|Delivery Type||Delivery length / details|
|Lecture||22 (eleven per semester) one hour lectures|
|Seminars / Tutorials||8 (four per semester) one-hour tutorials|
|Assessment Type||Assessment length / details||Proportion|
On successful completion of this module students should be able to:
1. `Traditional music of the Celtic countries' vs. `Celtic music' : an introduction to the main issues.
2. The place of musical art and musicians in the Celtic-speaking populations of antiquity and the middle ages (as seen in law and literature)
3. The harp in the middle ages: Wales and Ireland
4. The Robert ap Huw manuscript
5. The pipes and the development of the `classical' tradition in Scotland
6. The `emergence' of Gaelic and British traditional music in the seventeenth century.
7. Song-forms in Scotland.
8. Song-forms in Ireland.
9. Song-forms in in Wales.
10. Song-forms in Brittany
11. Dance and Dance-music in Scotland and Ireland.
12. Dance and Dance-music in Wales.
13. Dance and Dance-music in Brittany
14. Fiddle styles in Ireland and Scotland
15. The traditional `bard' in Scotland
16. The traditional musician in Ireland (case study)
17. The traditional musician in Scotland or Cape Breton (case study)
18. The traditional musician in Scotland (case study)
19. The traditional singer in Wales (case study)
20. Musical collections and nationalism
21. Musical revival in Ireland
22. Musical revival in Wales and Brittany
23. Traditional music in emigrant communities
23. Functional differentiation and sex roles within 'traditional music'
24. Recording and marketing of `Celtic Music'.
This module examines the history and development of those features which have come to define traditional music ('national music' in an older terminology) within each of the Celtic-speaking countries. It also examines the social role of the singer or musician in relation to his local community and nation.
This module is at CQFW Level 4