Relevant bibliographies by topics / Gaelic Folk songs

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Academic literature on the topic 'Gaelic Folk songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Gaelic Folk songs"

1

Skoptsova, Olena, and Nataliia Pertsova. "Repertoire Palette of Foreign Folk Choir Groups." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 103–10. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258154.

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The purpose of the research is to study the specifics of the repertoire palette of foreign folk choirs. Achieving the goal involves determining not only the features of the current repertoire preferences of leading groups but also the prospects that may open up in view of the transformation of listeners' preferences and the demands of today’s audience. The research methodology, while determining the specifics of the repertoire of foreign folk choirs, involves the use of the method of synthesis, which outlines the range of works to which choirmasters turn. The method of analysis is used to study the specifics of the interpretation of folk sources by choirs. The scientific novelty of the research is the selection of foreign folk choirs that operate in Scotland, Britain, France, USA; defining their repertoire palette. Conclusions. The vocal style of the performers and the repertoire are of dominant importance in the formation of the creative face of the ensemble. The study of folk choirs that operate abroad, shows a significant spread of such compositions. Folk choirs were formed in Scotland, Great Britain, France and the USA. Their repertoire consists of folk songs (Celtic, Scottish, Gaelic) and original works, which testifies to the universality and diversity of groups. Some choirs use folk and academic vocal style, where the choice of one or another is determined by the repertoire. Attempts to fully reproduce the folklore layer of musical culture can be traced in the preservation of folk vocal style, type of voting, the fricative basis in the arrangements and so on. Promoting Ukrainian folklore as part of the repertoire of foreign folk choirs is seen as a promising direction. This will contribute to its dissemination, which is important for the preservation of the cultural heritage of the Ukrainian people.
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Hodder, William. "Translator as Ideologue: Samuel Ferguson and the Gaelic Folk-Song Tradition." Canadian Journal of Irish Studies 20, no. 1 (1994): 1. http://dx.doi.org/10.2307/25512983.

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3

Ó Laoire, Lillis. "Údair Úra /New Authorities: Cultural Process and Meaning in a Gaelic Folk Song." New Hibernia Review 3, no. 3 (September 1999): 131–44. http://dx.doi.org/10.1353/nhr.1999.a926699.

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Miller, Stephen. "‘Print is Much Safer than MS’: The Fate of Folklore and Folk Song Collections in the Isle of Man." KULA: Knowledge Creation, Dissemination, and Preservation Studies 2 (November 29, 2018): 6. http://dx.doi.org/10.5334/kula.26.

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The Isle of Man in the 1890s saw remarkable activity in the collecting of folklore and folk song, both in English and Manx Gaelic. This was followed by a further wave of collectors in the next decade, enthused by the Celtic Revival. Much of the material collected has now been lost for a variety of reasons detailed in this article. The most significant loss was that of the cylinder recordings made by the Manx Language Society between 1905 and 1913. Several collectors expressed concern in their lifetime about the survival of their papers, but this did little to prevent the loss of the collections they amassed. Such a fragmented record has consequences in researching what does now survive.
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Dissertations / Theses on the topic "Gaelic Folk songs"

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Ash, Roisin L. "Perception of structure in auditory patterns." Thesis, University of Stirling, 1998. http://hdl.handle.net/1893/26669.

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The present research utilised five tasks to investigate non-musicians' perception of phrase, rhythm, pitch and beat structure in unaccompanied Gaelic melodies and musical sequences. Perception of phrase structure was examined using: i) a segmentation task in which listeners segmented Gaelic melodies into a series of meaningful units and ii) a novel click localisation task whereby listeners indicated where they perceived a superimposed click in the melody had occurred. Listeners consistently segmented the melodies into units of 2.4 - 5.4 seconds. Clicks which were positioned before and after perceived boundaries (identified by segmentation) were perceptually migrated towards the boundary. These results suggest that listeners perceptually differentiate between phrasal groups in melodies (See Sloboda & Gregory, 1980; Stoffer, 1985, for similar results with musicians). Short term memory for rhythmic structure was examined using rhythm recall of computer generated sequences and Gaelic melodies. Computer generated rhythms with small tonal pitch intervals (1 - 4 semitones) were easier to recall than large atonal intervals (predominantly greater than 4 semitones). Recall of Gaelic melodies, containing repetitive rhythmic units, was better than recall of computer sequences. Pitch reversal of Gaelic melodies did not effect recall. Beat-tapping with three Gaelic melodies revealed that the majority of listeners established the underlying beat 1.5 - 3 seconds (5 - 6 notes) after the start of the melodies. Perception of meaning and content in two note melodic intervals and three Gaelic melodies was examined using an adjective pair two-alternative forced choice task. Responses to musical intervals showed evidence of perceptual similarity based mainly on interval size. Perceived information content in the melodies increased significantly by the fourth note. The results suggest that the amounts of Gaelic melody which are: i) required to establish an underlying beat, ii) remembered after one hearing, and iii) perceptually grouped into a meaningful unit, include the unit of melody which is necessary to establish a basic meaning.
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Books on the topic "Gaelic Folk songs"

