O'Neill - Irish Minstrels and Musicians, Volume 1, Issue 1, Page 15

O'Neill - Irish Minstrels and Musicians, Volume 1, Issue 1, Page 15
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periodical Publisher
Regan Printing House, Chicago, 1913
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periodical Title
O'Neill - Irish Minstrels and Musicians
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28 irish Minstrels and Musiciansrecorded in the State Papers that Nicholas Dali, Rattoo, County Kerrv, was par-doned with nine others in i6oi by Queen Elizabeth and her Lord Deputies inIreland.In concluding this chapter it may be pertinent to remark, that while herdeputies were carrying out her orders in regard to the hanging of Irish Minstrelsin Ireland, Queen Elizabeths fondness for Irish music, dancing and festivities, wasnotorious in England. and it was in her reign that we find the greatest numberand variety of (lances; and taking part in a jig or other lively dance was a commonpractice with Elizabeth and her pleasure-loving knights and dames. For herpersonal entertainment she kept an Irish harper, Cormac Mac Dermot, who nodoubt did much to popularize Irish songs and melodies at the English Courtfrom the time of his engagement in 1590 to the late of her death in 1603. Hecontinued in favor with King James I., and his name appears in the list of Courtmusicians, receiving annuities and fees from the Crown, in March, 1607.Another Irish Minstrel. Donal du1bh OCahill. at the same date was harper toQueen Anne, the consort of King James.CHAPTER IIITHE BAGPIPE, ITS ANTIQUITY AND DISTRIBUTIONIN the minds of the English-speaking races of the present day, the bagpipe isinvariably associated with scenes of Irish and Scottish life, yet the instrument insome shape or other turns up in every quarter of the globe. Omitting the variousnames by which it is referred to in scriptural times, we find that it was knownin Persia as the nei aubana; in Egypt as the Zouhara; in Greece as the askaulos;and by the Romans as the tibia utricularis. in German they had the sacpfeiffeand dudel-sac; in Italy the Zanipo gnu, and the cornamusa; in France the inusetteand clialuineau. In Russia the bagpipe is termed volynska; in Spain, gheeyita; inNorway jock pipe; in Lapland walpipc; in Finland pilci: and in Wales pyban.;differing but little from pipai the generic name for all kinds of bagpipes in Irelandand Scotland.Anyone desiring to learn all about the origin and pedigree of the bagpipein all its guises and developments among all races and in all ages from savageto civilized, should lose no time in consulting Grattan Floods latest work, TheStory of the Bagpipe.THE BAGPIPE IN JRELANDNo better proof of the antiquity of the bagpipe in Ireland need be adducedaccording to the author, than the reference to it in the Brehon laws of the fifth cen-tury. On this point, in his lecture on the Music and Musical Instruments inAncient Erinn, OCurry says: Like the pipers themselves, I have not met inany ancient composition more than one reference to the Pipaireadha or pipers.This reference is preserved in a fragment of ancient laws in the library of TrinityCollege. Dublin. The article contains a list of the fines or recompense, paidto professors of the mechnical arts for insults or bodily injury, and concludes inthese words: These are base, that is inferior professions, and entitled to thesame amount of tines as the Pipairedha or pipers; and the Clesamhnaigh, orJugglers: and the Cornuircadka or trumpeters; and the Cuislennaigh or pipe blow-ers. This paragraph is valuable, OCurry adds so far as to show that theCisislennaigh or pipe blower, was a different person from the Pipaire or piper.The Cuisicanszach or pipes were among the favorite musical instruments at thegreat triennial Feis at Tara which continued from pre-Christian days to the year560 A. D.. when the glories of Taras Hall came to an end.Mention is also made in Irish writings late in the tenth century of pipersand ninacaoiutc attending a kings funeral. Even at religious service in earlyChristian times the bagpipe was utilized occasionally according to Grattan Flood,either as a solo instrument or to sustain the sacred chant.Although Giraldus Cambrensis does not mention the bagpipe specifically as aninstrument in use in Ireland in his time, there can be no doubt that it was known,as it is enumerated among the musical instruments at the fair of Carman, heldtriennially, commencing with the eighth century. The sixty-third stanza of thepoem describing the fair begins thus:Pipes, fiddles, chainmen,Bone-men, and tube-players.29
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O'Neill, Capt. Francis
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O'Neill - Irish Minstrels and Musicians

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