Academic literature on the topic 'Irish language traditional songs'
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Journal articles on the topic "Irish language traditional songs"
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Fahey, Hannah. "‘Take it away, sure ’tis your own’: Negotiating authoritative voice in Irish traditional song performance through autoethnography." Journal of Interdisciplinary Voice Studies 7, no. 2 (December 1, 2022): 187–202. http://dx.doi.org/10.1386/jivs_00064_1.
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This article discusses the authoritative voice in traditional Irish singing, examining voice in negotiation with prevailing and conflicting ideologies of practice in this context. Opening with a discussion on vocal identity and vocality in traditional Irish singing, autoethnography is used to present and critically examine an individual process of learning and voicing a macaronic song from the Irish tradition. Findings contribute to further understand the social, participatory and presentational dimensions of Irish traditional song as it is learned, performed and transmitted. Issues of vocal enculturation, identity and construction are negotiated as authoritative voice and stylistic efficacy are conceptualized in voicing Irish traditional song.
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Ní Riain, Nóirín. "The nature and classification of Traditional Religious Songs in Irish." Mot so razo 1 (June 18, 2012): 69. http://dx.doi.org/10.33115/udg_bib/msr.v1i0.1403.
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Millar, Stephen R. "Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act." Popular Music 35, no. 3 (September 14, 2016): 297–319. http://dx.doi.org/10.1017/s0261143016000519.
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AbstractIrish rebel songs afford Scotland's Irish diaspora a means to assert, experience and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland's majority Protestant population. The Scottish Government's Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.
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Akinrinlola, Temidayo. "A Stylistic Analysis of Ṣeun Ògúnfìdítìmí’s Songs." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v4i1.130033.
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Ṣeun Ògúnfìdítìmí is a traditional Yorùbá artiste of Oǹdó extraction. She is a promising and prosperous female artiste, who explores the richness of African values in creating her lyrics. Her songs are rendered in Oǹdó dialect. Oǹdó, a dialect spoken by the Oǹdó people of Southwestern Nigeria, is a dialect of the Yorùbá language. There have been multiple studies on traditional African songs. Such studies have engaged traditional African songs mostly from the non-linguistic perspectives. Such studies have investigated the historical and philosophical values of Yorùbá songs. Studies on songs rendered in dialects of Yorùbá language are very scanty. Dearth of studies in this regard has prevented the propagation and documentation of dialects of Yorùbá language. This study examines the discourse stylistic import of the sociocultural values in Seun Ògúnfìdítìmí’s songs with the view to describing how contextual issues are negotiated in her songs. Recorded songs of Ògúnfìdítìmí constitute the data for the study. The audio compact discs of her songs were collected and played repeatedly. The songs were transcribed and translated into the English language. The translation process took the form of one-to[1]one translation in order to avoid distortion of meaning. The artiste resorts to the use of discourse analytical tools in creating her lyrics. The songs reflect political, social, cultural and religious ideals of the Yorùbá traditional African society. The contextual issues expressed in the songs include the importance attached to the child as success indicator, the significance of marriage, love, conspiracy and the place of detractors, corruption and embezzlement, 184 Temidayo Akinrinlola supremacy of God, social degeneration, gender inequality and the cyclical nature of life. Ṣeun Ògúnfìdítìmí is an advocate of social and cultural revival of traditional African values.
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Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (February 7, 2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.
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Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nationalist activities throughout the nineteenth century added a distinctly political twist to Ireland’s print–oral relationship. Songbooks, a tool for many nineteenth-century nationalist movements, often embodied the confluence of print and oral song traditions. Lacking musical notation, many songbooks were dependent on oral traditions such as communal singing to transmit their contents; success also depended on the large-scale distribution networks of booksellers and ballad hawkers. This article seeks to explore further the print–oral interface within the context of Irish nationalism. Specifically, I will examine how one particular movement, Young Ireland, manifested this interface within their songbook, Spirit of the Nation. By examining the production, contents, and ideology of this songbook, the complex connections between literature, orality and nationalism emerge.
