‘Not the same, but just as nice’: Traditions and Transformations in Irish Music

1. ‘Not the same, but just as nice’: Traditions and Transformations in Irish Music Chapter 9

2. Irish Traditional Music • “Europe’s most commercially successful music” • Encompasses traditional, neo-traditional, and post-traditional styles, but with a shared basis in rural, Irish folk music tradition • OMI #24 (What does this illustration teach us about “Irish traditional music”?) • Five main categories: • Sean nós, or “old way” songs (Irish Gaelic) [PL 9-1] • Instrumental airs (often in free rhythm) [PL 9-2] • Songs sung in English [PL 9-3] • Irish harp music (harp = national symbol) [PL 9-4] • Instrumental dance tunes and medleys (main focus of chapter) [PL 9-5]

3. Irish Music in Context • “The story of Irish music told in this chapter unfolds against a backdrop of Irish national history and the modern history of the Irish people, both in Ireland and internationally. ” (p. 166) • Republic of Ireland (focus of chapter) • Independent nation, population 3.6 million • Two official languages: English and Irish (Irish Gaelic) • Majority Catholic (93%) • Capital: Dublin • 85% of landmass of Ireland • 26 counties, each with distinctive cultural, musical traditions (e.g., Kerry, Clare, Donegal, Sligo, Limerick) • Northern Ireland • Province of the United Kingdom (U.K.) • Small majority Protestant (about 45%, vs. 42% Catholic– history of conflict, esp. 1970s/1980s) • Capital: Belfast • 15% of landmass of Ireland (northeastern portion)

4. The Irish Free State and the Irish Diaspora • The Irish Free State • 1922-1949 • Part of British Commonwealth (semi-autonomous) • IFS founded “in the wake of hundreds of years of struggle by Irish Catholics against British (Protestant) rule, domination, and repression” (p. 167) • First president EamonDeValera (born in U.S.) • Culture preservation programs, Radio Éireann, unsuccessful economic policies (village economy ideal) • Irish Potato Famine • Began 1840s; major impetus for Irish nationalism, struggle for independence, Irish Free State • 1.5 million deaths; decimation of population • The Irish Diaspora • Spurred by the potato famine • Millions of Irish moved to other lands, e.g., U.S. cities like New York, Boston • Irish communities in diaspora cultivated rich musical cultures, influenced musical developments back home in Ireland

5. Republic of Ireland: Nationhood, Revival, and Internationalism • With establishment of independent Republic of Ireland in 1949, • Massive urbanization • Economic reliance on manufacturing rather over agriculture • Large-scale industrialization of agriculture itself • Increased national prosperity • Growing fears of culture loss • Combination of prosperity and culture loss concerns inspired Irish music revival starting in 1960s: • Growing cross-pollination between musicians, musical communities in Ireland and in diaspora • Internationalization of the Irish music session • Internationalization of Irish music itself (rock, jazz, international influences) • Consolidation of transnational, pan-Irish music culture by end of 20th c.

6. Vocal Music: Two Irish Songs • Dance tunes the main focus of the chapter, but before exploring that topic, an introduction to the singing side of Irish music • “Ag an PhobalDéDomhnaigh” (At the Congregation on Sunday) [PL 9-6] • Sean nós song, sung by Lillis Ó Laoire in Irish Gaelic • Love song, but of a dark hue • Narrator at first is a man longing for “the girl” (chailín) for whom he falls at church. In later verses, though, the girl is the narrator, and from her we learn that this married man has mired her in adultery and betrayal. • “Song for Ireland” [PL 9-7] • Text in English, sung by Noel McLoughlin • Anthem-like song: Ireland’s beauty, solidarity, and freedom juxtaposed to its history of war, struggle, and oppression • Not seannós, but its influence apparent (ornamentation, phrasing, delivery of text, melodic variations between verses) • Metaphor of falcons central: “In silver wings they fly, for they know the call of freedom in their breasts”

7. Musical Guided Tour: “Irish Traditional Dance Tunes” • Access at the OLC: www.mhhe.com/bakan3e • Text transcript on p. 171 • This tour provides an introduction to the foundational elements of Irish dance music style, focusing on: • Basic dance rhythms (reel, jig, hornpipe) • Standard dance tune forms • Defining characteristics of melody and ornamentation • Scales and playing techniques • Medleys • The tour’s musical illustrations are performed by the American, prize-winning Irish fiddler LynnseyWeissenberger a protégé of James Kelly. • Weissenberger is seen in the photo on the right. Playing with her is tinwhistle player Jim Cox.

