Brief aspects of folksong in Irish folklore by Eliseo Mauas Pinto
It is well known that in the beginning there was a unity between music, dance and poetry. The song was spoken poetry, the words music, and dance part of the ritual. While growing, folklore added melodies on behalf the inclusion of instruments and vocals that not all the times match the original lyric verse in these melodies, and since there are two languages in use in Ireland (Irish and English) it is necessary to consider the folk song in both and its direct relation with Scotland.
While the Irish remained as the majority language (ca.1800), wide variety of popular music and poetry of Ireland was to recreate itself any event of everyday life. The love songs were predominant in areas such as the departure of the lovers because of emigration or engagement in arms, and the consequent return of promises and hopes of love. Add lullabies, humorous, religious, military, relating to work (planting, cutting, spinning, milking) the melancholic style of 'regret', and the cheerful pub songs (drinking-songs). Two kinds of songs are absent: the "boat-songs" (as distinct from the 'Sea-Shanti') very common in the region of the Highlands in Scotland, whose rhythmic cadence refers to the act of rowing, and secondly, the "carols."
During the XVII C. many Irish melodies were incorporated by Scotland through the emigration of harpists to the country. Then the cycle was reversed, to the extent that the harpists ceases to be considered proscripts by the Crown. So many of the Munster Irish poets write poems to Scottish tunes, and not surprisingly, the discovery of items, titles, or airs similar between the two peoples.
In terms of Irish songs in English, there are two kinds: those that own versions of songs from Scotland and England, and those that the Irish made up for it when it returned to the English language. Since the days of Elizabeth I to William of Orange, the troops of the British crown were sent to occupy the lands expropriated from the Irish, carrying with them their own traditional songs. Also, those Irish emigrants to England by seasonal demands for jobs, presumably brought their known melodies. With the decline in the use of "Irish" as the majority language, songs in English were on the rise, the majority being sung with traditional melodies on the English adaptation of his poems in Irish originals
. Yet the structural lyrical body was decaying, with many of the verses a little happier conjunction with the traditional airs.
The poetic imagination and variety of items always present in the singing Irish have no counterpart here. Few lullabies and even less with regard to work, love songs, trivial in comparison. Just awakening from the 1800 patriotic songs makes its way into political unknown until then.
The reason for this lack of comparative merit of the traditional song in the English language is the result of attempts by the people to speak in a language they barely knew. With an ear accustomed to prosody Gaelic, but knowing little about the rhyme in English, rural poets often unconsciously imitated in the Gaelic assonance, ultimately more appropriate to the melody in mind. Over the years, and from Folk resurgence in the 70’s, several poets have emerged in the past two decades with an attitude akin to the English language in terms of their treatment.
The thematic grounds of yesteryear are now revived on traditional melodies, creating a new Folk Irish English-speaking, that is not no time to lose in this particular 'mood' Irish. However, the Irish solo singing lingers in Connemara and in the Aran Islands. This "old style" known as "being-Us" (sean-nos) is based on a special treatment of narrative music in a solo performance. Generation after generation will feature new melodies and lyrics idioms, even in English or bilingually. The style of Connemara is far more ornate than that of Donegal, Kerry, Cork or Waterford. The love songs are still prevalent in Donegal, with the remaining group consisting of songs related to nature.
The conservation of us are part of folklore as has its role insured through the diverse number of commercial recordings registered under the seal-Gael Linn, in addition to the programs broadcast by Radio Telefis Eireann, and competitions like the Oireachtas Festival. The "regretted" associated with "dump" of the seventeenth century is independently within the "Us are" not as well as the "caoine" (Keen) yet heard by funeral in remote districts, with a primitive Celtic tradition. This song-elegy, very common in villages Greeks, Arabs and Assyrians, even biblical references to the quinah-entonado by four women specialists (mna caointe) whose most famous expression in the popular legend is personified by reason of the folk "Banshee".
Ballads such as the Anglo-Scottish are not common in Ireland, although a version is compiled by Child as "Cé ar mo thuama" (Who is that on my grave) very associated with "The Unquiet Grave" English, or vice versa, "Lord Randall "imported from England, or" Twa Sisters "in Scotland.
The latter country has a very particular kind of song called "Cainteracht", the same rule is a mnemonic used once by the pipers to remember melodies through a joint monosyllabic which emulates the playihg of the bagpipes.
Today is part of the female solo repertoire along with the "mouth-music" (Port a Beul) grouping of musical onomatopeyas and monosyllables ilación concludes on a main verse. Something similar is found in the Irish lilting. Just as the roaring sea erodes the hardest stone, the constant singing melodies not only amended or add verses to old stanzas, but through this practice, the inner voice will speak forever.
