Music Essays | Traditional Irish Ireland

Music Essays | Traditional Irish Ireland Traditional Irish Ireland Before discussing the contexts behind the development of traditional Irish music and the resulting label, it is important to define what is actually meant by the label â€Å"traditional†. Naturally, as with most art forms the definition differs between performers/singers/writers. The prime factor though is typically having some note of age. As with much music labelled â€Å"traditional†, Irish music has much history behind it and the music we recognise today under this category takes its roots from a much older form of music. Many references to Irish/Celtic music have even been labelled as â€Å"ancient†. Again these terms alone would require an essay in themselves to define what the understanding of them is. As a historians definition of â€Å"ancient history† is a time before written records and communication it is almost impossible to determine how old certain cultures and their musical backgrounds are. Irish music could definitely fall into this discus sion although many would argue this to be even too old to be traditional and that the real traditional music of Ireland is the music of the harpists. A tradition that has all but died out in much of what we class as traditional Irish music today. In retrospective, the music which ran along side this music is equally as â€Å"traditional†. This is music which was played amongst the general community in Ireland, music which was played in houses and pubs. These were the places where many people could gather to play â€Å"amateur† music on instruments such as Fiddles, Pipes, Flutes and whistles, which at the time did not have the higher status of Harp players who in general played for the higher class of society. This is the music which has developed into what most consider as Irish traditional music today. In many respects, they are not wrong although it has been altered and developed in a way, which appeals to more people and could also be described as Irish â€Å"popular† music, yet another term that creates much discussion as to its true meanings. ‘Riverdance’ and ‘Lord of the Dance’ are prime examples of this. Although many would go as far as to say that they have no resemblance of Irish traditional music at all, this is the music that has become known as traditional and Irish. The story behind Riverdance especially, does bare some resemblance to life in Ireland in the 18th and 19th centuries. It revolves around the everyday life of Irish people and communities, and even the music does have strong connections to the music played at the time, although has been produced to appeal to a wider range of listeners and in particular, viewers. This leads me onto the History behind the music, and its impact on how the music developed to what is recognised today. The traditional music of Ireland dates back to medieval Europe. In early medieval period Ireland, was not a unified country but instead, broken into four families who shared equal rule of the country. This was also the cases in many countries of Medieval Europe. The people of Ireland were descended from many other cultures throughout Europe including England, Scotland, Wales, Gaelic Europe (France, Germany) and Scandinavia. It would seem though, that the music played today which we label as traditional emerged in the 1700’s. The 1700’s were a turbulent time for the Irish. This was the period when the old Gaelic aristocracy, who were for centuries the patrons of the poets and musicians of Ireland, were dispossessed of their influence and estates. The failure of the two Jacobite uprisings in Scotland marked the beginning of a period of intense persecution of Gaelic Scotland. It was at this time that the cultures of Gaelic Scotland and Gaelic Ireland were split apart, and henceforth regarded as separate entities. Up to this time, they had been considered to be a single culture. It could be argued that traditional Irish music is related to music found elsewhere in Europe. A lot of Irish musicians would agree that today there certainly is a relationship with the music of Scotland and the north of England. This indicates that such relationships may have existed earlier in history and possibly throughout the 1700’s. This makes it feasible to look to other countries in Europe for an idea on what was happening at the time. Equally, there is the argument that the Gaels had their own indigenously derived music, which was unique and not connected to what was going on anywhere else in Europe. Both points, I suspect are a little extreme and that the actual answer lies somewhere in between the two. One event separates us from having little or no knowledge whatsoever. In 1792 Edward Bunting, was hired to transcribe the music of a number of harpers who appeared at a festival in Belfast. This festival had been sponsored by an early example of what we now call the antiquarian movement. These were people who believed that Gaelic culture was being destroyed, and wanted to save it before it may be too late. One of the harpers who turned up in Belfast was Denis Hempson. He, as far as we know was the last living traditional Gaelic harpist, playing with fingernails on a wire-strung harp. All the other harpers, although their tunes were Irish, played gut-strung harps that were the same as those elsewhere in Europe, and their playing styles similarly were based on European styles. So its to the amazing determination of Hempson and the dedication of Bunting that we owe a large part of our