8. Traditional Irish Dance Tunes and Medleys • Since at least mid-20th century, Irish traditional dance tunes and medleys usually performed by groups of instrumentalists. Two main contexts: • Ceílí: informal social gathering with dancing at pub or dance hall • Session: musicians come together to perform the older traditional tunes and newer ones modeled after them; usually no dancing • Today, sessions much more common than ceílís • In earlier times (especially pre-1920), most typical format was a solo instrumentalist (on fiddle, tinwhistle, or uilleann pipes) accompanying dancers at rural domestic gatherings • Fell into decline in face of urbanization, modernization • Government initiatives were created to preserve, revive rural folk culture • Seamus Ennis was a key figure in these preservation/revitalization efforts • Interesting video of a solo Irish step dancer accompanied by a solo fiddler, 1963

9. The Life and Legacy of Seamus Ennis • Lived 1919-1982 • One of the greatest uilleann pipers of the 20th century, as demonstrated in this video. • Son of the famous piper and Irish dancer James Ennis • Musicians from all over Ireland would come to Ennis’ childhood home near Dublin to socialize, play music • At age 21, featured in series of radio broadcasts, Radio Éireann • Took a job as a folk music collector for the Irish Folklore Commission • Was later appointed as an Outside Broadcast Officer for Radio Éireann in 1947, which allowed him to travel all over Ireland recording and broadcasting musicians from different counties, regions • 1951: Employed by BBC, based in London. Broader preservation, revitalization initiatives throughout the British/Celtic lands (see also I&P box, pp. 175-76) • Hosted BBC folk music radio program As I Roved Out • 1958: Returned to Ireland, became major figure of Irish music revival (1960s), performed at Newport Folk Festival (U.S.) in 1964, introducing Irish music to new, international public

10. GLE: Seamus Ennis (tinwhistle), “The Cuckoo’s Hornpipe,” Pt. 1 [PL 9-8] FIRST STATEMENT OF MELODY (AA'BB') • 0:00–0:11—A (First part: eight measures) • Melody mainly in lower register of tinwhistle’s range. • 0:11–0:21—A' (Second part: eight measures) • Varied repetition of the A part: different opening melodic figure, use of different melodic ornaments. • 0:21–0:31—B (Third part: eight measures) • New, contrasting melodic material introduced, mainly in higher register of the instrument. • Melodic ornamentation more elaborate here than in the A parts. • Louder and more boisterous than before. • 0:31–0:40—B' (Fourth part: eight measures) • Similar to the preceding part, but with some varied repetition.

11. GLE: “The Cuckoo’s Hornpipe,” Pt. 2 SECOND STATEMENT OF MELODY (AA'BB') • 0:40–0:49—A (First part: eight measures) • More breaths between notes than in the earlier A parts. (Possibly Ennis is getting tired, running out of breath.) • Similar to the earlier A parts, but with some melodic variation (e.g., at 0:45–0:47). 0:50–0:59—A' (Second part: eight measures) • More notes with short articulations. • Melody jumps up to the higher octave range on the final note, adding excitement leading into the B section. 0:59–1:08—B (Third part: eight measures) • Even more notes with short articulations; more shortness of breath as well. 1:09–1:18—B' (Fourth part: eight measures) • Climax of performance, with the most elaborate melodic ornamentation. CONCLUSION OF PERFORMANCE (A) • 1:18–1:28—A • Tempo increases as Ennis drives to the finish, rounding out the performance with one final A part.

