- Celtic music
Celtic music is a term utilised by artists, record companies, music stores and music magazines to describe a broad grouping of
musical genres that evolved out of the folk musical traditions of the Celtic peoples of Northern Europe. As such there is no real body of musicwhich can be accurately be described as "Celtic", but the term has stuck and may refer to both orally-transmitted traditional music and recorded popular music. The latter sometimes has barely even a superficial resemblance to folk music of any of the Celtic cultures, but on the other hand it sometimes represents sincere work towards adapting Celtic traditions for modern, global culture.
"Celtic music" means two things mainly. Firstly, it is the music of the peoples calling themselves "Celts" (a non-musical, primarily political definition), as opposed to, say, "French music" or "English music." Secondly, it refers to whatever qualities may be unique to the musics of the Celtic Nations (a musical definition). Some insist that different ostensibly Celtic musics actually have nothing in common – such as Geoff Wallis and Sue Wilson in their book "The Rough Guide to Irish Music" – whereas others (such as
Alan Stivell), say there is.
Often, the term "Celtic music" is applied to the music of Ireland and Scotland, because both places have produced well-known distinctive styles which actually have genuine commonality and clear mutual influences; however, it is notable that Irish and Scottish traditional musicians themselves avoid the term "Celtic music," except when forced by the necessities of the market. These styles are known because of the importance of Irish and Scottish people in the English speaking world, especially in the
United States, where it had a profound impact on American music, particularly bluegrassand country music. [http://www.chincoteagueculturalalliance.org/articles/article/5493371/95457.htm] The music of Wales, Cornwall, the Isle of Man, Brittany, Galicia, Cantabria and Asturias and Northern Portugal are also considered Celtic music, the tradition being particularly strong in Brittany, where Celtic festivals large and small take place throughout the year, and in Wales, where the ancient eisteddfodtradition still occurs. Additionally, the musics of ethnically Celtic peoples abroad are vibrant, especially in Canada and the United States.
In "Celtic Music: A Complete Guide", June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage. The
Q-Celticnationalities are the Irish, Scottish and Manx peoples, while the P-Celticgroups are the Cornish, Bretons and Welsh peoples. Musician Alan Stivelluses a similar dichotomy, between the Gaelic (Irish/Scottish/Manx) branch and the Brythonic (Breton/Welsh/Cornish) group, which differentiate "mostly by the extended range (sometimes more than two octaves) of Irish and Scottish melodies and the closed range of Breton and Welsh melodies (often reduced to a half-octave), and by the frequent use of the pure pentatonic scale in Gaelic music." [translation by Steve Winick] .
At issue is the lack of many common threads uniting the "Celtic" peoples listed above. While the ancient
Celts undoubtedly had their own musical styles, the actual sound of their music remains a complete mystery.
There is also tremendous variation between "Celtic" regions. Ireland, Scotland, and Brittany have living traditions of language and music, and there has been a recent major revival of interest in Wales. However, Cornwall and the Isle of Man have only small-scale revivalist movements that have yet to take hold. Galicia has no Celtic language today (Galician is a
Romance languagedescending from Galician-Portuguese, although all the Western part of the Peninsula had Celtic languages in pre-Roman times, as did England, France, and parts of Italy and Turkey), but Galician music is often claimed to be "Celtic." The same is true of the music of Asturias, Cantabria, and that of Northern Portugal (some say even traditional music from Central Portugal can be labeled Celtic). Thus traditionalists and musicological scholars dispute that the "Celtic" lands have any folk connections to each other.
A strong case can be made that the similarities between the various musics called "Celtic" derive more from a common origin in the vernacular music of late medieval and early modern Europe than from any innate "Celticity".Fact|date=February 2007 But some call that giving too much importance to basic material,who saying that the originality of a music is in the subtle transformation, by a people or a group of peoples, of material shared by larger communities.
Critics of the idea of modern Celtic music claim that the idea is the creation of modern
marketingdesigned to stimulate regional identity in the creation of a consumerniche; June Skinner Sawyers, for example, notes that "Celtic music is a marketing term that I am using, for the purposes of this book, as a matter of convenience, knowing full well the cultural baggagethat comes with it". The so-called "marketing" or "show-business" creation was popularized by the idealistic man who first (late 1960s) blended the music of all the Celtic countries with a modern touch in his recordings and concerts: the Breton Alan Stivell. Although this composer is one of the main modern promoters of this kind of music, he did not create the term.
