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University of Wales Press - Phyllis Kinney

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192 pages

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Now available in paperback, this fully illustrated volume traces the emergence of Welsh traditional music through the ages and is complemented throughout with more than 200 musical examples. Phyllis Kinney's Welsh Traditional Music covers the traditional music of Wales from its beginnings through to the present day, providing musical analysis and placing its material firmly into a social and historical context. Among the many different forms of Welsh traditional music discussed are seasonal music (including wassail songs, Christmas and May carols and Plygain carols), folk drama, ballad-singing, the relevance of the eisteddfod and the musical journals of the nineteenth century. Additionally, the book includes a history of song collecting from the eighteenth century to the establishment and ongoing activities of the Welsh Folk-Song Society in the twentieth; both the instrumental and the vocal traditions are examined, as well as the uniquely Welsh tradition of 'cerdd dant'. This is a work of pioneering scholarship that accounts for Welsh traditional music within the context of a greater Welsh musical tradition.

Sujets

Musique

Culture musicale

Ethnic

Wales

Music

Informations

Publié par	University of Wales Press
Date de parution	15 juin 2016
Nombre de lectures	0
EAN13	9781783162994
Langue	English
Poids de l'ouvrage	16 Mo

Informations légales : prix de location à la page 0,0650€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

WELSH TRADITIONAL MUSIC

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Aberystwyth Market Day 1797

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WELSH TRADITIONAL MUSIC
Phyllis Kinney

UNIVERSITY OF WALES PRESS in association with CYMDEITHAS ALAWON GWERIN CYMRU 2011

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Phyllis Kinney, 2011
All rights reserved. No part of this book may be reproduced in any material form (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner except in accordance with the provisions of the Copyright, Designs and Patents Act 1988. Applications for the copyright owner s written permission to reproduce any part of this publication should be addressed to The University of Wales Press, 10 Columbus Walk, Brigantine Place, Cardiff, CF10 4UP.
www.uwp.co.uk
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
ISBN 978-0-7083-2357-1 e-ISBN 978-1-78316-299-4
The right of Phyllis Kinney to be identified as author of this work has been asserted by her in accordance with sections 77, 78 and 79 of the Copyright, Designs and Patents Act 1988.

This book has been published with the assistance of Cymdeithas Alawon Gwerin Cymru.

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Foreword
I N A MODEL NATION , Phyllis Kinney, under the auspices of an enlightened foundation, would have spent much of the past forty years editing from manuscripts and from recordings the wealth of unpublished traditional music of her adopted country. Wales would have had available to all, with appropriate editorial apparatus, a worthy published corpus of her traditional music. That ideal remains a distant one. Instead, we can only be grateful that a long personal commitment on her part has led to a valuable range of publications - some by herself alone, some in collaboration with Meredydd Evans - which has made public part at least of the heritage of our traditional song and music, and which has greatly advanced our understanding of that tradition.
Phyllis Kinney came to Welsh music, as a trained musician, from the outside. Her knowledge of the sources - printed, manuscript and recorded - is unsurpassed. This book, the first comprehensive survey of the field since W. S. Gwynn Williams s Welsh National Song and Dance in 1932, presents a completely fresh appraisal of the material, from the end of the Middle Ages to the present day. In it we learn, for instance, of the few medieval tunes that survived into later instrumental tradition; of the songs in popular medieval metres that survived into the twentieth century in seasonal ritual songs; of the flood of new tunes in the sixteenth and seventeenth centuries that came in from England and elsewhere, entering the Welsh carol and ballad traditions, and how some of these survived in Wales, notably in association with the plygain , long after their disappearance from popular use in England (and we learn too of the extraordinary transmutation of some of the English titles into Welsh forms).
This is a work that distils the conclusions drawn by the author from her profound knowledge and long study of the music, and illuminates them with a selection of songs and tunes that is of unprecedented range and richness. It offers not only an authoritative survey of the subject but also a musical anthology that will provide pleasure as well as instruction to many of its readers.