12. GLE: Seamus Ennis (Uilleann Pipes), “The First House in Connaught/The Copper Plate Reel,” Pt. 1 (Medley) [PL 9-9] In this example, Ennis performs on the uilleann pipes, an instrument consisting of three drone pipes, a chanter (melody pipe), three regulator pipes (for chords), a bellows, and a bag (see labeled diagram of Fig. 9.2 on p. 177). Uilleann pipes related to but very distinct from the Great Highland bagpipe of Scotland [PL 9-10] (see photos, p. 177). “THE FIRST HOUSE IN CONNAUGHT” (MEDLEY TUNE #1) FIRST STATEMENT OF MELODY (AA' BB') • 0:00–0:10—A • First we hear the drone, then the melody played on the chanter, then a regulator chord at the end of the section (at 0:09). • Note the fast tempo and distinctive rhythmic character of the reel. • Note the many melodic ornaments and different articulations (including many staccato [short] notes).

13. GLE: “The First House in Connaught/The Copper Plate Reel,” Pt. 2 • 0:10–0:18—A' • Regulator chords (0:14–0:15). • Dropped beats near beginning and end of this part (e.g., at 0:16–0:18). • 0:18–0:26—B • “Shaky” rhythm in some passages. • Melodic range higher than in the preceding A parts (as is common in the B parts of Irish dance tunes). • 0:27–0:34—B' • One full measure (two beats) is dropped at the end of this part. SECOND STATEMENT OF MELODY (AA' BB'): • 0:34–0:42—A • 0:43–0:51—A' • Note prominent use of regulator pipes.

14. GLE: “The First House in Connaught/The Copper Plate Reel,” Pt. 3 • 0:51–0:59—B • 0:59–1:07—B' • The first couple of melody notes are played an octave lower than in earlier B parts (varied repetition). “THE COPPER PLATE REEL” (MEDLEY TUNE #2) FIRST STATEMENT OF MELODY (AA' BB') • 1:08–1:15—A • New tune begins (though this is not necessarily obvious for listeners new to the style!). • 1:16–1:24—A' • Listen for “car horn” regulator chord (1:20–1:22). • 1:24–1:32—B • 1:32–1:40—B'

15. GLE: “The First House in Connaught/The Copper Plate Reel,” Pt. 3 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' • The most elaborate ornamentation of the entire performance occurs in this final part (as was also the case in “Cuckoo’s Hornpipe” and is common in Irish traditional music performances generally).

16. Neo-Traditional Irish Music and the Irish Music Revival • 1950s: Irish traditional music in decline in Ireland • 1960s: Irish music revival, which not only saw revitalization, but also transformation, of Irish traditional music: • Became more formal, structured • Guitar and other chordal instruments combined with the more traditional instruments like fiddle, flute, tinwhistle, uilleanpipes • Competitions (fleadhs) became a central feature of the musical culture • Moves toward professionalism and away from dancing to Irish dance tunes • Increasing commodification overall – from domestic gatherings to pubs, concert halls, festivals, etc.

17. Seán Ó Riada and CeoltóiríChualann • More progressive counterpart to Seamus Ennis • CeoltóiríChualann • Band founded and directed by Seán Ó Riada • Instrumentation included piano, bodhrán, and even harpsichord, plus traditional Irish instruments • Core instrumental lineup: uilleannpipes, two fiddles, tinwhistle, button box accordion, and bodhrán[PL 9-12] • All-star band of musicians from all over Ireland, including • Fiddler John Kelly, father of James Kelly (of Planxty) • Uilleann piper Paddy Moloney • Moloney and other members of CeoltóiríChualann would go on to form the Chieftains in 1963 • This group (and Moloney) helped to revive the waning popularity of the uilleannpipes • Also elevated the bodhrán from its former status as a domestic utensil (and occasional drum) to the main rhythmic accompaniment instrument in Irish music

