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GCSE

Music

Guidance for Teachers on the Areas of Study Approach


For use with Specification for first teaching from Autumn 2001

Issued: April 2002


Contents Page

Introduction 1

The Area of Study Requirements 2


The CCEA Specification 2
Set Works Within the Areas of Study 2
Works Suggested for Further Listening 2

Assessment Requirements for the Areas of Study 3


Written Commentaries for Compositions 4
Implications of the Area of Study Approach 4

Learning Outcomes 5

Examples of Possible Teaching Approaches to the Areas of Study 6


Example 1: Music for Celebration 6
Example 2: Musical Arrangements 8
Example 3: Musical Traditions in Ireland 10

Composing and performing Activities within the Areas of Study 13


Music for Celebration 13
Some Ideas for Exploratory Exercises Based on the Set Works 13
Some Ideas for Compositions and Performances Arising from the Area of Study 14
Musical Arrangements 15
Some Ideas for Exploratory Exercises Based on the Set Works 15
Some Ideas for Arrangements and Performances Arising from the Area of Study 16
Musical Traditions in Ireland 17
Some Ideas for Exploratory Exercises Based on the Set Works 17
Some Ideas for Compositions, Arrangements and Performances Arising from the 19
Area of Study

Musical Traditions in Ireland 20


Irish Traditional Music 20
Dance Music
Vocal Music 21
The Harping Tradition 22
Ornamentation in Irish Traditional Music 22
Instruments of Irish Traditional Music 24
The Scots-Irish Tradition 25
The Anglo-Irish Tradition 25
Local Songs and Singing Games 26
Narrative Songs 26
The Band Tradition 26
Flute Bands 26
Pipe Bands 27
Accordian Bands 28
Brass Bands 28
Wind/Concert Bands 28
Ceili Bands 29
External Musical Influences 29
Classical Influences 29
The Influence of World Musics 30
Introduction
These support materials have been drawn up to support CCEA’s GCSE music
specification which will be examined for the first time in Summer 2003. A major
factor in the development of the new specification has been the promotion of a more
holistic approach to teaching and learning in music at this level. Instead of treating
the three aspects of musical experience (composing, performing and listening and
appraising) as individual and unrelated activities, the specification is designed to
highlight the interactive and mutually supportive nature of the learning experiences
required throughout the course. This is accomplished through an Area of Study
approach which is essentially ‘thematic’ or ‘topic-based’.

The materials also include, as appendices, the teaching materials which were drawn
up by CCEA, in partnership with QCA, to support Classic FM Masterclass
programmes on Music for Celebration (Appendix 1) and Musical Arrangements
(Appendix 2). A script of the content for each programme is included for those
teachers who do not have access to the recording of the programmes.

Each set of materials provides a historical perspective and includes both a detailed
project and a number of suggestions for further work in each of the areas. In addition
to the key characteristics of music within the area of study, the programmes highlight
a number of musical features demonstrated within each example of music. Whilst the
key characteristics are common across all examples chosen for the programmes, the
musical features illustrate aspects of continuity and change which reflect the
particular contribution of the composer and the context in which the music was
created.

The content of the programmes and the associated materials will provide a very useful
resource for the CCEA specification.

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The Area of Study Requirements
The following area of study requirements are set out in the subject criteria developed
by the regulatory authorities. These requirements must be implemented by all
awarding bodies in their revised GCSE specifications.

All GCSE music specifications are required to include a minimum of three and a
maximum of six areas of study. Students are required to develop some sense of
historical perspective within each area of study.

The CCEA specification

The CCEA specification has chosen the minimum number of areas of study (three)
and included within these, nine short set works as a focus for teaching and learning
within and across the areas of study. These are set out on pages 12-21 of the
specification, and have been selected to introduce a range of music from different
times, places and styles. The specification also sets out lists of suggestions for further
listening as a basis for expanding students’ knowledge and understanding, and to
provide an increased range of stimuli for composing and performing activities.

Set works within the Areas of Study

The set works which are listed in the specification have been chosen to provide some
focus for teaching and learning within each area of study. They are only a few
examples chosen to represent the breadth of the area of study. Students are required
to undertake aural study of the works in order to develop their aural awareness. They
are not expected to know the fine detail which would require study of a score. It is
sufficient for students to know, understand and recognise the musical points set out
under each work.

