superstar and influential representative of Mali who is a “radical royal”? Describe the characteristics of his music.
“Dounuya,” Seckou Keita, CD3-16
“Dounuya serves as an introduction to the kora and to traditional jeliya musical style. This selection features a text that operates at several levels simultaneously, as well as a layered ostinato-based kora playing texture.
18. Listen to CD3-16. List any musical Africanisms you notice in the recording.
Section Comments/Observations
0:00—0:09
0:10—0:24
0:25—0:29
0:30—1:08
1:09—1:40
1:41—2:14
2:15—2:56
2:57—end
A Meeting of Musical Worlds
The 1999 album Kulanjan, from which “Atlanta Kaira” is taken, features an ensemble consisting of esteemed musicians from revered jeli families in Mali and an American blues musician who began exploring the parallels between kora playing and guitar techniques some four decades ago. Read pages 211-213.
“Atlanta Kaira,” ToumaniDiabete, TajMahal, and Ensemble, CD ex. # 3-17
19. Use the following table to record comments and observations drawing from both from the discussion of “Atlanta Kaira” on pages 211-215 and what you hear as CD3-17 is played.
Section Comments/Observations
Solo kora introduction
0:00—0:41
Ensemble introduction to “Kaira” song
0:42—0:52
“Kaira” song
0:53—1:28
Sataro # 1
1:29—2:50
Koni solo
2:51—3:32
Sataro # 2
3:33-4:21
Return of “Kaira” song
4:22—end
Western African Collective Expression in a Global Musical World
“Okan Bale,” Angelique Kidjo, CD3-18 – “Okan Bale” is a lush pop ballad with a decidedly pan-African musical flavor (pages 215-217).
20. Listen to the song and list your musical observations below. Which features of this selection link it to the core values of jeliya? Listen for examples of musical dialogue and the style of Mamadou’s kora playing.
Section Your Comments/Observations
Introduction
0:00—0:35
First Verse
0:36—0:57
First Bridge Section
0:58—1:18
First Chorus
1:19—1:51
Interlude (“Reprise” of introduction)
1:52—2:13
Second Verse
2:14—2:35
Second Bridge Section
2:36—2:57
Second Chorus
2:58—end
Chapter 10 Music Journal
Part 3: Reflections
What, in this chapter, was new to me?
What, in this chapter, would I like to know more about?
Of the musical examples in this chapter, which did I enjoy the most? Why?
Of the musical examples in this chapter, which did I enjoy the least? Why?
Other thoughts or comments about Chapter 10