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Sundari, Wiwiek. "Javanese Language Maintenance Through Javanese Traditional and Modern (Folk) Songs." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 4, no. 1 (July 12, 2020): 11–16. http://dx.doi.org/10.14710/culturalistics.v4i1.8143.
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Javanese Language is learnt and studied by many people throughout the world as it has a complex system of language covering the letters (Javanese Language Orthography), the politeness level, and also the history and the culture behind the language. However, there is a concern on Javanese Language shift by its young speakers because they tend to use Indonesian Language as Indonesia’s Official Language, English as the world’s international language, or another popular language in the world like Korean with its K-Pop phenomenon. Javanese Language maintenance is then needed to keep these young generation as the language users who will pass it to the next generation. One of the ways to do it is embracing their world so that the language is considered good and beneficial for them as the young generation. Since music and song is very close to the young generation as they are very up to date with the latest trend of it, the language maintenance can be done through exposing Javanese kinds of music and songs. Recently, a kind of Javanese music called Campursari along with its songs are gaining popularity with the fame of The Godfather of The Brokenheart, Didi Kempot, who creates thousands of Campursari songs full of love stories in the lyric, particularly the brokenheart storied. Out of nowhere, the young generation, who are Javanese, who are Javanese but do not understand Javanese Language or even who are not Javanese and not understand Javanese Language are joining the crowd and becoming his fans that previously filled with the old generation. This research shows how Junior Highschool Students maintain the Javanese Language usage by liking the music, singing the songs and understanding the Javanese Language in the lyric. This research also observes whether they still know or able to sing traditional Javanese songs they exposed from their family, environment (neighbourhood) or Javanese Language class at school that shows their Javanese Language maintenance. Keywords: language maintenance, Javanese Language, students, Junior Highschool, Campursari, Javanese music and song
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Ivanauskaitė-Šeibutienė, Vita. "The Resonant Table: Drinking-Songs in the Traditional Community Gatherings." Tautosakos darbai 50 (December 28, 2015): 113–34. http://dx.doi.org/10.51554/td.2015.28993.
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The article focuses on the traditional Lithuanian drinking-songs that used to particularly flourish and be amply recorded by the folklore collectors in the 19th century and the first half of the 20th century. The prevailing folkloric motives in these songs include the making of the drinks (most frequently, the beer), inviting of the guests and an insistent encouraging them to help themselves, to drink “to the bottom”, praising of the neighbors and relatives, etc. Direct connections of these songs to the verbal formula of the table etiquette, used to wish others good health and prosperity, as well as to the traditional entertainment customs in general are examined. The traditional Lithuanian feasts did not comprise any sufficiently developed toasting tradition that used to play an outstanding role in some other national cultures. Therefore, it is justified to assume that its place was taken instead by the drinkingsongs. A significant number of the drinking-songs used to make an integral part of the important community festivals, primarily – of the weddings. Inevitable decline of the festive rituals resulted in related songs finding their way into various community gatherings as mere pieces of entertainment. Such shift in context and purpose of these songs may be attributed to the broader changes taking place in the rituals of social solidarity: from the ancient offerings of drink to the contemporary toasting of each other by the members of the festive gathering. The drinking-songs stand out among other traditional Lithuanian songs in terms of their folkloric imagery, characterized by its peculiar ritual connections, unique hyperboles and specific kind of laughter, and rooted deeply in the traditional festive culture and dynamics of the social communication.
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Al-Khalili, Raja. "Resisting cultural colonization: the role of folk songs in modern Irish drama." Journal of Language and Literature 5, no. 3 (August 30, 2014): 33–38. http://dx.doi.org/10.7813/jll.2014/5-3/6.
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Ní Riain, Isobel. "Drama in the Language Lab – Goffman to the Rescue." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (July 1, 2014): 115–23. http://dx.doi.org/10.33178/scenario.8.2.11.