Works suggested for further listening

Coverage of the content of the lists is not a requirement for assessment within the
examination. Individual compositions which are named in the ‘suggestions for further
listening’ list will not appear as part of the listening test, although some of the more
general items, for example, arrangements for brass and military bands, arrangements
of pop songs, music by groups such as the Chieftains, Anúna, etc could be used in the
questions on ‘unfamiliar’ music.

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Assessment Requirements for the Areas of Study

Assessment requirements, related to the areas of study, which are common to all
GCSE music specifications and which, therefore, form part of the requirements for the
CCEA specification are set out below.

Candidates must:

1. relate one composition and one performance piece (solo or ensemble) to


one of the three areas of study, that is, the same area of study;

and

2. relate a second composition or performance (solo or ensemble) to a


different area of study;

and

3. undertake one listening and appraising test which will last approximately
one hour. The test will consist of up to eight questions and include
questions on both familiar (set works) and unfamiliar music.

The requirements for composing and performing are translated as follows:

All candidates must:

1. submit a folio of two compositions, at least one of which must relate to


one of the areas of study;

2. provide a written commentary on each composition in line with the


requirements set out on page 8 of the specification. Candidates should be
aware that their commentaries will attract 10% of the total marks for the
whole examination (5% for each composition). This includes marks for
written communication;

3. present two performances (one solo and one ensemble) at least one of
which must relate to the same area of study as one of the compositions;

4. ensure that the second composition or second performance relates to a


second (different) area of study;

5. present an outline of their performance programme, including their


commentary on any own composition which is being performed and be
prepared to talk to the visiting assessor about the music they perform and
its relationship to the relevant area(s) of study. Candidates should be
aware that their ability to respond to questions about their performance and
its relationship with at least one area of study will be worth 5% of the total
marks for the whole examination.

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Written commentaries for compositions

The Council will not require candidates to complete annotation sheets. They will be
able to generate their own commentaries, with the opportunity to use ICT and the
possibility of generating evidence for the key skill of IT. Candidates will meet the
requirements by using the headings set out below for their commentaries.

The first two parts of the commentary should be completed before work on the
composition has begun. The candidate may wish to make reference here to the area of
study if this is relevant. The third heading is a diary of progress kept during the
composing process, and the final three headings are a reflection on the work.

(i) The brief: what I have chosen/been asked to do and my initial response
(ii) How I intend to fulfil the brief: my plan of action
(iii) How my composition took shape
(iv) Analysis of my composition, including some reference to the composing
process
(v) Relationship between my composition and ……….. (Area of Study, if
relevant)
(vi) Evaluation of my composition

Implications of the Area of Study approach

The area of study approach may require a revision of teaching strategies in that it
provides contexts for developing some sense of historical perspective which includes
breadth of style and musical genre. There is no requirement to teach the areas of
study in any particular order so teachers should begin with that which they consider to
be most accessible and interesting for their students.

It would be possible to devote one term to each area of study in the first year of the
course and then to revisit each again in the second year. If this approach were
adopted it would be feasible to expect each student to develop one complete
composition, commentary and perhaps one performance (of own composition?)
during the last few weeks of each term. When each area is revisited in the second
year, students would have the opportunity to develop further their general
understanding, to revise the set works and to revisit their compositions (to revise them
in the light of increased skills) or to compose anew; also to decide finally on what will
be submitted for assessment in terms of both compositions and performances.

It would be very important for those students who have instrumental lessons outside
of the classroom to understand the performance requirements and to convey these to
their tutors. The performance requirements, and how these can be met, should be
discussed with instrumental tutors who teach in the school.

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Learning outcomes

The specification states that students’ musical activities should enable them to
develop knowledge and understanding of the musical elements and how they are
combined to create structure and effect.