knowledge about pre-1700s music in Ireland. However, we have to remember that this was all filtered through, first Hempson, and then, Bunting, who couldnt play the harp. Dance, of course now forms a large portion of what has become known as Irish traditional music. In Irish music, we wind up with a few traditional dance metres. The Hornpipe, the Jig and the Reel. Of course, these are widely considered to be the â€Å"big three† in terms of Irish traditional music. Others did and still do exist, as we know, the music from Ireland takes it’s roots from many other cultures in Europe, there is no exception with the forms of dance. Lets take reels first as they may be easiest to deal with. The typical statement is that The reel came to Ireland in the 1700-1800s from Scotland. This is based on the known fact that early Irish publications do not show very many reels compared to jigs and we also know that thanks to the co-existence of the Scottish patronage system and affordable publishing costs; there was an explosion of reel composition going on in Scotland at this time. Look at the current Irish reel repertoire and you will find it shot through with Scottish compositions. Personally I accept that the reel in Irish music owes an enduring debt to the Scottish tradition. The jig appears to have had a greater popularity in Ireland before the reel (which is very different to saying it is older than the reel). OFarrells 1804 collection (obviously derived on a repertoire from at least the late 1700s) features a good number of jigs, many of which are still actively played today. There are arguments for placing the slip jig as an older form. The Single Jig and Slide are timing emphasis variants of the double jig, and there is some evidence to show that they may have derived from the latter and thus be more recent. As for the double jig and its emergence in its modern form, this argument was carried out in a printed exchange between Breandà ¡n Breathnach and Declan Townsend in the early 1970s. The latter maintained that the rhythm derived from Carolans compositions of Gigas, the form of which he learned from the Italian composer Correlli. Townsend cited supporting evidence on the jig performance of Donegal fiddlers, which few today would support. The forme r, writing in the article Tà ºs an Poirt in Éireann (the origin of the jig in Ireland; appearing in Irish Folk Music Studies, Vol. 1) contests this and suggests amongst other things they may be based on older tunes such as clan marches which have had their speed altered slightly. In an English language summary, Breandan writes: The jig most probably came to Ireland from England, perhaps as early as the 16th Century. Native marches were adapted for dancing, some tunes borrowed from England and a start made on composing those tunes which constituted the greatest single division of the dance music until reels began to catch up on them in the second half of the last century. Certainly, I have discovered, by playing and listening to much â€Å"traditional† music from Ireland that I have found myself knowing the tune either in a different time signature, speed or a slightly altered form. Even to the extent of knowing words to the tune, which almost certainly are not Irish. Whether or not they were composed in England, Ireland or Scotland first, we do not know and I would not like to put forward a theory as to which it could possibly be. The hornpipes have been argued as a more recent arrival with some indications of England as a source. More recently it is being argued that this rhythm in particular has been popularly spread through publications with a respectable amount of evidence in the tradition to support this. The notion of the performance timing of the hornpipe-the question of dotted or un-dotted playing appears to be entirely a local matter based on the local dance tradition requirements. Its slower speed gives the player much more time to attempt more technically challenging performances of this type piece, thus the bunches of triplets and the difficult (flat) keys. As such hornpipes were sometimes played away from the dancing environment as a show of virtuosity. In an effort to establish virtuosity note reading players (usually the more formally trained and adapted to classical based techniques) were anxious to purchase books and learn new virtuoso hornpipes. Examples of this are the popularity of James Hi ll (a Lowland Scot who came to settle in Newcastle in the north of England), who certainly had a big impact on Irish fiddle playing up to today. As with all cultures, political and social changes within a community and in Ireland’s case, a whole country have a knock-on effect to all aspects of their traditions. In Ireland in the seventeenth century the pattern of society was changing drastically. The old patrons of poetry and music were exiled or reduced in power and wealth. The poorer Gaelic-speaking people had less to lose from the disruption of the older Irish society. They allied themselves to and intermarried with the English and Scottish settlers and formed the beginnings of a middle class, prosperous enough but lacking the cohesive traditions, grandeur and of pre-Cromwellian Ireland. We cannot be sure how much of the old truly Irish musical tradition survived the seventeenth century. Just as elaborate syllabic court poetry disappeared and simpler verse was composed, so it seems likely that much of the intricate high art of the earlier Irish harpers was lost. We know more about the Irish harpers of the eighteenth