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Between 2011 and summer 2014 I taught Irish in the Modern Irish Department of University College Cork (UCC). I spent one hour a week with each of my two second year groups in the language lab throughout the academic year. Ostensibly, my task was to teach the students to pronounce Irish according to Munster Irish dialects. It was decided to use Relan Teacher software for this purpose. My main objective was to teach traditional Irish pronunciation and thus to struggle against the tide of the overbearing influence of English language pronunciation which is becoming an increasing threat to traditional spoken Irish. Achieving good pronunciation of Irish language sounds, where there is strong interference from English, is not easy. For many students there is no difference between an English /r/ and an Irish /r/. Irish has a broad and slender /r/ depending on the nearest vowel. Many students do not even acknowledge that Irish has to be pronounced differently and this is a tendency that seems to be gathering momentum. The question I asked at the beginning of my research was how could I cultivate a communication context in which students would start to use sounds they had been rehearsing in ...
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Budiawan, Hery, and Nurul Ulfa Aulia. "Violin Teaching in Sanggar Merah Putih: Case Study of Budi Yuntono's Teaching Style." Gondang: Jurnal Seni dan Budaya 6, no. 2 (December 6, 2022): 272. http://dx.doi.org/10.24114/gondang.v6i2.35692.
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The purpose of this study is to find out how the teaching style used by Sanggar Merah Putih. The uniqueness of this sanggar is that it uses traditional teaching on musical instruments originating from the western, namely the violin. The research method used is a qualitative research method with a case study approach. The data search method for this study, researchers made observations, literature studies, documentation, and also interviews to several speakers including sanggar teachers and students at Sanggar Merah Putih which were carried out offline and also online. The results obtained in this study, Sanggar Merah Putih applied several methods, namely oral methods, demonstrations, and imitations in its teaching. sanggar also applies the technique of memorizing the notation of songs instead of reading the notation. Teachers use number notation and also solmization in their teaching, instead of using block note scores as in the teaching of violin instruments in general. With teaching techniques and methods like this, it is able to make children faster to master their musical instruments. Sanggar Merah Putih plays many songs from various genres, ranging from traditional songs, Country, Irish, Pop, and others.
Dissertations / Theses on the topic "Irish language traditional songs"
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DeSilva, Dominique Carmen. "MUSIC LEARNING THROUGH TRADITION: COUNTY CLARE SINGING SESSIONS AND POTENTIAL BENEFITS OF CLASSROOM ADAPTATION." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/591453.
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Music EducationM.M.
The Irish singing session has provided a safe community where singers of all abilities are welcome to share with and learn from one another. Through British occupation and into independence, the Irish session has transformed tremendously from its original form. Still, the session carries on the Irish tradition of music learning and enculturation through oral transmission. Singing sessions provide a unique opportunity for the many songs of Irish history to be sung and learned; passed down from generation to generation! Singers learn new songs through listening to and watching other singers, imitating material, experimenting with new ideas, and discussing musical performances with others. Session leaders may attempt to create an encouraging and accepting environment where singers feel secure, resulting in the unbridled sharing of singers’ deep connections with a song. Such methods, including personal choice and a safe environment, have been observed through field research and have shown to positively affect singers and communities related to singing sessions in County Clare, Ireland. In this study, I pose that the methods used in singing sessions may also be beneficial when adapted for use in the music classroom.
Temple University--Theses
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Phillips, Olivia H. "Marine Melodies: Traditional Scottish and Irish Mermaid and Selkie Songs as Performed by Top Female Vocalists in Contemporary Celtic Music." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/622.
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Mermaids and human-seal hybrids, called selkies, are a vibrant part of Celtic folklore, including ballad and song traditions. Though some of these songs have been studied in-depth, there is a lack of research comparing them to each other or to their contemporary renditions. This research compares traditional melodies and texts of the songs “The Mermaid,” “The Grey Selchie of Sule Skerry,” and “Hó i Hó i” to contemporary recordings by top female vocalists in Scottish and Irish music.