In particular, through the Areas of Study and set works students should develop the
ability to:

• respond critically to the general mood, character and performance of music


using a musical vocabulary;
• follow a simple score which may have up to four sharps or flats;
• use basic staff notation on the treble stave;
• identify major, minor, pentatonic and modal tonalities;
• identify and use perfect and imperfect cadences;
• identify, interpret and use dynamics for musical effect;
• identify and use instrumental and vocal timbres for expressive purposes;
• identify unison, homophonic and polyphonic textures;
• identify solo voice/chorus and solo instrument/orchestra;
• identify and, where appropriate, use devices such as repetition, sequence,
imitation, canon, syncopation, ground bass, ostinato/riff, pedal, drone,
augmentation and diminution;
• identify and use structures such as binary, ternary, variation, verse and chorus,
through-composed, rondo, 12 bar blues;
• identify and, where appropriate, compose marches, slow airs and dances such
as reel, jig, hornpipe, strathspey, polka, waltz;
• recognise musical styles, including Baroque, Classical, Romantic and the
broad spectrum of twentieth and twenty-first century (‘art’ music, folk music,
blues, jazz and rock/pop idioms);
• recognise styles and influences related to present-day music-making in
Ireland.

In addition, through the areas of study and set works, students should develop an
awareness of genres such as madrigal, suite, Mass, symphony, songs (strophic,
through-composed), ballads, musical, concerto, string quartet and other chamber
ensembles.

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Examples of possible teaching approaches to the Areas of Study
The following examples of approaches to teaching each area of study have been
designed to promote a holistic approach to teaching and learning. It is suggested that
one term should be devoted to each area of study in the first year of the course and
that these should be revisited, one per term in the second year.

Example 1: Music for Celebration

The steps set out in this example are suggestions only. It would not be necessary to
include all the steps or to follow them in the sequence outlined below. Some teachers
may find it preferable to start with early music and move forward in chronological
order. It would be important, however, and perhaps more motivating for students, to
begin with music that is familiar to them.

1. Begin with music for celebration at the present time, for example by listening
to the themes which are used to introduce sporting events on television and
identifying those features of the music which make it celebratory ie
celebrating the particular sport and engaging the viewer’s (listening) attention.

2. Students might then explore some of the features they have identified and
discussed and use these to create and perform a short piece to celebrate an
event.

3. This could then lead to Handel’s La Réjouissance – with some background


explanation of the context in which the work was created (composers usually
working for Royal households and the need to celebrate Royal events) the
issues which would need to be considered if the music was to be related to a
fireworks display and to be performed outdoors. If appropriate, students could
explore how the sound of instruments would carry in the open air and how
they might resolve the problems of getting the sound to carry (with/without the
help of electronic amplification).

4. Students see if they can identify any features which they have found in their
previous work and then go on to develop an aural analysis of the Handel in
line with the points set out in the specification and the suggestions for
activities provided on page 13 of these materials.

5. The need to celebrate Royal events could be followed up with an opportunity


to listen to and discuss, in general terms, Zadok the Priest. With the
introduction of a religious dimension, it would be possible, where appropriate,
to look at some hymns of praise and aspects of homophonic writing (words
carry more clearly if all are singing the same word at the same time). Students
could listen again to Zadok or perhaps, parts of Messiah with this point in
mind.

6. The focus on music with a religious/sacred text could shift to Fanshawe’s


African Sanctus. This work will provide opportunities to consider the wide
range of things to listen for and activities set out both in the specification and

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on page 14 of these materials. If appropriate, students could be introduced to
the idea of the Mass as a compositional genre and those composed by Haydn
for special occasions, for example, the Maria-Theresa and the Nelson Masses.

7. Having been introduced to the idea of compositions for royalty, including


vocal sacred music, students could then be introduced to 16th century secular
vocal music through one of the madrigals from The Triumphs of Oriana. (See
example in Appendix 1 – Classic FM programme on Music for Celebration).

8. If appropriate, it would, for then be possible to introduce some of Haydn’s


music, composed for Esterhazy example, The Emperor’s Hymn from his
quartet in Cmajor – also a set of variations- (idea of the national anthem)
and/or Beethoven’s Ode to Joy in the last movement of Symphony No 9
(celebrating the brotherhood of man). It would be possible to write a school
song where one doesn’t exist.

9. This could lead to Copland’s Fanfare for the Common Man, written in 1942 as
a tribute to the men and women of World War 2. Students could explore the
idea of fanfares and suggestions set out in Appendix 1.