It is well known that in the beginning there was a unity between music, dance and poetry. The song was spoken poetry, the words music, and dance part of the ritual. While growing, folklore added melodies on behalf the inclusion of instruments and vocals that not all the times match the original lyric verse in these melodies, and since there are two languages in use in Ireland (Irish and English) it is necessary to consider the folk song in both and its direct relation with Scotland.
While the Irish remained as the majority language (ca.1800), wide variety of popular music and poetry of Ireland was to recreate itself any event of everyday life. The love songs were predominant in areas such as the departure of the lovers because of emigration or engagement in arms, and the consequent return of promises and hopes of love. Add lullabies, humorous, religious, military, relating to work (planting, cutting, spinning, milking) the melancholic style of 'regret', and the cheerful pub songs (drinking-songs). Two kinds of songs are absent: the "boat-songs" (as distinct from the 'Sea-Shanti') very common in the region of the Highlands in Scotland, whose rhythmic cadence refers to the act of rowing, and secondly, the "carols."
During the XVII C. many Irish melodies were incorporated by Scotland through the emigration of harpists to the country. Then the cycle was reversed, to the extent that the harpists ceases to be considered proscripts by the Crown. So many of the Munster Irish poets write poems to Scottish tunes, and not surprisingly, the discovery of items, titles, or airs similar between the two peoples.
In terms of Irish songs in English, there are two kinds: those that own versions of songs from Scotland and England, and those that the Irish made up for it when it returned to the English language. Since the days of Elizabeth I to William of Orange, the troops of the British crown were sent to occupy the lands expropriated from the Irish, carrying with them their own traditional songs. Also, those Irish emigrants to England by seasonal demands for jobs, presumably brought their known melodies. With the decline in the use of "Irish" as the majority language, songs in English were on the rise, the majority being sung with traditional melodies on the English adaptation of his poems in Irish originals
. Yet the structural lyrical body was decaying, with many of the verses a little happier conjunction with the traditional airs.
The poetic imagination and variety of items always present in the singing Irish have no counterpart here. Few lullabies and even less with regard to work, love songs, trivial in comparison. Just awakening from the 1800 patriotic songs makes its way into political unknown until then.
The reason for this lack of comparative merit of the traditional song in the English language is the result of attempts by the people to speak in a language they barely knew. With an ear accustomed to prosody Gaelic, but knowing little about the rhyme in English, rural poets often unconsciously imitated in the Gaelic assonance, ultimately more appropriate to the melody in mind. Over the years, and from Folk resurgence in the 70’s, several poets have emerged in the past two decades with an attitude akin to the English language in terms of their treatment.
The thematic grounds of yesteryear are now revived on traditional melodies, creating a new Folk Irish English-speaking, that is not no time to lose in this particular 'mood' Irish. However, the Irish solo singing lingers in Connemara and in the Aran Islands. This "old style" known as "being-Us" (sean-nos) is based on a special treatment of narrative music in a solo performance. Generation after generation will feature new melodies and lyrics idioms, even in English or bilingually. The style of Connemara is far more ornate than that of Donegal, Kerry, Cork or Waterford. The love songs are still prevalent in Donegal, with the remaining group consisting of songs related to nature.
The conservation of us are part of folklore as has its role insured through the diverse number of commercial recordings registered under the seal-Gael Linn, in addition to the programs broadcast by Radio Telefis Eireann, and competitions like the Oireachtas Festival. The "regretted" associated with "dump" of the seventeenth century is independently within the "Us are" not as well as the "caoine" (Keen) yet heard by funeral in remote districts, with a primitive Celtic tradition. This song-elegy, very common in villages Greeks, Arabs and Assyrians, even biblical references to the quinah-entonado by four women specialists (mna caointe) whose most famous expression in the popular legend is personified by reason of the folk "Banshee".
Ballads such as the Anglo-Scottish are not common in Ireland, although a version is compiled by Child as "Cé ar mo thuama" (Who is that on my grave) very associated with "The Unquiet Grave" English, or vice versa, "Lord Randall "imported from England, or" Twa Sisters "in Scotland.
The latter country has a very particular kind of song called "Cainteracht", the same rule is a mnemonic used once by the pipers to remember melodies through a joint monosyllabic which emulates the playihg of the bagpipes.
Today is part of the female solo repertoire along with the "mouth-music" (Port a Beul) grouping of musical onomatopeyas and monosyllables ilación concludes on a main verse. Something similar is found in the Irish lilting. Just as the roaring sea erodes the hardest stone, the constant singing melodies not only amended or add verses to old stanzas, but through this practice, the inner voice will speak forever.
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