Daniel Huws, May 2009 vi

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Acknowledgements
M Y FIRST KNOWLEDGE of Welsh folk-song came when I was a college student in Michigan many years ago. One of my lecturers was a Welshman, Gomer Ll. Jones, who taught me some Welsh songs, almost all from Brinley Richards s The Songs of Wales (London, 1873). That awakened my interest, and when I came to Britain some years later I was eager to find out more about Wales and its traditional music. I soon discovered that Songs of Wales was largely a selection of harp airs with English and Welsh words, and that the true nature of Welsh traditional music lay elsewhere.
As I began to search for books in English on this subject it became obvious that, until recently, musicologists (with the exception of Peter Crossley-Holland and Joan Rimmer) have paid only cursory attention to Welsh traditional music. They have to a great extent ignored the music, in most cases because they do not know the Welsh language, which is an important part of the song tradition. In 1932, W. S. Gwynn Williams published a general survey of the field in English, but much more research has been done since then. Although Welsh universities in general have shown little interest in the subject, some members of the School of Music at Bangor University, especially Sally Harper, Wyn Thomas and Stephen Rees, have written about aspects of Welsh traditional music that have become part of the university curriculum.
This book has been written in the hope that I can pass on to others my enthusiasm for these songs. I am deeply indebted to a number of people who have generously given of their time and effort to help me in the work. First and foremost is my husband, Meredydd Evans, a fine singer with a deep knowledge of Welsh folk-songs and the generosity to pass it on to others. Together, we have read and discussed every aspect of this book. My second reader was Daniel Huws, whose thoughtful advice has been of immense value. Both have saved me from numerous errors. I am especially grateful to D. Roy Saer, formerly of the National History Museum in St Fagans, who enabled me to listen to numerous field recordings of Welsh folk singers and patiently discussed singing styles.
Over the years, many people have contributed generously of their time and knowledge to the development of this book and I would like to thank, in particular, Robin Huw Bowen, Bethan Bryn, Aled Lloyd Davies, the late Hywel Teifi Edwards, viii Rhidian Griffiths, Robin Gwyndaf, Rhiannon Ifans, Cass Meurig, Huw Walters and members of The Welsh Folk-Song Society and Cymdeithas Cerdd Dant Cymru . I also wish to thank Richard Lloyd for preparing the musical examples for publication. In addition, thanks must also go to the staff of the National Library of Wales, St Fagans: National History Museum, and the University of Wales Press. I am particularly indebted to the Welsh Folk-Song Society for their generous financial assistance in the production of this book. I am also deeply indebted to Dafydd Ifans for his meticulous work in compiling the indices. Finally, a very special thank you to my daughter Eluned, who played an important part in the editing of the chapters and was instrumental in getting the book to the press.

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Contents

Foreword
Acknowledgements
List of illustrations
Abbreviations
A note on the translation of Welsh terms and transcription of the musical examples
Introduction: What is Traditional Music?

1 The Oral Tradition
2 The Watershed
3 Manuscript to Print
4 Edward Jones and Traditional Airs
5 Seasonal Festivities
6 Carols, Ballads and the Anterliwt
7 The Early Collectors: Iolo Morganwg and Ifor Ceri
8 The Great Change
9 The Momentum Continues
10 J. Lloyd Williams and the Welsh Folk-Song Society

Notes
Appendix 1 Cerdd Dant
Appendix 2 Printed Music Collections
Bibliography
Index of Music x

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List of illustrations
Plate 1 An illustration of tablature taken from the Robert ap Huw MS (BL Add. MS 14905, Musica , p. 62). By permission of the British Library.

Plate 2 Psalm II, Edmwnd Prys, Llyfr y Psalmau wedi eu cyfieithu a i cyfansoddi ar fesur cerdd yn Gymraeg Drwy waith Edmwnd Prys Archdiacon Meirionnydd (London, 1621). By permission of Llyfrgell Genedlaethol Cymru/The National Library of Wales.

Plate 3 Portrait of John Parry, Ruabon. By permission of Amgueddfa Genedlaethol Cymru/The National Museum of Wales.

Plate 4 The title page of Antient British Music with an inscription possibly in the hand of Richard Morris. BL Add. MS 14939. By permission of the British Library.

Plate 5 Calon Drom from Antient British Music , Part II, unpublished specimen (RCM MS 4681). By permission of the Royal College of Music, London.

Plate 6 Triban Morganwg , an extract from the letter from William Jones, Llangadfan, to Edward Jones. NLW Add. MS 171E. By permission of Llyfrgell Genedlaethol Cymru/The National Library of Wales.

Plate 7 Illustration of the Llangynwyd calennig from the archive of St Fagans: National History Museum. The photograph was taken by Mr Frederick Evans. By permission of Amgueddfa Genedlaethol Cymru/National Museum of Wales.

Plate 8 The Holywell Cadi from the archive of St Fagans: National History Museum. The photograph was taken in 1939 by Mr T. P. Hayden. By permission of Amgueddfa Genedlaethol Cymru/National Museum of Wales.

Plate 9 Photograph of J. Lloyd Williams. By permission of Cymdeithas Alawon Gwerin Cymru /The Welsh Folk-Song Society. xii

Example 2.2 Cywydd deuair: Morganwg as noted by Iolo Morganwg, NLW, Iolo A. Williams MSS, uncatalogued. By permission of Llyfrgell Genedlaethol Cymru/The National Library of Wales.

frontispiece: Aberystwyth Market Day 1797 . National Library of Wales Acc. No. MD8520. By permission of Llyfrgell Genedlaethol Cymru/The National Library of Wales.

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Abbreviations

ABM John Parry and Evan Williams, Antient British Music (London, 1742). Airs John Parry, A Collection of Welsh, English and Scotch Airs (London, 1761). ANAGM Maria Jane Williams, Ancient National Airs of Gwent and Morganwg (Llandovery, 1844). Reprinted by the Welsh Folk-Song Society with introduction and notes by Daniel Huws (1988). Bardic Museum Edward Jones, The Bardic Museum (London, 1802). BBCS Bulletin of the Board of Celtic Studies , 1921-93 Blodeu-gerdd Cymry Dafydd Jones, Blodeu-gerdd Cymry: Y Trydydd Argraffiad (Treffynnon, 1823). First edition 1759. BH John Parry, British Harmony (Ruabon