10. Reference to war could lead to the concept of marches and Verdi’s
Triumphant March from Aida (more fanfares) written to celebrate the opening
of the Italian Theatre in Cairo in 1871. Students could find out how the
different sections of the march represent the different groups of people
parading. (This is also demonstrated in the Classic FM programme, Appendix
1).

11. If appropriate, students could go on to explore the idea of triumphant marches.

12. Moving from music composed to celebrate someone else to music composed
to celebrate ‘ourselves’ students could undertake study of We are the
Champions, the second set work and follow the ideas for exploration set out
on page 14.

13. Students could recap on what aspects of celebration they have looked at,
namely events and people and discuss other aspects of life which might be
worth celebrating, for example, the Seasons and other aspects of nature
(Vivaldi, Beethoven, Smetana, Weber) and/or culture as in local and national
festivals.

14. Students look for performance pieces for their own instrument which could
relate to any of their work, for example, by asking tutors, looking through
publications in a music shop or library or through the internet, and work with
the tutor or group of peers to develop a performance.

15. Students decide on a brief for a composition related to Music for Celebration,
and begin to develop both the composition and the accompanying commentary
in line with the headings set out on page 4.

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Example 2: Musical Arrangements

This area of study is the most flexible and can be linked with either of the other two
areas, for example, it would be possible for a student to create an arrangement or set
of variations on an Irish folk-song melody and this would fulfil the requirements for
covering two areas of study through one piece of ‘composition’.

The steps set out in this example are suggestions only. It would not be necessary to
include all the steps or to follow them in the sequence outlined below. It would be
important, however, and perhaps more motivating for students, to begin with music
that is familiar to them.

1. Students begin by listening to and discussing different arrangements of


familiar music, including cover versions of songs by groups they know.
Where originals are available, they identify the differences between them and
the arrangements and decide which they prefer, with reasons.

2. Students consider all the music they are playing at the moment, or in the past
and identify if they are playing original music written for the instrument or
voice, or an arrangement (many of the examination pieces for orchestral
instruments may be considered to be arrangements). Also, most of the printed
music for pop/rock is keyboard/vocal arrangements of songs by popular
groups.

3. Give students a simple tune as a basis for exploring some ways of achieving
variation, for example, ornamenting the melodic line, creating a second part
above/below and different ways of accompanying the tune.

4. Students listen to a vocal performance of The Trout by Schubert and identify


the phrase structure of the melody, also the scene-painting in the piano
accompaniment. Let them get to know the tune by singing or playing it and
then explore it further by attempting to perform it in different styles.

5. Listen to the trout theme as performed in the piano quintet and compare it to
the vocal version previously heard in performance.

6. Go through each of the variations in turn, focusing on the sound of each


instrument and how each is used in each variation.

7. Explore some of the ideas set out on page 15.

8. Compare, for example, Copland’s Fanfare for the Common Man with the
version by Emerson, Lake and Palmer or Holst’s original theme with the
version sung by Kiri Te Kanawa for the rugby world cup theme etc.

9. Listen to a vocal performance and/or sing the song Tea for Two and then
spend some time identifying the musical features of its arrangement as Tahiti
Trot by Shostakovich (see Classic FM programme Musical Arrangements –
Appendix 2). Focus particularly on the suggested ‘swing’ element as
preparation for thinking about jazz.

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10. Introduce some of the simple riffs which are appropriate to the twelve-bar
blues structure and introduce the basic chord sequence, allowing students to
explore the riffs across the chords and then to explore their own possibilities
through improvisation. Discuss how it feels to be improvising.

11. Listen to the introduction to Ella Fitzgerald’s Mack the Knife (before she starts
to sing) and discuss the atmosphere and expectation set up by her introduction
and the instrumental introduction to the song.

12. Listen to the whole performance and discuss the style of singing, the words
and the accompaniment in line with the points set out in the specification.
Identify how Ella mentions two other performers and ask students to search
for versions of the song by those performers (Bobby Darin and Louis
Armstrong). If these are found listen to them and compare them (and other
versions by Frank Sinatra or Robbie Williams) with the Ella version.

13. If appropriate get students to perform ‘scat’ versions of the song using Ella (or
possibly Louis Armstrong) as an example.

14. Give students the first note of the vocal line (E) and let them work out, by ear,
the tune for the song, as much as they can.

