Module Information
Module Identifier
IR33120
Module Title
TRADITIONAL MUSIC OF THE CELTIC COUNTIRES
Academic Year
2012/2013
Co-ordinator
Semester
Intended for use in future years (Taught over 2 semesters)
Mutually Exclusive
Mutually Exclusive
Other Staff
Course Delivery
| Delivery Type | Delivery length / details |
|---|---|
| Lecture | 22 (eleven per semester) one hour lectures |
| Seminars / Tutorials | 8 (four per semester) one hour tutorials |
Assessment
| Assessment Type | Assessment length / details | Proportion |
|---|---|---|
| Semester Assessment | 1 Hours One-hour aural assessment | 20% |
| Semester Assessment | Final Essay or Project Final essay (3000 words) or project (tape + 1000-1500 words) | 40% |
| Semester Exam | 1.5 Hours Written Examination | 40% |
| Supplementary Exam | 2 Hours | 100% |
Learning Outcomes
On successful completion of this module students should be able to:
Identify musical forms, genres, and styles with reference to their place of origin.
Describe the historical development and performance context of these forms
Describe technical features of these forms with reference to the use of instruments or voice, structure, rhythm and ornamentation.
Discuss the social dimensions of traditional music and its historical and literary role in self-definition.
In the case of students with performance skills, to perform traditional music in an authentic manner.
Brief description
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.
Content
By lecture topic:
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)
19. The traditional musician in Scotland (case study)
20. The traditional singer in Wales (case study)
21. Musical collections and nationalism
22. Musical revival in Ireland
23. Musical revival in Wales and Brittany
24. Traditional music in emigrant communities
25. Functional differentiation and sex roles within 'traditional music'
26. Recording and marketing of 'Celtic Music'
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)
19. The traditional musician in Scotland (case study)
20. The traditional singer in Wales (case study)
21. Musical collections and nationalism
22. Musical revival in Ireland
23. Musical revival in Wales and Brittany
24. Traditional music in emigrant communities
25. Functional differentiation and sex roles within 'traditional music'
26. Recording and marketing of 'Celtic Music'
Module Skills
| Skills Type | Skills details |
|---|---|
| Application of Number | |
| Communication | Written course-work is required and will be assessed so as to encourage the development of the appropriate skills and formats. Students are expected to participate in oral discussions in tutorials. |
| Improving own Learning and Performance | Feedback will be given on all tutorials |
| Information Technology | Students will be expected to use the Internet and computer resources (e.g. mp3 files, RealPlayer video, and audio programs such as Audacity) for course-work. Technical (i.e. musicological) presentations will make use of text-based 'ABC' music files. This will allow them to create and play musical files which may then be printed in standard notation. |
| Personal Development and Career planning | Engagement with art forms should always lead to the development of aesthetic values. In addition to this---and given the current popularity of 'Celtic traditional music', a good understanding of the genre will be useful for students interested in the arts, broadcasting, and entertainment. |
| Problem solving | Analysis and critical evaluation are expected from the students. |
| Research skills | Tutorial assignments will require independent research and active engagement with the art-forms under discussion. |
| Subject Specific Skills | For musically gifted students, a tape cum report presentation or project may be considered for assessment. This would allow such students to develop their musicianship in line with the broadly accepted standards that exist within the traditional music community. |
| Team work | In certain cases two aspects of a tutorial presentation or project may be shared by two individuals, each one concentrating on a different component (e.g. musical transcriptions and analysis vs. biographical or historical research). Their individual contributions to the presentation or project, however, will be assessed independently. |
Notes
This module is at CQFW Level 6