1

Alexander, Fraser. The Gaelic folk songs of Canada. Ottawa: J. Hope, 1997.

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2

Valerie, Bryan, and Bryan Tom, eds. Ullapool: A celebration in music and song lochbroom and coigach--past and present. Wester Ross, Scotland: Drumrunie Press, 1988.

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Shaw, Margaret Fay. Folksongs and folklore of South Uist. 3rd ed. Aberdeen: Aberdeen University Press, 1986.

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4

Parsons, Catriona NicIomhair. Brìgh na Gàidhlig: Songs, poems, rhymes & traditions in Scottish Gaelic. 3rd ed. [Takoma Park, MD]: An Comunn Gaidhealach Aimeireaga (ACGA), 2001.

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5

1840-1926, Tolmie Frances, ed. One hundred and five songs of occupation from the Western Isles of Scotland. Felinfach: Llanerch, 1998.

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6

1906-, Campbell John Lorne, and Ennis Seamus, eds. Songs remembered in exile: Traditional Gaelic songs from Nova Scotia recorded in Cape Breton and Antigonish County in 1937 with an account of the causes of the Highland emigration, 1790-1835. 2nd ed. Edinburgh: Birlinn, 1999.

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7

Lobban, Maighread Dhòmhnallach. Lachann Dubh a' Chrògain =: Lachlan Livingstone and his grandsons : bards of Mull and Lismore. Isle of Iona: New Iona Press, 2004.

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8

1847-1901, MacLeòid Iain Dubh, and MacLeòid Dòmhnall approximately 1787-1872, eds. Bàird Ghleann Dail = The Glendale bards: A selection of songs and poems by Niall MacLeòid (c. 1843-1913), 'The Bard of Skye', his brother Iain Dubh (1847-1901) and their father Dòmhnall nan Òran (1787-1872). Edinburgh: John Donald, 2014.

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9

Fay, Shaw Margaret, ed. Folksongs and folklore of South Uist. 2nd ed. Edinburgh: Birlinn, 1999.

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10

MacFhearghuis, Calum. St Kildan heritage. Stornoway: Acair, 2006.

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Book chapters on the topic "Gaelic Folk songs"

1

Ó Fionnáin, Mark. "Alastar Sergedhebhít Púiscín, the Séacspír of Russia." In Translating Russian Literature in the Global Context, 171–80. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.10.

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This essay briefly examines the various translations into Irish of Aleksandr Pushkin’s writings, from the early twentieth century to modern renditions. One of the aims of Ireland’s Gaelic Revival (which started in the 1890s) was to produce a new literature in Irish, a language which had been reduced to that of the poor and uneducated and whose extant literature largely consisted of folk songs and poetry. The quickest way to produce such new works of poetry, plays and prose was thus to translate existing texts by international authors. As a result of this approach, Pushkin was rendered into Irish. However, these translations of Pushkin were few and far between, with the prose texts themselves occasionally being shortened, or else, in the case of his poetry, only a small selection of verses being chosen. Indeed, in one case, the same text––The Queen of Spades––resulted in three translations of various and varying quality. Despite this, a look at the Irish-language renditions of Pushkin helps illustrate some of the cultural and linguistic issues that were current, including questions of orthography, loanwords and sources of inspiration, and how Irish-language writers faced up to the task of creating a literary language where none existed.
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