15. Explore the possibility of writing a piece based on the tune of Mack the Knife
by considering how some of the phrases might be expanded and/or developed,
for example, by focusing on the minor 3rd or some of the other intervals in the
vocal line or by ornamenting the line as in ‘filling in’ some of the intervals.

16. Look for some other old songs which have up-dated versions, for example,
Scarborough Fair as performed by Simon and Garfunkel, The Mountains of
Mourne by Don McClean, and develop a modern arrangement of an own-
choice folk song or nursery rhyme, or develop a set of variations on a simple
tune.

17. Students develop their own arrangement, with commentary, and performance
based on their learning across the area of study, using some of the ideas
covered in the lessons or set out on page 16.

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Example 3: Musical Traditions in Ireland

It is very important that both teachers and pupils understand that this area of study is
placing a value on all of the western musical traditions which are found in Northern
Ireland. This is already a wide remit and, for that reason it is presently
unrepresentative of the additional cultural value offered by the Chinese and Asian
communities.

The broad perspective also means that it would be unrealistic to expect all students to
develop equal depth of understanding across all of the traditions. It is important,
however, that all have access to the full breadth which is outlined in the background
information provided in Appendix 3, and that all will be encouraged to consider and
respect the value placed on the different traditions by different elements of the
community.

It is particularly important when dealing with this area of study that teachers approach
it from within the tradition which is most familiar to their students and try to
encourage an approach which focuses on intellectual examination rather than
emotional response. It would be important to try to get across to students, when
necessary, that some of the music may be considered to be problematic, not by virtue
of the music itself, but rather by association.

The steps set out in this example are suggestions only. It would be important,
however, and perhaps more motivating for students, to begin with music that is
familiar to them.

1. Begin by listening to the music of Northern Ireland’s singers/groups such as


Watercress, Ash etc, and discuss what, if anything, in their music relates to
Northern Ireland, for example, Watercress sing with local rather then
American accents, as does Juliet Turner.

2. Students list all the different types and styles of music they would hear in
Northern Ireland today and ask them to rank them in terms of preference; also
to identify those within which they may have direct experience, for example,
through performing. This may provide a guide as to the order in which the
different traditions might be addressed. It would also be important to help
students recognise that the same basic elements of music (which formed the
basis of Music for Celebration and Musical Arrangements) also form the basis
for music-making across the different traditions and musical styles in this area
of study.

3. Introduce the concept of the symphony by focusing on familiar aspects of


symphonies, for example, the first movement (eg Beethoven 5), the second
movement (eg Beethoven 3), the third movement (eg Prokofiev Classical
Symphony, Gavotte) and fourth movement (eg Beethoven 9). See ideas on
page 23. Ask students to consider how an Irish Symphony might be
defined/created.

4. Talk about Sir Hamilton Harty (born in Hillsborough, association with


Queen’s University, Belfast etc) and how he tried to fuse an Irish element into

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‘classical’ music and vice versa, for example, through the use and treatment of
Irish tunes and legends as a stimulus for many of his compositions. Listen to
excerpts from other works, for example, The Children of Lir to introduce the
concept of programme music.

5. Listen to The Fair Day and spend a considerable amount of time on the
features of the movement, orchestration etc, in line with the points set out in
the specification. This will introduce the idea of the reel as a dance tune
(originally from Scotland) and the folk song, both of which can be
played/sung by students if appropriate.

6. Consider how and why this piece could meet the criteria for Musical
Arrangements.

7. Listen to some other music in which Irish Composers have attempted to fuse
Irish music with ‘classical’ music, for example, The Brendan Voyage, The
Seige of Derry Symphony, both by Shaun Davey.

8. Students play and/or sing some local folk songs or songs from other countries
which have become popular in Northern Ireland and, if appropriate create their
own arrangements.

9. Listen again to The Blackberry Blossom from The Fair Day and then to the
reel The Bucks of Oranmore (the fashionable young men of Oranmore). This
reel is in four parts rather than the usual two and is normally played at the end
of a set of dances. The ‘Edge’ from U2 is playing on this performance along
with other well-known musicians and it would be interesting for students to
learn that many musicians perform different types of music. Allow students to
become familiar with the instruments being played and then let them explore
some of the ideas set out on page 17.

