Music: European Women Musicians - Coursework Example

Independence from Britain was connected with the Irish government’s desire to separate Irish culture from the European mainstream, and traditional music was a way for them to accomplish it. The second revival of the late 60s and early 70s occurred with the development of bands like Clannad, vocal groups like the Dubliners, and single artists like Christy Moore and Donal Lunny. According to Flood (1905), “The Irish were a literary people long before the coming of St. Patrick” (n.p.). For Flood, it was not a stretch to assume that music notation had been developed well before the Christian era in Ireland, and that the music of Ireland rivaled any other European music in its complexity and richness.

Melody is one of the most important aspects of traditional Irish music. Consequently, harmony was simple and instruments tended to strictly follow the leading instrumentalist. Solo performances are preferred, but small bands and ensembles have been a part of Irish traditional music since the mid-1800s (Roden n.d.). There were two purposes of traditional Irish music: singing and dancing. Unaccompanied vocals, called ar sean nos (“in the old style”), are considered the ultimate expressional of traditional Irish singing.

It is highly ornamented, meaning that it was full of runs and trills, and was sung at the very top of a singer’s range. Another type of Irish singing is called Caoineadh (Irish meaning “crying” or “weeping”), a lament song accompanied by lyrics that emphasize sorrow and loss, especially of a loved one. Traditional Irish dancing music, which includes jigs, waltzes, polkas, and barndances, were performed at ceremonies and celebrations such as weddings. According to Celtic harpist Alison Vardy (n.d.), the harp and Celtic harp music has been an important symbol of Irish nationalism since the 10th century.

It was a popular instrument in the royal court until the 1600s, when the English began to rule Ireland, and the harp was banned to prevent a resurgence of Irish nationalism. Harps were burned and harpers were executed, so very few harps survived. It became even worse in the late 1700s, when both Irish and Scottish cultures became more Anglicized. Step-dancing and the fiddle became more popular, as well as classical music, which could not be played on the harp. By the late 18th century, traditional harp players were nearly extinct.

In Wales, however, the folk harp tradition continued, and there were attempts to encourage its resurgence in Ireland at the end of the 1700s. According to Michael C. McLaughlin (2001) of the Irish Genealogical Society, the harp continues to be important for Ireland; it is featured on the country’s coat of arms. Its origins as a political symbol reaches back to the 11th century, when the “high king” of Ireland, Brian Boru, adopted it because he played the harp. In Celtic society, every clan had a resident harp player who wrote songs honoring their leader.

It has been a symbol of Ireland ever since, up to modern times. It demonstrates the importance that traditional music holds in the culture and political sensibilities of the Irish. 2. Website: E-book of Flood’s book, A History of Irish Music http://www.libraryireland.com/IrishMusic/Preface.php. 3. Listening example: “25 Year Celebration,”