Changes (Developments) in Irish Music
It is important to understand that the subject of changes in
Trad. Irish music is different to the topic of Fusion although obviously there
is a link. Many changes have taken place over the last 60 years or so. As a
starting point let's remind ourselves that Irish music culture was rural,
enjoyed by poor peasant amateur musicians, oral and largely confined to the
regions.The development of trad. in the last century was a product of
modernisation of Irish society in general. Urbanisation, development of
technology, media and transport have been important factors in the process.
Changes in performances practices can be seen from 2
perspectives, i) changes from within the tradition (without the influence of
other cultures), and, ii) changes from without the tradition.
Changes from Within (without the influence of other cultures)
a) The breakdown in the regional nature of the tradition.
The growth of media, communications, transport and prosperity
of Irish people in general has resulted in the breakdown of the regional playing
styles of Sligo-Leitrim, Clare, east Galway, Sliabh Luachra and Donegal.
Nowadays players from all areas are much more open to hearing the music of
players from other areas and so are influenced by them. As far back as the
1920s, American recording companies published recordings of ethnic Irish music
performances by Irish immigrants such as Sligo fiddlers, Michael Coleman and
James Morrison. These recordings were sent back to Ireland and so their Sligo
style influenced many. Nowadays with mp3 players, websites like Youtube, i tunes
and i phones etc this process has accelerated to a huge degree.
b) Formation of organisations such as Comhaltas
Ceoltóirí(and Gael Linn and Piper's clubs)
By the 1950s, regional styles had all but disappeared. In
1952 Comhaltas was formed with the aim of promoting Irish music and culture.
Through their annual Fleadh Cheoil na hÉireann, tuition, recordings,
publications and examinations, the regional styles have become further diluted,
being replaced by a kind of national style. Comhaltas are still thriving today
with branches in most towns and cities in Ireland.
c) Imitation between instruments.
Many musicians have sought to use techniques on their
instrument which had evolved on other instruments. Flute player Matt Molloy is
said to have been the first to use a form of ornamentation used in piping, the
cran , on the note d as a roll cant be performed on this
note. A fiddle technique of playing triplet repeated notes on one bow is now
imitated by flautists, box players and pianists like Michael O'Suilleabháin.
d) Quality of instruments
Instruments today are of a much higher quality and repairs
can be made with high quality springs and pads etc allowing for better
technique.
e) Dance Halls act 1936
Up to this time dances took place in the home or at the
crossroads. This act sought to control such events so henceforth it was a
criminal offence to have a dance without a liscence. This moved the dances into
the parish halls and dance halls. This led to the popularity of dance bands
which became known as Céilí bands. They took the native music, adapted it to the
larger and louder environment.
f) Music to be listened to
Historically, trad was music to be danced to. Traditional
music, like the language and irish culture ingeneral went into decline in the
1930s and 40s being associated with poverty. From the 50's on, the period of
the Folk revival, it became more fashionable to listen to music for its own
sake rather than for dancing. Pubs and Hotels and been only too happy to oblige and today the most frequent context for music performance is the pub "session."
This phenomenen developed in the cities throughout the 50's and 60's before
moving back to the countryside. There have been attempts to bring Trad into the concert hall in recent times most notably in U.L. and the National Concert
Hall.
g) Foundation of the Irish Traditional Music Archive
Established in 1987, Taisce Cheol Dúchas Éireann is the first
body to be exclusively concerned with the making of a comprehensive collection of materials - books, recordings, videos, etc.- for the appreciation and study of traditional Irish music.
Changes From Without
For hundreds of years many traditions from outside Ireland have
influenced Irish music. Among these include the arrival of the fiddle from Italy and dances/forms from western Europe. However as the world has become increasingly smaller from the 20th Century on, outside influences have become more plentiful and more effective.
a) Literacy
Musical literacy, the ability to read and write music, has come to trad from classical music. Trad has always been oral, i.e. handed down through the generations orally, not written down.
b) Publishing
The early 20th Century saw the beginnings of a music
publishing industry for traditional Irish musicians. The first great published
collections of traditional music intended for traditional musicians were
produced in the 1900s and 1910s in Chicago by Capt. Francis O'Neill, originally
from Cork and head of the Chicago Police. The largest collection ever was
O'Neill's Music of Ireland which contains 1,850 tunes. His other main
publication was his 1001 tunes which became known as "The Book". Francis Roche was another example of an important collector who published 3 volumes of The
Roche Collection of Traditional Irish Music.These publications helped spread the repertoire and
also maintained stable versions of tunes, something that wasn't possible in the
oral tradition.
c) Teaching
Literacy has also revolutionised the way the music is taught.
