Traditional Irish singing

In this article, we will explore the topic of Traditional Irish singing in depth, addressing its different aspects from a broad and detailed perspective. Over the next few lines, we will analyze in depth the importance and relevance of Traditional Irish singing today, as well as its possible impacts in different areas of daily life. To do this, we will examine different points of view, studies and opinions of experts on the subject, with the aim of offering the reader a complete and enriching vision about Traditional Irish singing. Throughout this journey, we will immerse ourselves in both its history and its current events, trying to understand its evolution over time and its influence on society.

Traditional Irish singing is the singing of traditional songs in the native styles such as sean nós. Though some people consider sean nós to particularly refer to singing in the Irish language, the term "traditional singing" is more universally understood to encompass singing in any language, as well as lilting.[1][2]

Some of the characteristics of traditional Irish songs might be

  • Solo singing
  • Unaccompanied
  • Unamplified
  • The audience is focused on the singing

In contrast, Irish ballad singing might be thought of as differing in several respects, even if it is also sometimes referred to as traditional.

  • Ballad singing is almost always accompanied by musical instruments.
  • It is most often a group activity, not solo singing.
  • It is performed typically in public areas, the singing is usually amplified, and the performance might be secondary (e.g., as background music in a pub).

History

The courtly love song genre came to Ireland from Norman France between the 13th and 15th centuries.[3]

Source singers

The term "source singer" is generally understood to describe singers in the past who received their style and repertoire through the oral tradition, whether that be through a family lineage or social circumstance. In the past, many such source singers were deemed so upon "discovery" by field researchers such as Cecil Sharp, Alan Lomax, Hamish Henderson, Pete Seeger, Ewan MacColl, or other song collectors who were prominent in the 1950s and 1960s. Although far from precise, the phrase sometimes was used to draw a distinction with revival singers, whose style and repertoire were perceived as adulterated by contact with written and other second-hand sources. The distinction today in the 21st century is harder to draw.

See also

References

  1. ^ The New Ireland Review. New Ireland Review Office. 1906. p. 133.
  2. ^ Vallely, Fintan (1999). The Companion to Irish Traditional Music. NYU Press. p. 338. ISBN 978-0-8147-8802-8.
  3. ^ Williams, Sean (2013). Focus: Irish Traditional Music. Routledge. p. 162. ISBN 978-1-135-20414-3.
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