century than about any earlier players and it is obvious that their instruments, technique and musical style were subject to many non-Irish influences. Their repertoire consi sted mainly of tunes of Irish association, simply but movingly played on harps which retained enough of the tonal charm of the older Irish harp to have still a special character and quality. Judging from material published first in the eighteenth century, some of the tunes were probably very ancient, perhaps drawn from the old aristocratic repertory and from popular usage. A few were of Scottish, English or Italian derivation. But it is probable that the style of some of what we now consider traditional Irish music evolved in the late seventeenth and early eighteenth centuries as a hybrid of largely unrecorded indigenous music and imported foreign styles. This phenomenon has been common enough in other art forms throughout Irish history. In conclusion it is apparent that much of what we know as Irish traditional music today actually still bares a strong resemblance to the music of the 17th, 18th and 19th century’s. Yes, there are also many features of that music which have been altered or all but died out in many parts but the fact that we know of them and recognise them as being the traditional music of Ireland at the time surely makes them the traditional music we recognise today. Its popularity today takes accreditation from the fact that it has been so widely spread throughout the world. The Napoleonic wars saw much of the Irish population join the British army fighting against the French in the latter 18th and early 19th century’s. This of course leads to the distribution of at least some of the music of Ireland throughout Napoleonic Spain, Portugal and France and of course much of Europe. Similarly, the spread of this music to America has had great influence on what we enjoy about Irish music. During the potato famine in Ireland, many upped sticks and left for North America. Now, in the 21st Century, what better way to advertise the popularity of anything, including music, than to have roots in what is one of the world’s superpowers? It is largely down to the commercialisation of the music today that it has reached such a high degree of popularity throughout the world. Of course it would seem that it takes most of its regard and recognition in the British Isles at it naturally holds historical and patriotic qualities, which of course makes anything holding these merits â€Å"popular†. â€Å"Traditional† Irish music is that of the people and communities of Ireland. Whether it is music composed 300 years ago which only exists through word of mouth, or the modern takes on this music introducing the popular world of rock and pop and merging the two di sciplines with each other. It is music which is played, written or sung to evoke a response about the country, however controversial it may sometimes be.

Ionic Bonds Essay

The periodic table is a masterpiece of organized chemical information. It is a table of the chemical elements in which the elements are arranged by order of atomic number. The standard form of the table includes periods (horizontal rows in the periodic table) and groups (vertical rows in the periodic table). Atoms are the basic building blocks of ordinary matter. Atoms are made up of particles called protons, electrons, and neutrons. Protons carry a positive electrical charge, electrons carry a negative electrical charge, and neutrons carry no electrical charge at all. The protons and neutrons come together in the central part of the atom, called the nucleus, and the electrons ‘orbit’ the nucleus in the electron cloud. An element is a substance that is made entirely from one type of atom. For example, the element hydrogen is made from atoms containing a single proton and a single electron. If you change the number of protons an atom has, you change the type of element it is. There are 117 different elements. According to the atomic model, electrons orbit the nucleus at specific levels, or shells. Electrons fill shells, starting from the innermost, going to the outermost. Electrons in the outermost shell, which are involved in bonding, are known as valence electrons. When many types of atoms come into contact with one another, electrons can be transferred from one atom to another thus creating an ion. An ion is an atom that has lost or gained an electron. Ions form because neutral atoms become charged by the losing or gaining an electron. An anion is created when one atom gains electrons. On the contrary, a cation is created when an atom loses electrons. The octet rule is a simple chemical rule that states that atoms tend to attract each other in such a way so that they each have eight electrons in their valence shells. The octet rule is applicable to the main-group elements, especially carbon, nitrogen, oxygen, and the halogens (five nonmetal elements found in group 17 of the periodic table), but also the metals in the first two columns of the periodic table. In simple terms, the octet rule says that atoms are more stable when their outer shell is filled, and therefore, atoms will lose, gain, or share electrons to completely fill their outer shells. An Ionic compound is a bond between a positively charge molecules (cations) with a negatively charged molecules (anions). Ionic compounds are formed between a metal and a non-metal. The metal loses the valence electrons to the non-metal thus forming ionic bonds due to the attraction between the cations and the anions.