18. The Chieftains • The Chieftains the best-known Irish traditional music group globally; international ambassadors of Irish music • Key group members: • Paddy Moloney, uilleann pipes and tinwhistle • Matt Molloy, Irish wooden flute • Martin Fay, Fiddle • Derek Bell, Irish harp • Kevin Conneff, bodhrán • Have influenced virtually all subsequent Irish bands and have collaborated with everyone from Mick Jagger to • Ziggy Marley with the Chieftains, “Redemption Song,” by Bob Marley

19. GLE: The Chieftains, “The Dingle Set” (Medley), Pt. 1 [PL 9-12] “FAR FROM HOME” (MEDLEY TUNE #1): 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 • 0:55–1:02—B • Performed by full ensemble, including tinwhistle (Moloney), fiddles, Irish wooden flute, Irish harp, accordion, concertina, banjo, and bodhrán. • Lively, up-tempo reel, with the bodhrán laying down a strong rhythmic foundation.

20. GLE: “The Dingle Set,” Pt. 2 “GLADSTONE” (MEDLEY TUNE #2): AB AB • 1:03–1:10—A • 1:11–1:18—B • 1:19–1:26—A • 1:27–1:34—B • Fiddles only throughout, with the rest of the ensemble laying out; instrumentation change creates interesting contrast in texture. “THE SCARTAGLEN” (MEDLEY TUNE #3): AB AB AB AB • 1:35–1:42—A • 1:43–1:50—B

21. GLE: “The Dingle Set,” Pt. 3 • 1:51–1:58—A (Rhythmic footwork of Ashley MacIsaac dancing audible from here.) • 1:59–2:06—B • 2:07–2:14—A • 2:15–2:22—B • 2:23–2:30—A • 2:31–end—B • With the arrival of this final tune at 1:35, there is a return to a full ensemble texture (but with Paddy Moloney now playing uilleann pipes). • The rhythms of the bodhrán and the rhythmic footwork of the dancer add energy and excitement as the performance drives to its conclusion.

22. The 1970s: Second Generation of the Irish Music Revival • Fostered by a new generation of Irish musicians who: • Had grown up with other kinds of music: rock, jazz, classical, etc. • Fused Irish traditional with rock, jazz, and other international and popular styles, while simultaneously preserving the traditional songs, dance tunes, and performance traditions of their Irish musical forebears • Often had close relationships with older musicians (e.g., relationship of Seamus Ennis and the piper Liam O’Flynn of Planxty – see p. 185) • Important bands • Horslips, Planxty, Clannad, Bothy Band, De Danann • Planxty’s “Bean Pháidín” [PL 9-13] (pp. 185-86) • Like the seannós song “Ag an PhobalDéDomhnaigh” (PL 9-6), this is a song about heartbreak, jealousy, and adultery told from perspective of “the other woman,” but this one “is altogether a darkly comical and amoral send-up.” • “In the space of less than four minutes, Planxty’s‘Bean Pháidín’ takes us on a journey through several phases of Irish musical development….” (p. 186)

23. The Modern Ensemble Sound of Irish Traditional Music (p. 187) • Group performances rather than solo performances (including instruments not formerly used in Irish music, such as Irish bouzouki [PL 9-14] and mandolin [PL 9-15]) • Chordal accompaniment of melody (guitar, Irish bouzouki, etc.) • Percussion accompaniment (bodhrán, drum set, congas, etc.) • Foreign influences (rock, pop, jazz, Latin, Balkan, African, etc.) • Varied musical textures • Music for listening (not for dancing) (except in productions like Riverdance, which have done much to revive Irish dancing)

24. Altan • Altan is one of the top Irish groups of the post-1970s era • Formed in mid-1980s • Founded by fiddler and vocalist MairéadNíMhaonaigh(from County Donegal) and her flutist husband, the late Frankie Kennedy • “The band’s music has covered everything from Irish traditional dance medleys to Irish-rock fusion productions that combine diverse musical elements in unconventional ways.” (p. 188)

