Traditional Irish Music : a path to new music

533 Pages·2011·11.52 MB·English

TRADITIONAL IRISH MUSIC:

A PATH TO NEW MUSIC

Dave Flynn MMus, BMus

This thesis is submitted to the Dublin Institute of Technology,
Conservatory of Music and Drama in the College of Arts and Tourism for
The degree of Doctor of Philosophy

December 2010

Head of Academic Studies: Dr. Kerry Houston

Research Supervisor: Dr. Jane O’Leary

Traditional Music Consultant: Peter Browne

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I certify that this thesis which I now submit for examination for the award of Doctor of
Philosophy, is entirely my own work and has not been taken from the work of others
save and to the extent that such work has been cited and acknowledged within the text
of my work.
This thesis was prepared according to the regulations for postgraduate study by
research of the Dublin Institute of Technology and has not been submitted in whole or
in part for an award in any other Institute or University.
The Institute has permission to keep, to lend or to copy this thesis in whole or in
part on condition that any such use of the material of the thesis is duly acknowledged.
One exception to this concerns the scores and music recordings of the works I have
composed. The recordings may not be copied due to copyright issues with performers.
The scores may only be partially copied for academic purposes. Complete copying of
these scores would violate the copyright of these works as held by Frisbee Publications.

Signature ____________________________

Date __________________
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ABSTRACT

This dissertation is divided into four sections. The main focus concerns the presentation
of a body of new music I have composed which brings elements of traditional Irish
music together with elements of contemporary classical music. The compositions were
primarily generated from three aspects of traditional Irish music: Instrumental
Characteristics, Rhythm and Pitch. Discussion of these aspects is found in Chapter 3 in
order to prepare the reader for the commentaries in Chapter 4.
Chapter 2, ‘The Notational Dilemma,’ is dedicated to discussing one of the main
focuses of my research. The dominance of aural learning in the dissemination of
traditional music and conversely the visual aid of sheet music in classical music has
meant that many of the essential characteristics of traditional Irish music have rarely, if
ever, been analysed or notated in the detail that is expected for classical music. This
results in great confusion when those with a stronger background in classical music
attempt to analyse and/or learn about traditional Irish music. On the other hand it is a
great challenge for many traditional musicians to perform music that is notated in more
detail than they would be used to. I offer some possible solutions to this notational
dilemma in this section.
The various research methods used are detailed in the Research Methodology.
Central to this research were a number of discussions with musicians and composers
who have expertise in some or all aspects of the topics discussed. I believe these
discussions are of particular scholarly value as they bring together, in one resource, the
views of some of the most notable living Irish composers and musicians. Selected
transcripts and recordings of the interviews are provided with the supporting material.
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ACKNOWLEDGEMENTS