It is common for tuition to be given to large groups today rather than
"one-on-one" by a parent or family friend as in the past, and the use of
notation skills has facilitated this or at least made it easier.
d)Ensemble performance
It is believed that in previous centuries, that the music was
performed by solo musicians or by very small informal groups. However, this
century has seen the band become a major context for the performance of
traditional music, often modelled on ensembles form other traditions, most
notably Jazz, Classical and Pop. The turning point came with the formation of
O'Riada's Ceoltóirí Cualann. O'Riada attempted to create out of
traditional song and dance, an new form of Irish Art Music (correct term for
"classical" music!!!). His music featured different instruments playing solos (
like in Jazz), instruments combining to create new and unusual textures, and
more complex arrangements that the traditional songs and dances he used. He
created the first style of Irish trad that would not, and often could not be
danced too. O'Riada was not trying to create fusion of styles, but ironically
e)Dance Bands
The firstdance bands appeared in the USA at the
beginning of the 20th Century. Bands like the James Morrison band became popular in Irish American dance halls and such bands became an importent source of income for professional and semi-professional Irish musicians. The ideal band played loud and rhythmical music and often used instruments like Saxophone and Picolo, instruments which faded into obscurity in a traditional context. Instruments which survived include Drums,Banjo and Piano. The development of a popular Irish dance movement in the states was soon emulated in Ireland. (See Dance Halls act above).
f)Instruments from other Cultures
This old tradition has continued with the Guitar (Arty McGlynn) and Banjo (Barney McKenna)from America and the Bouzouki (Donal Lunny) from Greece.
Trad. Irish music is different to the topic of Fusion although obviously there
is a link. Many changes have taken place over the last 60 years or so. As a
starting point let's remind ourselves that Irish music culture was rural,
enjoyed by poor peasant amateur musicians, oral and largely confined to the
regions.The development of trad. in the last century was a product of
modernisation of Irish society in general. Urbanisation, development of
technology, media and transport have been important factors in the process.
Changes in performances practices can be seen from 2
perspectives, i) changes from within the tradition (without the influence of
other cultures), and, ii) changes from without the tradition.
Changes from Within (without the influence of other cultures)
a) The breakdown in the regional nature of the tradition.
The growth of media, communications, transport and prosperity
of Irish people in general has resulted in the breakdown of the regional playing
styles of Sligo-Leitrim, Clare, east Galway, Sliabh Luachra and Donegal.
Nowadays players from all areas are much more open to hearing the music of
players from other areas and so are influenced by them. As far back as the
1920s, American recording companies published recordings of ethnic Irish music
performances by Irish immigrants such as Sligo fiddlers, Michael Coleman and
James Morrison. These recordings were sent back to Ireland and so their Sligo
style influenced many. Nowadays with mp3 players, websites like Youtube, i tunes
and i phones etc this process has accelerated to a huge degree.
b) Formation of organisations such as Comhaltas
Ceoltóirí(and Gael Linn and Piper's clubs)
By the 1950s, regional styles had all but disappeared. In
1952 Comhaltas was formed with the aim of promoting Irish music and culture.
Through their annual Fleadh Cheoil na hÉireann, tuition, recordings,
publications and examinations, the regional styles have become further diluted,
being replaced by a kind of national style. Comhaltas are still thriving today
with branches in most towns and cities in Ireland.
c) Imitation between instruments.