25. GLE: Altan, “BóMhín Na Toitean/Con McGinley’s Highland/Seanamhach Tube Station,” Pt. 1 [PL 9-16] “BÓ MHÍN NA TOITEAN” (MEDLEY TUNE #1—FORM: AABB AABB) • 0:00–0:09—A • 0:10–0:21—A • 0:22–0:31—B • 0:32–0:42—B • Unison melody of fiddles accompanied by four-beat strathspey rhythmic pattern of the bodhrán. • 0:43–0:52—A • 0:53–1:02—A • 1:03–1:13—B • 1:14–1:23—B • Fiddles continue to play the melody, but now in octaves rather than straight unison, and with occasional drone-based chords to thicken the texture as well. • Bodhrán rhythmic accompaniment continues.

26. GLE: Altan, “BóMhín Na Toitean…,” Pt. 2 [PL 9-16] “CON MCGINLEY’S HIGHLAND” (MEDLEY TUNE #2—FORM: AB AB) • 1:24–1:34—A • 1:35–1:44—B • 1:45–1:54—A • 1:55–2:04—B • Fiddles joined by accordion on melody. • Guitar replaces bodhrán as accompanying instrument, providing both rhythmic accompaniment and a chord progression to support the melody. • Syncopated rhythms in the guitar part suggest jazz or other non-Irish influences. • This second tune is also called a strathspey, but seems even more distant in style from the traditional Scottish strathspey than the first tune.

27. GLE: Altan, “BóMhín Na Toitean…,” Pt. 3 [PL 9-16] “SEANAMHACH TUBE STATION” (MEDLEY TUNE #3—FORM: AABB AABBAABB AABB) • 2:05–2:30—AABB • Dance rhythm switches suddenly to a jig: triple subdivision of beats and faster tempo make for an abrupt rhythmic shift (not good for dancing). • Fiddles drop out, leaving accordion as the solo melodic instrument. • Guitar continues to accompany the melody. • 2:31–2:57—AABB • Fiddles come back in and join the accordion in playing the melody. • Guitar accompaniment continues. • 2:58–3:24—AABB • Bodhrán makes a dramatic return, joining the guitar in accompanying the melody. • Energy and rhythmic intensity continue to grow progressively with the thickening instrumental texture. • 3:25–end—AABB • Fiddles occasionally move away from main melody, adding chords and exciting rhythms that help build the music to a climax. • Final D-major chord surprises, since one would normally expect an A-minor chord here instead.

28. The Post-Traditional World of Irish Music: Beyond the Bog Road with Eileen Ivers • “The story of Irish music is only partially told through an exploration of music in Ireland itself. Equally significant is the history of Irish traditional music in the Irish diaspora.” • From 1930s-1950s, Irish music declined in popularity in Ireland, but thrived in Irish diasporic communities (U.S., Canada, England), which helped to restimulate interest in the music “back home” • Since the Irish music revival of the 1960s, “the rich cross-pollination that has occurred between Irish music in the Irish diaspora and in Ireland has given rise to a truly transnational pan-Irish musical culture.” • Irish-American fiddler Eileen Ivers has been as central to this transnational musicultural world as anyone

29. The Music and Life of Eileen Ivers • “Her work spans a broad and eclectic range of musical styles, from neo-traditional Irish to Irish-rock, Irish-Latin, and Irish-African fusion, and to combinations of all of these and more.” (p. 192) • Born and raised in a profusely multicultural Irish-American environment in New York City • Studied with renowned Irish fiddler Martin Mulvhill • Winner of All-Ireland Fiddle Championships – nine times! • Has performed with everyone from the Chieftains to the London Symphony Orchestra • From late 1980s, has toured and recorded as bandleader and solo artist, “crafting the unique and eclectic Irish-world music fusion sound with which she is now largely identified.” (p. 192) • Starring role as solo fiddler in Riverdanceon Broadway, 1990s • After that, was a founding member of all-female Irish music supergroup Cherish the Ladies [PL 9-17]