10. Where appropriate, let students listen to other performances of this reel, for
example, by the Chieftains, and to other reels played in traditional and modern
styles.

11. Move on to the March, Strathspey and Reel played by the Field Marshal
Montgomery Pipe Band and ask students to identify the point at which the reel
begins, then to compare this with other reels listened to, or to The Bucks of
Oranmore. Provide some background information on the structure of pipe
bands and the world-wide nature of pipe band competition and how piping and
drumming is judged. Get students to listen for the drones on the pipes and the
complex rhythms on the drums.

12. Discuss the relationship between Scottish and Irish music, for example, much
of the traditional music played in Donegal is of Scottish origin, also the
similarities between bagpipes and the uilleann pipes and the rhythmic
accompaniment of drums for each. Allow students to experiment with drum
rhythms for different types of drums and possibly to play along with this and
other recordings.

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13. Focus attention on the March and then discuss the types of music and tunes
which would be played as marches by different types of bands, for example,
brass bands, flute bands, silver bands, accordion bands. What are the
important factors in composing a march? Students could reflect back on the
march from Aida which they may have listened to in Music for Celebration. If
appropriate, they might take a reel tune and turn it into a march.

14. Focus attention on the Strathspey, in particular on the elements of the tune and
how this is different from the dances which would be considered Irish. Listen
to some other folk-dance tunes from the British Isles and identify similarities
and differences.

15. Listen to a well-known Irish jig such as The Irish Washerwoman and discuss
its metre and structure as a basis for listening to April 3rd.

16. Provide some background information on Donal Lunny, how he is pushing the
boundaries of traditional music, and let students listen to some music played
by his one-time group Moving Hearts from the CD Electric Reels, if available.

17. Listen to April 3rd and spend time helping students identify the features of the
music outlined in the specification and then exploring some of the ideas on
page 18. If possible, listen to some other music, for example, that by the Afro-
Celt Sound System to experience the fusion of Irish with African traditions
and the creation of ‘ambient’ music.

18. Listen to and/or perform some slow, melancholy folk songs or Irish airs and
discuss how mood and atmosphere is created. Students take an Irish air or
slow folk tune and use previous learning to ornament it and/or create an
arrangement for performance.

19. Students develop a composition, (with commentary) and performance within


any of the identified musical traditions, based on their learning across the area
of study.

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Composing and Performing Activities within the Areas of Study
This section sets out some ideas for composing and performing activities related to
each of the Areas of Study. The ideas are differentiated in two ways:

1. those requiring students to undertake exploratory exercises which develop


skills and understanding of the use of the musical elements to create both
expression and structure; and

2. those providing students with opportunities to use the skills and knowledge
developed through the exercises in compositions which are an expression of
their own thoughts and feelings.

The exercises are related to each of the set works within each area of study, and the
suggestions for compositions are related to each area of study as a whole. It should be
noted, however, that rhythmic and melodic devices are used for different purposes
across the set works and areas of study.

Music for Celebration

The key characteristics of music for celebration are the features which remain
unchanged over time and place. The characteristics of music for celebration are:

• composers select resources which are most appropriate to the commission and
context;
• the musical content of the piece supports and reflects the nature of the
celebration;
• the music draws attention to itself, stirs the emotions and creates a sense of
well-being in the listener.

Some ideas for exploratory exercises based on the set works

Handel: La Réjouissance

Note: The recording for this work will be Deutsche Grammophon CD no 435 390-2

Students could explore:

• devices such as sequence and repetition, considering questions such as, how
long can a sequence be maintained? When does repetition become boring?
• how sequence can be used to drive the music forward, and how repetition can
be used to create a sense of urgency, stillness and/or unity;
• the effect of dotted rhythms;
• the expressive impact of the use of sequence and repetition in Handel’s piece
and why these might be appropriate for outdoor music;
• examples of sequence and repetition in the work of other composers;
• sounds in confined and open spaces;
• the use of effects in music technology;
• the instruments which would be most appropriate for outdoor music;

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• two-part structures and ways of achieving contrast, for example, tempo,
dynamics, tonality, timbre and texture.