Attention Deficit Hyperactive Disorder ( Adhd ) - 963 Words

Attention Deficit Hyperactive Disorder Mizeldrick K. Marshall Holmes Community College Attention Deficit Hyperactive Disorder Attention deficit hyperactivity disorder (ADHD) is a common neurobehavioral disorder most commonly diagnosed in children. Children can be diagnosed as early as the age of 7. Boys and girls can be diagnosed with ADHD but this disorder is seen more in the behavior of boys. Adults can also develop symptoms and be diagnosed as well. It was originally called hyperkinetic impulse disorder. In the late 1960s the American Psychiatric Association (APA) recognized ADHD as a mental disorder. ADHD is a neurological disorder that develops during childhood and can persist into adulthood. Although adult ADHD is more†¦show more content†¦Hyperactive individuals often appear as if they need to move. They are in almost constant motion, and frequently make excessive noise. Attention deficit hyperactivity disorder is a prevalent in today’s classrooms. There are many co-existing communication difficulties associated with attention deficit hyperactivity disorder. In this paper I will di scuss the nature of attention deficit hyperactivity disorder, its common communication characteristics, and the implications of these characteristics socially, emotionally and academically as well as communication strategies that teachers may use to ensure that students with this disorder may be included in a regular class setting. Attention Deficit Hyperactive Disorder has been significantly analyzed for over 100 years, and right up until today, still remains an quarrelsome and cloudy issue. Be that as it may, in spite of its unascertained causes, ADHD is out of the blue the most normally broken down psychiatric disease in youths. Five to 10% of school-aged youngsters are affected by the neurological infirmity, yet there still remains no question beyond with reference to how decisively the human mind demonstrates this impede. 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Theu.s. Bill Of Rights And The Un Universal Declaration Of...

Compare and Contrast the Views of Rights in the U.S. Bill of Rights and the UN Universal Declaration of Human Rights The U.S. Bill of Rights and the UN Universal Declaration of Human Rights are documents that were created to tell the rights we as human beings are entitled to have. The documents were designed to keep order so we can live productive lives. The documents stop us from being taken advantage of and extorted by others. The U.S. Bill of Rights and the UN Universal Declaration of Human Rights offers us a voice to say what we need and how we should be treated in society. They outline the role the government play and what they cannot interfere with and take away from us. The U.S. Bill of Rights and the UN Universal Declaration of†¦show more content†¦Article 19 is similar saying â€Å"Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek† (Rosen, 400). The first amendment of the Bill of Rights also talks about the right of the people to have a peaceful assembly (Rosen, 396). Article 20 describes how â€Å"Everyone has the right to freedom of peaceful assembly and association† (Rosen, 400). The Bill of Rights first amendment gives the right for people to â€Å"petition the government for a redress of grievance† (Rosen, 396). Article 21 of the UN Human Rights allows everyone to play a part in government of their country by choosing representatives. Amendment four of the Bill of Rights is akin to Article 12 because they both talk about privacy in the home. Amendment four says â€Å"The right of people to be secure in their persons, houses , papers, and effects, against unreasonable searches and seizures, shall not be violated† (Rosen, 396). While Article 12 talks about how no one should interfere with privacy, family, home or correspondence, nor attack their honor and reputation (Rosen, 399). A person can find a lot of similarities in both the Bill of Rights and the UN Universal Declaration of Human Rights. The U.S. Bill of Rights was established in 1789. The Bill of Rights consists of the first ten amendments. The second amendment gives people the right to a militia and the right to bear arms (Independence Hall Association). The right to bear