The texts and melodies I have identified as “source” material are those most thoroughly examined by early ballad and folklore scholars. The source material for “The Grey Selchie of Sule Skerry” is a 1938 transcription by Otto Andersson. The source of notation and text for “The Mermaid” is the ballad’s A version from the Greig-Duncan Collection. The melody of “Hó i Hó i,” collected by folklorist David Thomson and published in 1954, serves as the third source version. Modern recordings included in the study are “The Mermaid” by Kate Rusby, “The Grey Selchie” by Karan Casey with Irish-American band Solas, and “Òran an Ròin,” a variant of “Hó i Hó i,” by Julie Fowlis.
This study compares the forms, melodic contours, and texts of these variants, examining ways that contemporary recordings have maintained the integrity of traditional songs and ballads from which they are derived while adapting them to draw in a contemporary audience. The thesis illustrates the continued and evolving presence of mermaids and selkies in Scottish and Irish song.
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Le, Rol Yvon. "La langue des « gwerzioù » à travers l’étude des manuscrits inédits de Mme de Saint-Prix (1789-1869)." Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20029/document.
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L’une des composantes de la littérature orale (chants, contes, proverbes,…) de langue bretonne est la gwerz, chanson traditionnelle à caractère souvent historique et fantastique, se transmettant principalement oralement d’une génération à l’autre.L’étude de la langue utilisée dans ces chants permet de mettre en évidence des niveaux de langues différents : si la marque dialectale du chanteur est généralement bien présente, celle de l’utilisation d’un breton standard, se rapprochant du breton littéraire par ses caractéristiques, l’est tout autant.Quelques personnes en Bretagne, principalement issues de la petite noblesse rurale, se sont adonnées au collectage de sa littérature orale (de langue bretonne), à l’instar des autres pays européens, et ceci dès le début du XIXe siècle. Mme de Saint-Prix (1789 -1869) figure parmi ces précurseurs. Les deux manuscrits inédits qui constituent l’essentiel de sa collection (Manuscrit 1 : 97 folios ; Manuscrit 2 : 45 folios), sont actuellement conservés à la bibliothèque de LandévennecOne of the major forms of oral literature in the Breton language – which includes songs, tales, proverbs and sayings- is the gwerz. This form of traditional song, passing on from one generation to another, most often evidences a historical as well as a fantastic character.Studying the language used in these songs helps highlight the existence of several standards or levels of language; indeed, while the dialectal mark of the interpreter generally makes no doubt, the presence of a form of standard Breton can also be noticed.In the early XIXth century, people in Brittany - similarly to what was taking place throughout Europe - started collecting oral literature in the Breton language. Most of the time they came from the lower rural aristocracy. Mme de Saint-Prix (1789-1869) was among these precursors. The two unpublished manuscripts which make the most part of her collection (MS 1 : 97 folios ; MS 2 : 45 folios) are currently kept in the Landevennec library
Ul lodenn eus al lennegezh dre gomz (kanaouennoù, kontadennoù, lavarennoù,…) brezhonek a zo ar gwerzioù anezhi : da lâret eo kanaouennoù hengounel savet alies a-walc’h diwar fedoù istorel ha burzhudus, ha legadet a-c’henoù a-rummad da rummad.Studiañ ar yezh a gaver implijet er gwerzioù-se a laka war-wel liveoù yezh disheñvel : ma kaver roud eus brezhoneg rannyezhel ar ganerien warni, e weler splann ivez an implij a vez graet gante eus ur yezh all, tostoc’h ouzh ur « standard lennegel ».Ken abred ha deroù an XIXvet kantved, diwar skouer ar broioù europat all, e kroge un nebeut tud e Breizh, o tont peurliesañ eus an noblañs vihan diwar ar maez, da zastum ar pezh a oa da vezañ anvet « lennegezh dre gomz » pelloc’h. En o zouesk e kaver ur plac’h, an Itron de Saint-Prix (1789-1869), a orin eus Kallag, e Kerne-Uhel. An daou dornskrid a ra ar lodennvrasañ eus he dastumadenn (Ds. 1 : 97 f° ; Ds. 2 : 45 f°) a zo miret e levraoueg abati Landevenneg hiziv an deiz
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Coulter, William David. "Traditional Irish folk music, the Ó Domhnaill family, and contemporary song accompaniments." Diss., 1994. http://catalog.hathitrust.org/api/volumes/oclc/31274086.html.
