Welsh traditional music

Орехово-Зуевский Государственный Педагогический Институт

Кафедра английского языка

Реферат по страноведению на тему:

Welsh traditional music

Выполнила студентка

5 курса 502а группы

английского отделения

Андрианова Т.В.

Преподаватель:

Абульханов Р.А.

Орехово-Зуево

2002
Contents:

1. The peculiarities of folk music in Wales…………………………………..3

2. Plethyn……………………………………………………………………..6

3. Boys of the Lough…………………………………………………………7

4. Rag Foundation…………………………………………………………….8

5. Fernhill……………………………………………………………………..9

6. The renaissance of Welsh traditional music……………………………….12

1.The peculiarities of folk music in Wales

Wales is the only Celtic nation with a completely unbroken tradition of harp music, where the music, technique, and style have been passed down orally from harper to harper over the centuries. Wales is best known for its large-ensemble choral singing. But this principality lying along Britain's southwestern shore also has a proud Celtic tradition of smaller, more tightly knit bands that perform native instrumentals and folk songs. Wales is a land of song, sung either by male voice choirs or crowds at rugby matches. But there has been singing of all manner of songs in all manner of places, from the Canu'r Pwnc chanting of scripture in chapel to the scurrilous rhymes sung in pubs. All that is commonly known about Welsh poetry is that it comes in forms of mind-boggling complexity. But there is a great variety of metre and tone. Bands such as Pigyn Clust are mining these veins in new and startling ways, juxtaposing melodies, and verse forms.

In Ireland and Scotland, because traditional music is better established, the orthodoxies too are stronger. While musicians improve technically - and there are some phenomenally accomplished players and singers - there is little innovation, beyond often misguided collaborations with musicians from incompatible traditions. If the Chieftains finally stopped coming to town then a similar band playing similar music would soon fill the vacuum - Lunasa, for instance. Should Aly Bain, the Boys of the Lough's fiddler, lay down his bow then Catriona MacDonald would step in.

But in Wales musicians are rediscovering, recreating and reinterpreting their traditional music, which is crucial to the development of their culture. Of all the Celtic countries it is Wales where the traditional music is most interesting and most vital.

The bardic and eisteddfod traditions have long dominated Welsh music and, partly as a result, the Celtic music boom which propelled Irish, Scots, Breton and even Galician music into the international spotlight, somehow left Wales behind. Several excellent artists have made inroads through the years, notably the harp-playing brothers Dafydd and Gwyndaf Roberts of Ar Log, the singer/harpist Sian James, 70s group Plethyn and fiery dance band Calennig.

The Welsh have a drastically different style of playing, largely due to the nature of the music itself. Their music is ornamented through theme and variation, a more classical style, rather than through the sort of ornamentation heard in Scottish and Irish music. Due to this love of Baroque-like style, the Welsh adopted the triple harp as their national instrument, taking advantage of the three rows of strings to play a wide variety of variations on traditional Welsh melodies. (Triple-strung harps have two diatonic rows on either side, and a row of accidentals up the middle, which the harper plays by reaching between the outer strings to play).
The harp is of course the instrument most closely identified with Wales. But though it's accorded the highest respect there, the fiddle and the accordion are perhaps embraced with greater affection. CDs sampling the traditions of both have recently been released, but for many listeners these will be introductions rather than surveys. The squeezebox anthology Megin (bellows) is especially good. The range of repertoire, and even instruments, is remarkable, from the robust melodeon dance music of Meg and Neil Browning from North Wales to John Morgan (clearly influenced by harp players) whose duet concertina combines the gravitas of a church organ with the delicacy of a flute. The inclusive nature of this selection is significant too; players from the south-eastern, urban, (post-) industrial region rub shoulders with those from the Marches, the rural and largely English-speaking area running along the border. It even includes the Brecon Hornpipe and Dic y Cymro played by John Kirkpatrick - the most famous of English box players who lives on the eastern side, in Shropshire. So the CD draws on and expresses the complex reality and the richness of Wales, recognising that music will not be confined by city nor countryside, language nor national boundary.
Those instrumental traditions were not well known, and the fiddle certainly suffered in the religious revivals of the 19th century, when many were burned. But at least they did not disappear completely. The bray harp, the instrument of medieval bards, then the peasants of South Wales, and bagpipes - of which there were various local kinds - were not so fortunate. Tunes and references to players remain and in recent years Ceri Rhys M

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