Download Brigh an Orain A Story in Every Song by Lauchie MacLellan, John Shaw, Alistair MacLeod PDF

By Lauchie MacLellan, John Shaw, Alistair MacLeod

Few released collections of Gaelic music position the songs or their singers and groups in context. Brìgh an Òrain - a narrative in each music corrects this, displaying how the inherited artwork of a fourth-generation Canadian Gael suits inside biographical, social, and ancient contexts. it's the first significant learn of its type to be undertaken for a Scottish Gaelic singer. The forty-eight songs and 9 folktales within the assortment are transcribed from box recordings and offered because the singer played them, with an English translation supplied. all of the songs are observed through musical transcriptions. The publication additionally incorporates a short autobiography in Lauchie MacLellan's enjoyable narrative variety. John Shaw has extra vast notes and references, in addition to pictures and maps. In an period of growing to be appreciation of Celtic cultures, Brìgh an Òrain - a narrative in each music makes a huge Gaelic culture to be had to the final reader. The fabrics additionally function a different, adaptable source for people with extra really good examine or educating pursuits in ethnology/folklore, Canadian reports, Gaelic language, ethnomusicology, Celtic experiences, anthropology, and social history.

Show description

Read or Download Brigh an Orain A Story in Every Song PDF

Best musical genres books

Rock the Nation: Latin/o Identities and the Latin Rock Diaspora

Rock the kingdom analyzes Latino/a identification via rock 'n' roll tune and its deep Latin/o background. by way of linking rock tune to Latinos and to track from Latin the USA, the writer argues that Latin/o song, humans, and tradition were crucial to the advance of rock track as a huge well known track shape, even with North American racial good judgment that marginalizes Latino/as as outsiders, foreigners, and regularly unique.

Hymnal Companion to "Sound the Bamboo" : Asian Hymns in Their Cultural and Liturgical Contexts

A brand new, hugely authoritative reference for all issues concerning Asian Christian hymnody, this tome examines the hymns of Sound the Bamboo of their ancient, cultural, and non secular contexts of twenty-two nations. famous hymnologist I-to Loh has accrued and assembled his experiences and stories and that of many colleagues on the subject of the historical past and perform of hymnody in part of the area that includes many cultures and nations, let alone non secular affects.

Bach’s Chorals. Part 2 : the hymns and hymn melodies of the cantatas and motetts.

An excerpt from the Preface: within the current quantity these of the Cantatas and Motetts are thought of. the writer techniques the Chorals from the historic instead of a cultured viewpoint. His item is to bare the beginning and authorship of the Hymns and Hymn melodies which, like jewels, beautify Bach's concerted Church song.

Brigh an Orain A Story in Every Song

Few released collections of Gaelic music position the songs or their singers and groups in context. Brìgh an Òrain - a narrative in each tune corrects this, displaying how the inherited paintings of a fourth-generation Canadian Gael suits inside biographical, social, and old contexts. it's the first significant learn of its sort to be undertaken for a Scottish Gaelic singer.

Extra resources for Brigh an Orain A Story in Every Song

Sample text

1 In recounting the chance encounter some twenty years later, Lauchie made it clear that, however unlikely the setting, the socializing and entertainment provided by the Gaels from Ireland was a high point in a long and varied seasonal cycle of “working away” that to this day characterizes the working life of Cape Bretoners. Much of the pleasure in the sessions arose from the ease with which Lauchie and the Irish workers took to each other, sharing conversation and drink as well as songs, yet the significance for Lauchie extended beyond the immediate circumstances to a developing mutual awareness of a tradition shared by all of them – highly valued and like no other.

It presented itself to his imagination with all those associations, which often give to music its greatest power over the mind. While he played or sung those simple artless melodies, his eyes frequently streamed with tears” (P. MacDonald 1784, 1). In the late spring of 1978 during a recording session, John Dan (Iain mac Dhòmhnaill Bhàin) MacNeil of Ste Rose, a singer whom Lauchie regarded highly, sang “An Corra-Ghiullan Glas” (The Exceptional Grey Lad), a narrative song recounting the return of the favourite suitor in disguise on the wedding day of his betrothed, and his success, through the use of coded verses, in eloping with her.

Bha iad a’ falbh réidh: bha am barrachd tuigs’ aca air a’ bhàrdachd. (There were those who liked the words to a song to be profound, thoughtful, and to the point, and others might prefer to get more from the melody – they had a keen ear for music. But there were many who were accomplished at singing songs and had them in good settings. ”73 The latter criterion, in addition to the formal features of metre and rhyme, included sequencing and logical development. 74 The audience and the occasion, here as elsewhere (Finnegan 1977, 154), contributed to the choice of songs.

Download PDF sample

Rated 4.01 of 5 – based on 44 votes