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Theinová, Daniela. "Meze a jazyky v poezii současných irských autorek." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-327433.
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Filozofická fakulta Univerzity Karlovy v Praze DISSERTATION ABSTRACT Daniela Theinová LIMITS AND LANGUAGES in Contemporary Irish Women's Poetry "Irish poetry" is an inherently equivocal concept characterized by two fissures, one linguistic (Irish-English; standard English-Hiberno English) and the other chronological (oral-written; Old Irish-modern Irish). Central to my project is to show how this bifurcate cultural identity, prominent in Irish literature due to Ireland's history and the politicized concept of "national language," figures in poetry by Irish women of the last forty years. While I account for the significance of the hyphen in Anglo-Irish as well as in Gaelic-Irish poets, contradictory tensions are traced not only across and along the linguistic divide. In attending to the shift from feminism (Eavan Boland, Eiléan Ní Chuilleanáin, Paula Meehan, Medbh McGuckian, and Nuala Ní Dhomhnaill) to post-feminism in Irish poetry (Biddy Jenkinson, Vona Groarke, Caitríona O'Reilly, and Aifric Mac Aodha), I illustrate the role that the border between English and Irish has played in these processes. The dissertation falls into two parts each of which consists of two chapters. Part One explores some of the ways in which poets have confronted the inherited tradition and the feminine stereotypes therein. My...
Books on the topic "Irish language traditional songs"
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Harvey, Clodagh Brennan. Contemporary Irish traditional narrative: The English language tradition. Berkeley: University of California Press, 1992.
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Cróinín, Dáibhí Ó. The songs of Elizabeth Cronin, Irish traditional singer: The complete song collection. Dublin: Four Courts, 2000.
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McDonnell-Garvey, Maire. A traditional music journey 1600-2000: From Erris to Mullaghban. Nure, Manorhamilton, Co. Leitrim, Ireland: Drumlin Publications, 2000.
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1910-1992, Fleischmann Aloys, Ó Súilleabháin Mícheál, and McGettrick Paul, eds. Sources of Irish traditional music, c. 1600-1855. New York: Garland, 1997.
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The globalization of Irish traditional song performance. Burlington, VT: Ashgate, 2013.
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Where songs do thunder: Travels in traditional song. Belfast: Appletree Press, 1991.
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1964-, SanGregory Paul, Healey Derek 1936-, Chen Chin-Chin 1964-, Huang Zi 1904-1938, Li Qingzhu, Huang Youdi 1912-2010, Li Yinghai, and Liu Wenjin, eds. Traditional and modern Chinese art songs. Geneseo, N.Y: Leyerle, 2009.
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Russell, Micho. The Piper's Chair: A Collection of Tunes,Songs and Folklore from Micho Russell. Cork: Ossian Publications, 1989.
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Hyde, Douglas. Language, lore, and lyrics: Essays and lectures. Blackrock, County Dublin: Irish Academic Press, 1986.
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Hyde, Douglas. Language, lore and lyrics: Essays and lectures. Dublin: Irish Academic Press, 1986.
Find full textBook chapters on the topic "Irish language traditional songs"
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"The Language Divide." In The Globalization of Irish Traditional Song Performance, 75–98. Routledge, 2016. http://dx.doi.org/10.4324/9781315557571-14.
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Ó Bróithe, Éamonn. "Canfar an Dán." In The Oxford Handbook of Irish Song, 1100-1850. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.9.
