Grattan Flood - A History of Irish Music, Volume 1, Issue 1, Page 41

Grattan Flood - A History of Irish Music, Volume 1, Issue 1, Page 41
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periodical Publisher
Browne and Nolan Ltd, Dublin 1913
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periodical Title
Grattan Flood - A History of Irish Music
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66HISTORY OP IRXSfl the progress of instrumental music at that period,*specially the cultivation of the harp :A.D. 1225.Aedh, the son of Donlevy OSochlann, Vicar of Cong,a master of vocal music and harp making, the inventor ofa new method of tuning, a proficient in all arts, poetry,engraving, and writing, and other arts, died this year.Apropos of harp.tuning, I may here repeat what hasbeen incidentally mentioned in Chapter II., that thiswas effected by means of the coir or harp fastener.Furthermore, ter is the Irish term for tuning; and wefind in the Brehon Laws an allusion to the CpAnn tera,that is, tuning-tree or key. But, as has so frequentlybeen insisted on,the theory of music and the rules of theminstrels art were the outcome of many years of wearystudy. Blessed Edmund Campion, S.J., in his Accou jof Irelan j Written in S71, tells us that he himself hadseen the Irish students chanting out their lessonspiecemeal, which they were wont to cona byrote.Sumer is icumen in the earliest known versionof a double Canon with a ground bass, in Eng1 nd_ jsmerely a harmonised arrangement of a phrase takenfrom the old Irish tune: T . Afl & thpo o. reA c,which may he Englished: The Summer is Coming,sung time out of mind in ancient Erin to usher inthe summer season. This Irish air, wedded by Mooreto his lyric Rich and Rare, was copied by JohnFornsete, a Benedictine monk, of Reading, about theyear 1230, and, though animated in its measure, asLady Morgan writes, yet, still, like all the Irish melo-dies, breathes the very soul of melancholy. Its Irishorigin was clearly proved by Dr. Young, ProtestantTIRISH MUSIC IN THE MIDDLE AGES.67Bishop of Clonfert, at the close of the eighteenthcentury, who ably refuted the English claim to it, asadvocated by Dr. Burney, in his History of Music.*In this connection, Ireland can justly claim the inven-tion of what is now called- ground bass or pedalpoint, as its origin must be sought in the old Irishcronan, an allusion to Vhich is to be found as far backas A.D. 592, when it is described as the most excellentof music. St. Colman Mac Lenan, founder of the See ofCloyne, gives us to understand that the Aiobre (CollurCronalti) was the most favourite form of part singingwith the educated musicians of the sixth century.tOCurry calls it a low murmuring accompaniment orchorus, which, from its name CronAn must have beenproduced in the throat, like the purring of a cat; andhe adds that the word croning [ crooning] is anabbreviated anglicised form of cronaning nothumming, but purringa corruption of which has re-sulted in the calling an old woman a crone.Not so long since, it was generally believed that thekelusion of the hart in the arms of Ireland only datedfrom the reign of Henry VIII., but the fact is that ournational instrument appears on coins issued by KingJohn and King Edward I.; and, in 1251, we read that- the new coinage was stamped in Dublin with theimpression of the Kings head in a triangular harp. Aharp was originally the peculiar device of the arms ofthe Leinster province, and it was subsequently applied Bishop Young died on November 28th, xSoo.t There are seven Irish words to designate various forms ofHarmonyin perticular foacanirn, which is glossed by Zeuss assuccino or singing under.
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Grattan Flood, Wm. H.
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Grattan Flood - A History of Irish Music

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