Identifying "common characteristics" of Celtic music is problematic. Most of the popular musical forms now thought of as characteristically "Celtic" were once common in many places in Western Europe. There is debate over whether
jigswere adapted from the Italian gigue, a common form of the baroque era, [ [http://www.standingstones.com/cmaoitm.html The origins of Irish traditional music] ] [http://books.google.com/books?id=Ho9DONbTpbwC&pg=PA10&lpg=PA10&dq=origin+jig+italy&source=web&ots=GWuCTr0v3a&sig=btJv8eysnsgfSzFiqbQqRwijFvw] for example, while polkas have their origin in Czech and Polish tradition.clarify
On the other hand, there are musical genres and styles specific to each Celtic country, due in part to the influence of individual song traditions and the characteristics of specific languages. Strathspeys are specific to Highland Scotland, for example, and it has been hypothesized that they mimic the rhythms of the
Scottish Gaeliclanguage. [ [http://www.siliconglen.com/culture/gaelicsong.html Traditional Gaelic song and singing sean-nós] ]
The Celtic music scene involves a large number of
music festivals. Some of the most prominent include Festival Internacional do Mundo Celta de Ortigueira ( Ortigueira, Galicia), Yn Chruinnaght( Isle of Man), Celtic Colours(Cape Breton, Nova Scotia), Celtic Connections( Glasgow, Scotland) and Festival Interceltique de Lorient( Lorient, Brittany), Fleadh ceol na hEireann( tullamore).
The first attempts of a "Pan-Celtic music" were made somehow by the Breton
Taldir Jaffrennou, having translated into Breton songs from Ireland, Scotland, Wales and made them popular in Brittany between the two world wars.
In the 50s, the Breton
Alan Cochevelou(future Alan Stivell) played a mixed repertoire (from the main Celtic countries) on Celtic harp. In the 60s, the Breton bagadoùfused Breton music mainly with Scottish music.
But it's only in the mid-60s that occurred a true concept of pan-Celtic music, with the beginnings of
Alan Stivell, fusing the musics of the Celtic nations with many different genres (Rock, Symphonic, Electronic, etc. ).
Other modern adaptations in the 1960s were those of artists such as
Fairport Convention, Pentangleand Steeleye Spanin England, Horslipsin Ireland, later Planxtyand Clannad, some of whom are still now exploring new kinds of Celtic fusion, combining traditional acoustic instruments with amplified ones, adding modern beat patterns, and composing modern harmonies for traditional tunes.
Later, beginning in 1982 with
The Pogues' invention of Celtic folk-punk, there has been a movement to incorporate Celtic influences into other genres of music. Bands such as Seven Nationsand Needfiredo American adaptions in the form of Celtic rock. Composer Ciarán Farrellblends classical influences with rock, jazz, folk and traditional Irish styles, using different combinations of instruments and orchestras to play his music. Marxman, an Irish-Jamaican hip hop group that gained notoriety in Britain in the late 1980s and was banned from the BBCfor including I.R.A. slogans in their music, sampled traditional Celtic instruments in several of their songs. Sinéad O'Connorhas also been active in the fusion movement and incorporated a wide range of modern and traditional influences into her music. Enyaadds her vocal sound to music with Celtic sounds and themes on her album The Celts; Moya Brennan, former lead singer of Clannad, was featured in the soundtrack of the film King Arthur; [ [http://www.christianmusicplanet.com/news/headlines/11556318/ Moya Brennan Releases EMI Signature CMG Sparrow Celtic Music - ChristianMusicPlanet.com ] ] and Loreena McKennittmade an album called The Book of Secretswhere she first travelled and researched the places that inspired the Celtic style of music on the album. More recently, the Irish choral group Anúnahave been very successful with their unusual blend of choral, Celtic and classical music.
Runrigrecorded an album in Scottish Gaelic. In 1992 Capercaillie recorded "A Prince Among Islands", the first Scottish Gaelic language record to reach the UK top 40. Since about 2005, Oi Polloi(from Scotland) have recorded in Scottish Gaelic. Mill a h-Uile Rud(a Scottish Gaelic punkband from Seattle) recorded in the language in 2004.
Several contemporary bands have Welsh language songs, such as
Ceredwen, which fuses traditional instruments with trip-hopbeats, the Super Furry Animals, Fernhill (band), and so on (see the Music of Walesarticle for more Welsh and Welsh-language band).
Today there are Celtic-influenced sub genres of virtually every type of popular music, from
electronicato rock and metal, hip hop to punk rock, new age, pop, and even reggae. Collectively these modern interpretations of Celtic music are sometimes referred to as Celtic fusion.
Music of Brittany
Folk music of Ireland
Music of Wales
Music of the Isle of Man
Music of Scotland
Music of Cornwall
Music of Galicia, Cantabria and Asturias
* [http://pobox.upenn.edu/~teachnet/Bretonjaf/bretonjaf1.html Steve Winick]
*cite book|author=Sawyers, June Skinner|title=Celtic Music: A Complete Guide|year=2000|publisher=Da Capo Press|id=ISBN 0-306-81007-7
* [http://en.citizendium.org/wiki/Ancient_Celtic_music Ancient Celtic music] - article at "
* [http://www.gardensessions.co.uk gardensessions.co.uk] Free internet radio show, free folk downloads, news, reviews, lyrics and all things folk
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