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Abstract This chapter explores the work of the eighteenth-century Gaelic poets of Ireland from the perspective of their musical performance. The lyrics of several songs from the Gaelic literary tradition are combined with the melodies associated with them and re-animated as songs within the discipline and aesthetic of the living, Irish-language singing tradition. The premise is that a true appraisal of these compositions requires an understanding of the interplay between metre and melody and the impact intended by the poet on their audiences by the oral delivery of their work as songs. Further insight is gained into the eighteenth-century literary song as an artform, the tradition from which it was derived and the interrelationship of that tradition with the popular song culture in Irish-speaking Ireland.
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Carolan, Nicholas. "The Irish-Language Traditional Song Collection of Patrick Lynch, 1802–1803." In The Oxford Handbook of Irish Song, 1100-1850. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.17.
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Abstract This chapter describes song collecting trips made in Connacht and Ulster in 1802 and 1803 by Patrick Lynch (c.1750s–1838) of Loughinisland, Co. Down, for Edward Bunting and the promoters of the 1792 Belfast Harp Festival. The some four hundred Irish-language traditional pieces recorded by Lynch constitute the most important early collection of Irish song. He wrote them in longhand manuscript, mainly in Co. Mayo, and subsequently rewrote them in Gaelic script and translated them into English. His manuscripts are listed here and their history traced; they remain largely unpublished among those of Bunting in the Library of Queens University Belfast. In surviving letters and a journal, Lynch also preserved details of his source singers and of his collecting experiences and strategies. The social and political contexts of Lynch’s work are outlined, including his connections with the Irish-language scribal tradition and with Thomas Russell and the United Irishmen movement.
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O’Regan, Susan. "Civic and Urban Performance of Song." In The Oxford Handbook of Irish Song, 1100-1850. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.28.
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Abstract This chapter considers songs written and performed in Cork during the politically contentious period 1750-1850. Following a turbulent century from 1640 onward, major demographic resettlements in the city resulted in two distinct communities, divided according to religion, class, and language. The songs reflect these divisions. While art songs were based on European models, new popular and vernacular songs were created through engagement with source airs from diverse traditions and genres, resulting in hybridized musical and textual forms, which proliferated in Irish urban centres from the late eighteenth century. In this chapter, sample songs will be examined in terms of adaptation process, intertextuality, and parody. Exploration of the reception and subsequent transmission of the songs indicates a multiplicity of meanings and associations, channelled through theatre performances, nationalist anthologies, commercial publications as well as oral tradition.
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Ó Mainnín, Mícheál B. "Poetry and Performance in the Gaelic World, c.1200–c.1650." In The Oxford Handbook of Irish Song, 1100–1850, C40.P1—C40.N88. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.40.
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Abstract This chapter considers the performance of poetry in the early modern period of the Irish/Gaelic language (c.1200–c.1650). The poets do not comment explicitly on the nature of the vocal component. However, as the social context of the poetry was of great interest to contemporary observers, we consider some of these accounts before turning to issues of patronage, performance, and reception. Related genres, which have survived to some extent in oral tradition, may cast light on the vocal accompaniment of professional poetry as may later eulogy of the seventeenth and eighteenth centuries, examples of which also survive as songs. In view of the primacy of the text for the professional poets, the musical element which accompanied court poetry may have been simple and flexible, and the number of tunes limited accordingly. Nonetheless, the vocal dimension may have played a role in some instances in bridging the gap between the written and oral traditions, and in the passing of poems from the former to the latter.
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Ó Cearbhaill, Pádraig, and Úna Nic Éinrí. "Jacobite Sentiment in Eighteenth-Century Irish Poetry, in Word and in Song." In The Oxford Handbook of Irish Song, 1100-1850, C38.P1—C38.N135. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.38.