There are a number of individuals without whom this dissertation could not have been
possible and it is important that their contributions are acknowledged.
Firstly, I must express my profound gratitude to my supervisor Dr. Jane O’Leary
for the dedication and thoroughness she applied to supervising me through this
dissertation.
Peter Browne’s role as traditional music consultant was invaluable. His
encyclopaedic knowledge about traditional music was of great benefit to my research.
I would like to thank the staff of the Dublin Institute of Technology for their
assistance on administrative and formatting matters, particularly Dr. Brian O’Neill, Dr.
Kerry Houston and Dr. David Mooney and the graduate research and music library staff
members.
The staffs of the Contemporary Music Centre and the Irish Traditional Music
Archives in Dublin were always very helpful in answering my multiple queries.
I owe a great debt of gratitude to all the composers and musicians who
generously gave their time to my research queries. I owe particularly gratitude to the
musicians who collaborated with me on my compositions.
Some of the compositions presented with this dissertation would not have been
possible without the generous support of the Arts Council of Ireland, RTÉ, The Galway
Music Residency and the Contemporary Music Centre
Finally, I would like to thank my partner Eileen and all my friends and family
for providing great moral encouragement to help me complete this dissertation. My
Aunt Dolores deserves special mention for applying her proof-reading skills to this
dissertation.
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TABLE OF CONTENTS
1 INTRODUCTION 26
1.1 Research Philosophy 26
1.2 Research Methodology 27
1.2.1 Field Research at Music Festivals and Events 27
1.2.2 Interviews with Musicians and Composers 28
1.2.3 Studying Literature about Traditional and Classical Music 31
1.2.4 Analysing Recordings and Scores of Traditional and Classical Music 32
2 THE NOTATION DILEMMA 34
2.1 Introduction 34
2.1.1 The Hidden Complexity 39
2.2 The Notation of Traditional Irish Music by Traditional Musicians and
Collectors 41
2.3 The Notation of Traditional Irish Music by Contemporary Composers 48
2.3.1 The Skeletal Approach 48
2.3.2 The Ornamental Approach 52
2.3.3 The Maximalist Approach 61
2.3.4 Summary 64
2.4 Ornamentation 65
2.4.1 Ornamentation in Baroque Music 67
2.4.2 Ornamentation in Traditional Irish Music 69
2.4.2.1 Cuts 70
2.4.2.2 Crans 73
2.4.2.3 Rolls 75
2.4.2.4 Trebles and triplets 77
2.4.2.5 Slides 79
2.4.2.6 Vibrato 81
2.4.2.7 Trills 83
2.4.2.8 Unison double-stops 84
2.4.2.9 Microtonal trebles 84
2.4.2.10 Piping effects 85
2.4.3 Summary 87
2.5 Putting Flesh on the Skeleton – A Contemporary Approach to Notation 87
2.5.1 ‗My Love is in America‘ – Three Interpretations of a Reel in Detailed
Notation 90
2.5.1.1 Tempo 99
2.5.1.2 Metre 99
2.5.1.3 Flexible notes 100
2.5.1.4 Ornamentation 100
2.5.1.5 Rhythm and articulation 100
2.5.1.6 Melodic variation 101
2.5.1.7 Dynamics 101
2.5.1.8 Miscellaneous elements 102
2.5.2 ‗Gol Na mBan San Ár‘ – The Notation of a Slow Air 103
3 INFLUENTIAL ASPECTS OF TRADITIONAL IRISH MUSIC 109
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3.1 Instrumental Characteristics 109
3.1.1 The Holy Trinity 110
3.1.1.1 Uilleann pipes 110
3.1.1.2 Fiddle 114
3.1.1.3 Irish flute 125
3.1.2 Peripheral Influences 128
3.1.2.1 Tin whistle 128
3.1.2.2 Fife 131
3.1.2.3 Bodhrán 132
3.1.2.4 Bones and spoons 133
3.1.2.5 Woodblocks 134
3.1.2.6 Sean-nós voice 134
3.1.2.7 Irish harp 135
3.1.2.8 Guitar 137
3.1.2.9 Piano 138
3.1.2.10 Summary 138
3.1.3 Traditional Irish Harmony 139
3.1.3.1 D drones on tunes rooted in G 140
3.1.3.2 D drones on tunes rooted in E 142
3.1.3.3 D drones on tunes rooted in C 142
3.1.3.4 D drones on tunes rooted in A 143
3.1.3.5 The regulators 145
3.1.3.6 Summary 148
3.1.4 Traditional Instruments in Contemporary Concert Music 149
3.1.4.1 Uilleann pipes 149
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3.1.4.2 Fiddle 166
3.1.4.3 Irish flute 182
3.1.4.4 Tin whistle 185
3.1.4.5 Summary 187
3.2 Rhythm 188
3.2.1 It Don‘t Mean a Thing if it Ain‘t Got That Swing – The Differences
Between Traditional Irish and Classical Approaches to Rhythm 189
3.2.2 Traditional Irish Rhythmic Structures 192
3.2.2.1 Tunes commonly notated in duple metre 195
3.2.2.1.1 Reels 195
3.2.2.1.2 Hornpipes 200
3.2.2.1.3 Highlands, Strathspeys and Flings 201
3.2.2.1.4 Barndances, Germans and Schottisches 204
3.2.2.1.5 Polkas 207
3.2.2.2 Tunes in triple metre 210
3.2.2.2.1 Jigs and Slides 210
3.2.2.2.2 Mazurkas and Waltzes 213
3.2.2.3 Miscellaneous tunes 215
3.2.2.4 Summary 216
3.2.3 Changing Metrical Structures 216
3.2.3.1 Extra beat insertion 217
3.2.3.2 Beat subtraction 220
3.2.3.3 Metrical metamorphosis 220
3.2.3.4 Tune metamorphosis 223
3.2.3.5 Idiosyncratic tunes 224
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3.2.3.6 Summary 227
3.2.4 Metamusic 228
3.2.5 Tempo 230
3.2.6 Traditional Irish Rhythms in Contemporary Concert Music 236
3.2.6.1 The use of pre-existing traditional tunes 236
3.2.6.2 The use of newly composed material using traditional rhythms 243
3.2.6.3 The use of motoric rhythms derived from the ‗Irish‘ aesthetic 250
3.2.6.4 Summary 253
3.3 Pitch 254
3.3.1 Intonation in Traditional Irish Music 254
3.3.1.1 Intonation determined by instrumental characteristics 255
3.3.1.2 Drone based fiddle tuning 257
3.3.1.3 Pitching based upon flexible notes 258
3.3.1.4 Microtonal ornamentation 259
3.3.1.5 Pitch heterophony 259
3.3.1.6 Summary 260
3.3.2 Modality 262
3.3.2.1 The Ionian mode 263
3.3.2.2 The Dorian mode 264
3.3.2.3 The Aeolian mode 264
3.3.2.4 The Mixolydian mode 265
3.3.2.5 The Lydian mode 266
3.3.2.6 Pentatonic scales 267
3.3.2.7 Hexatonic scales 269
3.3.2.8 The ‗Irish‘ flexible modes 271
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3.3.3 Common Motifs in Traditional Irish Music 275
3.3.3.1 Opening motifs 276
3.3.3.1.1 Drone-based trichordal opening motifs 276
3.3.3.1.2 Opening motifs based on ascending or descending scales 279
3.3.3.1.3 Opening motifs based on held or ‗rolled‘ notes, without scale patterns
281
3.3.3.1.4 The ascending double 4th opening motif 281
3.3.3.1.5 The descending rolled minor 3rd opening motif 282
3.3.3.1.6 The rolled ascending 4th opening motif 283
3.3.3.2 Linking motifs 284
3.3.3.2.1 The descending D link 284
3.3.3.2.2 The modulating linking motif 286
3.3.3.3 Closing motifs 287
3.3.3.3.1 Descending 3rd-2nd-3rd closing motifs 287
3.3.3.3.2 Descending closing motifs 289
3.3.3.3.3 3rd to root closing motifs 290
3.3.3.3.4 Cranned closing motifs 292
3.3.3.4 Summary 293
3.3.4 Harmonic Implications of the Melodic Line 294
3.3.5 Traditional Irish Pitch Material in Contemporary Concert Music 297
3.3.5.1 Traditional melodies at the forefront 298
3.3.5.2 Traditional melodies prominent in some sections/newly composed
material prominent in other sections 303
3.3.5.3 Traditional melodies filtered into new compositions 308
3.3.5.4 Newly composed melodies imitating older style traditional melodies 314
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