Many musicians have sought to use techniques on their
instrument which had evolved on other instruments. Flute player Matt Molloy is
said to have been the first to use a form of ornamentation used in piping, the
cran , on the note d as a roll cant be performed on this
note. A fiddle technique of playing triplet repeated notes on one bow is now
imitated by flautists, box players and pianists like Michael O'Suilleabháin.
d) Quality of instruments
Instruments today are of a much higher quality and repairs
can be made with high quality springs and pads etc allowing for better
technique.
e) Dance Halls act 1936
Up to this time dances took place in the home or at the
crossroads. This act sought to control such events so henceforth it was a
criminal offence to have a dance without a liscence. This moved the dances into
the parish halls and dance halls. This led to the popularity of dance bands
which became known as Céilí bands. They took the native music, adapted it to the
larger and louder environment.
f) Music to be listened to
Historically, trad was music to be danced to. Traditional
music, like the language and irish culture ingeneral went into decline in the
1930s and 40s being associated with poverty. From the 50's on, the period of
the Folk revival, it became more fashionable to listen to music for its own
sake rather than for dancing. Pubs and Hotels and been only too happy to oblige and today the most frequent context for music performance is the pub "session."
This phenomenen developed in the cities throughout the 50's and 60's before
moving back to the countryside. There have been attempts to bring Trad into the concert hall in recent times most notably in U.L. and the National Concert
Hall.
g) Foundation of the Irish Traditional Music Archive
Established in 1987, Taisce Cheol Dúchas Éireann is the first
body to be exclusively concerned with the making of a comprehensive collection of materials - books, recordings, videos, etc.- for the appreciation and study of traditional Irish music.
Changes From Without
For hundreds of years many traditions from outside Ireland have
influenced Irish music. Among these include the arrival of the fiddle from Italy and dances/forms from western Europe. However as the world has become increasingly smaller from the 20th Century on, outside influences have become more plentiful and more effective.
a) Literacy
Musical literacy, the ability to read and write music, has come to trad from classical music. Trad has always been oral, i.e. handed down through the generations orally, not written down.
b) Publishing
The early 20th Century saw the beginnings of a music
publishing industry for traditional Irish musicians. The first great published
collections of traditional music intended for traditional musicians were
produced in the 1900s and 1910s in Chicago by Capt. Francis O'Neill, originally
from Cork and head of the Chicago Police. The largest collection ever was
O'Neill's Music of Ireland which contains 1,850 tunes. His other main
publication was his 1001 tunes which became known as "The Book". Francis Roche was another example of an important collector who published 3 volumes of The
Roche Collection of Traditional Irish Music.These publications helped spread the repertoire and
also maintained stable versions of tunes, something that wasn't possible in the
oral tradition.
c) Teaching
Literacy has also revolutionised the way the music is taught.
It is common for tuition to be given to large groups today rather than
"one-on-one" by a parent or family friend as in the past, and the use of
notation skills has facilitated this or at least made it easier.
d)Ensemble performance
It is believed that in previous centuries, that the music was
performed by solo musicians or by very small informal groups. However, this
century has seen the band become a major context for the performance of
traditional music, often modelled on ensembles form other traditions, most
notably Jazz, Classical and Pop. The turning point came with the formation of
O'Riada's Ceoltóirí Cualann. O'Riada attempted to create out of
traditional song and dance, an new form of Irish Art Music (correct term for
"classical" music!!!). His music featured different instruments playing solos (
like in Jazz), instruments combining to create new and unusual textures, and
more complex arrangements that the traditional songs and dances he used. He
created the first style of Irish trad that would not, and often could not be
danced too. O'Riada was not trying to create fusion of styles, but ironically
e)Dance Bands
The firstdance bands appeared in the USA at the
beginning of the 20th Century. Bands like the James Morrison band became popular in Irish American dance halls and such bands became an importent source of income for professional and semi-professional Irish musicians. The ideal band played loud and rhythmical music and often used instruments like Saxophone and Picolo, instruments which faded into obscurity in a traditional context. Instruments which survived include Drums,Banjo and Piano. The development of a popular Irish dance movement in the states was soon emulated in Ireland. (See Dance Halls act above).
f)Instruments from other Cultures
This old tradition has continued with the Guitar (Arty McGlynn) and Banjo (Barney McKenna)from America and the Bouzouki (Donal Lunny) from Greece.