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Abstract This chapter examines and illustrates eighteenth-century Irish Jacobite poetry and song against the British and European historical background of the time. Several of the relevant tunes, encompassing both traditional and borrowed material, are examined. Beginning with the defeat of King James II’s army in Ireland, some texts allude to European wars and battles and other historic events in the context of the hoped-for return of the ‘rightful king’ while others are less specific in detail. Certain tunes which were used to create a series of literary songs by poets in response to one another’s compositions have been looked at. In addition to manuscript titles, various sources of tunes for texts—such as internal textual evidence—are elucidated. Special emphasis is placed on eighteenth-century Munster poets and poetry, including compositions of the aisling genre in which an allegorical woman, who is the embodiment of Ireland, conveys a Jacobite message, usually one of hope or defiance. Special consideration is given to songs in which the otherworldly woman is given a vernacular personal name (and often a surname), such as ‘Caitlín Ní Uallacháin’. Finally, the overall value of the material, both textual and musical, is contextualized and affirmed.
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Ciosáin, Niall Ó. "Varieties of Literacy in Nineteenth-Century Ireland: Gender, Religion and Language." In Literacy, Language and Reading in Nineteenth-Century Ireland, 15–27. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942081.003.0002.
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This chapter aims to complicate the once-dominant narrative of language loss, in which English literacy displaces Irish orality. Re-examining works printed in Irish, in phonetical ‘anglicised’ forms rather than traditional orthography, it suggests that literacy in English activated and enabled, rather than closed down, literacy in Irish. Using a comparative framework, the chapter explores the ways in which denominational, gender, and regional differences are expressed in the varieties of literacies in Ireland. This conception of the nineteenth century as a period of considerable bilingual literacy, in which print actively textualised and promoted the reading of Irish, amplifies Nicholas Wolf’s description of an island composed of multiple speech communities and adaptive bilingualism.
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Stovbur, Liubov. "PECULIARITIES OF FUNCTIONING AND STYLISTIC ROLE OF DEMINUTIVES IN UKRAINIAN FOLK SONGS." In Integration of traditional and innovation processes of development of modern science. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-021-6-1.
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Deminutive vocabulary is a vivid means of emotional and allegorical expression of a literary text, especially when it comes to Ukrainian folk songs. The need for its further study in terms of word formation, semantics and expressive possibilities in the literary text will clarify the idea of reduction as a word-forming category, the peculiarities of its use in Ukrainian folk songs. High derivational activity of diminutive suffixes in the modern Ukrainian language is a manifestation of the nominative function – the desire to call small objects (rarely – minor phenomena of reality) a derivative with a diminutive formant. With the help of diminutive suffixes the aesthetic function of the word is realized – the desire to give the lexical unit of expression, to introduce into it an additional shade of expression. Diminutives often used in adult language addressed to children, and in children's language. Each group of words of subjective evaluation characterized by certain forms used in the formation of derivatives and express an inexhaustible number of different shades of meaning. Derivational analysis can be complicat by the specific possibilities of context and intonation, as in language and speech there may be an erasure of the basic meaning of the subjective-evaluation token and its transition from one group of words of subjective evaluation to another. The scientific novelty of the study lies in the multi-vector exploration: an attempt to generalize the idea of diminutives as a word-forming category, including typical suffixes with which they are formed, their word-forming meanings and productivity, types of creative bases, and to trace the stylistic role of diminutives on Ukrainian folk songs. The relevance of the proposed exploration determined by the insufficient development of the topic of diminutive derivation in song folklore, the importance and role of diminutives in Ukrainian folk songs. The connection of the researched topic with the general problems of Ukrainian stylistic word formation also seems to be theoretically important and relevant. The aim of the research is to reveal the lexical-semantic and word-forming features of diminutives, as well as their stylistic load in the texts of Ukrainian folk songs. To achieve this goal it is necessary to perform the following research tasks: to outline the theoretical foundations of the study of diminutives as a type of derived words in modern linguistic literature; to characterize the specifics of Ukrainian diminutives; to carry out semantic classification of the considered diminutives; analyze the grammatical and structural properties of diminutives; to determine the stylistic role of diminutives in Ukrainian folk songs. Research methods: the main thing in the work is the descriptive method, with its universal methods of observation, systematization and interpretation of linguistic facts and phenomena. The presentation of the researched material is subject to clear logicization: substantiation of theoretical bases, presentative-analytical presentation of the fact, formulation of the concluding part.