30. GLE: Eileen Ivers, “Linin’ Track” (Medley), Pt. 1 [PL 9-18] Released on Ivers’ 2016 album Beyond the Bog Road, a project that chronicled and illuminated the history of Irish American immigrant experience, “Linin’ Track” connects that experience to its African American counterpart through the combining of two railroad songs: the Irish song “Paddy on the Railway” and the African American song “Linin’ Track.” Before turning your attention to the Ivers recording, listen to Hair of the Dog’s rendition of “Paddy” [PL 9-19] and Leadbelly’s classic rendition of “Linin’ Track” [PL 9-20]. VERSE 1 OF “PADDY ON THE RAILWAY” • 0:00–0:21 • Opens with banjo (played by Ivers) and bass, plus the percussion (bodhrán and drum set) establishing a West African–influenced jig groove. • First verse of “Paddy on the Railway,” sung by Deirdre Brennan: “In eighteen-hundred and forty-one…” • First singing of the refrain, “I’m weary of the railway…,” which will recur frequently.

31. GLE: “Linin’ Track,” Pt. 2 VERSE 2 OF “PADDY ON THE RAILWAY” • 0:22–0:39 • “In eighteen-hundred and forty-four…” Paddy’s back is “getting mighty sore.” • When the “I’m weary of the railway” refrain returns at 0:32, blues singer Tommy McDonnell is heard harmonizing portions of Brennan’s lead vocal line. VERSE 3 OF “PADDY ON THE RAILWAY” • 0:40–0:58 • “In eighteen-hundred and forty-five…” Paddy finds himself “more dead than alive.” • McDonnell’s vocal presence increases here as he sings harmonies both on the verse itself (0:40–0:50) and on the refrain (0:51–0:58). CHORUS 1 OF “LININ’ TRACK” • 0:59–1:17 • Sudden, jarring change in rhythmic groove: subdivision of beats from triple to duple, double-tempo feel, uptempo jump blues style.

32. GLE: “Linin’ Track,” Pt. 3 • McDonnell sings, “Ho, boys, cancha line ˋem track… Let’s see Eloise go linin’ track” in hard-driving blues style. • Solo harmonica break (played by McDonnell) at 1:14. VERSE 1 OF “LININ’ TRACK” • 1:18–1:31 • “Angels workin’ on my chariot wheel” (biblical metaphor) verse. • Chorus follows directly at 1:22. • Solo fiddle break (Ivers) at 1:29. VERSE 2 OF “LININ’ TRACK” • 1:32–1:46 • “Mary and baby sittin’ in the shade, thinkin’ about the money that I ain’t made” (biblical metaphor) verse, then chorus and solo fiddle. VERSES 3–5 OF “LININ’ TRACK” • 1:47–2:33 • Each verse based on a biblical metaphor, each followed by the chorus and then a solo fiddle break.

33. GLE: “Linin’ Track,” Pt. 4 RETURN OF “PADDY” REFRAIN, ALTERNATION WITH “LININ’” CHORUS • 2:34–3:28 • Brennan returns as lead vocalist at 2:34, once again singing her “Paddy” refrain over the West Africanized jig groove. • At 2:44, there is another abrupt shift back to the “Linin’ Track” chorus and its underlying jump blues groove. • This back-and-forth alternation continues, with the changes getting closer together starting at 3:07. MELDING OF “PADDY” REFRAIN AND “LININ’” CHORUS • 3:29–3:38 • Ultimately, the “Paddy” refrain and “Linin’” chorus merge together in the call-and-response phrases of McDonnell and Brennan, all over the continuing “Linin’ Track” groove. CLOSING PORTION OF ARRANGEMENT • 3:39–end • Improvised fiddle solo by Ivers over stripped-down rhythmic groove (3:39–3:53).

34. GLE: “Linin’ Track,” Pt. 5 • Funky, solo bass break, then gradual buildup (3:54–4:08). • Return of the “Linin’ Track” chorus, with McDonnell, Ivers, and company riding it out until near the end (4:09–4:36). • Steady tempo gives way to free-rhythm closeout (4:37–4:52). • Track ends with plucked banjo notes from Ivers (4:53–end).