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The Irish Folk Music Tradition

16 Sep

Kept alive by a combination of historical, political and cultural forces, Irish traditional music remains one of the richest musical cultures in the Western world. In Ireland itself, the growing interest in traditional music is further evidence of a national maturity that allows Irish people to be more relaxed about aspects of their traditional culture. Consequently, traditional music is neither seen as backward, rural and something shameful, nor is it a stick of cultural purity for fending off the 21st century. Long after much traditional music in the industrialised West has ceased to exist in any meaningful way, Irish music continues to refashion itself, not as introverted, stagnant and nationalistic, but as an evolving and progressive part of a common, universal oral folk tradition. Travellers to Ireland will most likely come across traditional music in a pub setting and these quasi-impromptu musical get-togethers are known as ‘sessions’. These are the life-blood of traditional music, accompanied by the associated notion of craic (or crack) whereby music, conversation and drink combine to produce an evening of fun.

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The Music of Ralph Vaughn Williams

21 Sep

Think of English folk music today and what comes to mind is Seth Lakeman, Laura Marling, Mumford & Sons, perhaps even Noah and the Whale or the Bombay Bicycle Club. The seeds of the English folk music revival were, however, sown much earlier, by the composer Ralph Vaughan Williams, over a century ago. He was the central figure in the English musical renaissance of the first half of the twentieth century. His interest in folk-song, the tradition of amateur music making and the works of Byrd and Purcell enabled him to escape from the European romantic inheritance of his predecessors and create a new and personal style, which created the conditions in which others could do the same. Although he was born in Gloucestershire, Vaughan Williams had Welsh blood in his veins, and this strong Celtic heritage is perhaps what first attracted him to the body of British myth and folklore in which he retained an abiding interest throughout his life. He even makes a fictionalized cameo appearance in perhaps the finest British fantasy novel of the last quarter of a century, Robert Holdstock’s Lavondyss. Here he encounters the young protagonist Tallis Keeton during her formative years and appears in typical song-collecting mode. Such an episode would have been very much in character for the real Vaughan Williams, who was an inveterate raconteur and collector of songs as stories throughout his life. In this sense Vaughan Williams has made as much of a contribution to the rediscovery and preservation of the English folk tradition as Holdstock, Tolkien or any other prose artist that this land has ever produced.

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