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Moylan, Terry. "Political Song in the Age of Revolution." In The Oxford Handbook of Irish Song, 1100-1850, C39.P1—C39.N51. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.39.
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Abstract The American and French revolutions of the late eighteenth century demonstrated that novel forms of social organisation were possible, ones that were radically different from the monarchies that ruled all of Europe. In Ireland, those who were seeking to modify Ireland’s connection with Britain were quick to embrace the alternative model of a democratic republic. The organisation that was most involved in promoting democracy, and separation from Britain, was the Society of United Irishmen. Founded in Belfast in 1791 as a reformist body, in its later, revolutionary phase, it adopted novel means of disseminating its political programme, including the use of popular song, many of which were copied from the radical press in Britain. There had been political songs in the English language in Ireland since the late seventeenth century, but the United Irishmen were the first to use the form in a consistent way, publishing four collections, each of several dozen items, in the years 1795, 1796, 1798, and 1803, on each occasion timed to coincide with some special effort, including armed action. The perceived success of this tactic led to it being imitated by Irish loyalists, who published similar collections, clearly a reaction to the United Irishmen’s songs, many of them parodies of the earlier material.
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Richards-Greaves, Gillian. "“Beat de Drum and de Spirit Gon Get Up”." In Rediasporization, 95–122. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831156.003.0004.
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This chapter examines how the repertoire, form, content, and performance styles of traditional kweh-kweh songs and dances are performed and innovated at Come to My Kwe-Kwe to entertain, instruct, and educate the African-Guyanese diaspora in New York City. Accompanied by “found” instruments, synthesizers, djembes, and an assortment of percussive instruments, attendees sing traditional kweh-kweh songs, Guyanese folk songs, and musical genres from around the world. They sing using coded language, double-entendre, and unmasked (raw) speech to edify the community and facilitate inclusion. As attendees sing and dance in the ganda (performance space), they address diverse matrimonial topics, particularly sex. In fact, the volunteer bride and groom are expected to wine (gyrate) to demonstrate sexual prowess, or risk ridicule from the larger community. Some African-Guyanese-Americans disapprove of the musical innovations at Come to My Kwe-Kwe, but others view the changes as crucial to the survival of the ritual and the African-Guyanese community.
Conference papers on the topic "Irish language traditional songs"
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Menon, Indu V., and Shebin M.S. "Shamanic Rituals and the Survival of Endangered Tribal Languages: An Anthropological Study in Gaddika." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.10-4.
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In many ancient communities, particularly tribal communities, there exists a system of dialogue and conversation with and between supernatural beings and the supernatural world they inhabit, as well as their transmigration into a human’s body. The supernatural world is considered to be the realm of the gods, or of the spirits of ancestors, or of satanic evil spirits. A Shaman is suggested to summon, and communicate with, tribal or cult gods, while controling spirits, ancestors, animals and birds with afforded powers. Shamanic rituals have patent linguistic significance. In communities with a strong shamanic tradition, the shamans generally use traditional language, without altering their unique features. The songs used in these rituals are also in traditional tribal dialect. This study focuses on Gaddika, the shamanic ritual of the Rawla tribe, a tribal community in Kerala, and about songs contributing to the ritual. The study examines to what extent the Rawla dialect has been retained in its ‘original’ form, and the tribal myths that are woven into ritual language. The Rawla language belongs to the Dravidian family, and has been passed on in oral form only. In the Gaddika ritual, the original language is widely used and is central to the survival of the language. This study was conducted among the Rawla community, through observations during several Gaddika rituals, thus documenting the songs and ritual dialogues. As such, the study documented the language in its orginal form and structure, along with prominent myths passed on through generations. The study analyses this shamanic ritual and its verbal patterns. The study concludes with that shamanic discourses and magico-religious rituals have a vital role in the continuity and in the survival of the historical dialect,