Fanshawe: African Sanctus

Students could explore:

• changing metres – duple interspersed with bars of triple time;


• unpitched percussion exercises based on cross rhythms;
• improvisations over chords IV – I and V – I in chosen keys;
• the use of backing tracks in performing;
• improvising along with a backing track;
• building up rhythm and texture through the use of ICT;
• various African chants and drumming;
• the relationships (if any) between chanting and rap;
• unaccompanied chants and chants with a percussion backing;
• other settings of the Sanctus from plainchant to present-day.

Freddie Mercury: We are the Champions

Students could explore:

• the characteristics of different types of songs, for example, verse and chorus,
ballad, through-composed, folk songs, pop songs, art songs (ties in with The
Trout);
• different types of voices and styles of singing;
• solo singing and singing in parts;
• accompanied and unaccompanied singing;
• different ways of accompanying a song;
• vocal ornamentation, for example, word-painting, melisma, sean nos singing
(ties in with Musical Traditions in Ireland);
• popular songs of the past, for example, madrigals, music-hall songs, the blues,
spirituals, Victorian parlour songs.

Some ideas for compositions and performances arising from the Area of Study

All of the ideas which are set out in the materials which accompany the Music for
Celebration programmes (Appendix 1) would be acceptable in fulfilling the
requirements of the specification. The following list also includes possible stimuli
arising from the suggestions for further listening in the specification.

Students might like to compose and/or perform, with the use of music technology, as
appropriate:

• a piece of celebratory music to be played outdoors, for example, at a school


fête, sports day etc;
• a march in two or three parts;
• a ‘pop’ song, traditional ballad, etc with a celebratory ‘feel’;
• a hymn or song of praise/thanksgiving;

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• a Christmas carol, birthday song, school song, song for a football team; song
to celebrate Spring/Summer/the holidays etc;
• a percussion piece based on rhythm alone;
• an instrumental/vocal piece in a ‘modern’ style;
• a word setting of an appropriate poem;
• a piece based on fanfares;
• a piece based on the idea of a funfair/circus/wedding etc.

Musical Arrangements

The key characteristics of musical arrangements are the features which remain
unchanged over time and place. Some characteristics of arrangements are:

• they are adaptions of compositions for media which are different from the
original;
• the musical substance of the original composition remains substantially
unchanged;
• the original musical content may be shown in a ‘new light’.

Some ideas for exploratory exercises based on the set works

Schubert: Piano Quintet The Trout, fourth movement

Students could explore:

• the melodic/phrase structure of the theme, and create their own melodies based
on that structure;
• the rhythmic structure of the theme;
• the structure of some well-known melodies;
• the expressive impact of some well-known melodies, for example, ‘classical’
themes which are used in advertising;
• the ways in which a single-line melody could be ornamented;
• the effects achieved by changing fundamental aspects of a melody, for
example, tempo, metre, tonality, rhythm etc;
• creating a part above/below a given melody;
• different ways of accompanying a melody, and different styles of
accompaniment;
• how different parts of a melody may be selected and used as a basis for
expanding the original melody, and as a starting point for developing new
melodies (this is an important factor in enabling pupils to meet the
requirements of assessment objective 2 – creating and developing musical
ideas);
• the need to match melody and instrument, that is, to write idiomatically for the
chosen instrument.

15
Kurt Weill: Mack the Knife

Students could explore:

• any of the ideas suggested for the previous work;


• different versions of the song and compare interpretations, for example, as
sung in The Beggar’s Opera and other more modern versions;
• improvisations on the different phrases of the melody, using voices and/or
instruments;
• improvisations on different harmonies in the recording, for example, Em, D7,
etc;
• key changes that move up a semitone as a melody is repeated;
• vocal and instrumental improvisations around other familiar songs, melodies
and harmonies;
• ‘scat’ singing.

Some ideas for arrangements and performances arising from the Area of Study

All of the ideas which are set out in the materials which accompany the Musical
Arrangements programmes (Appendix 2) would be acceptable in fulfilling the
requirements of the specification. The following list also includes possible stimuli
arising from the suggestions for further listening in the specification.

Students could develop and/or perform, with the use of music technology, as
appropriate:

• an arrangement of a familiar song or melody which presents the original in a


‘new’ way;
• an improvisation on a harmonic framework such as the twelve-bar blues or a
harmonic sequence from a popular song;
• an embellishment of a slow Irish air in a new way;
• a set of variations on a familiar/new theme, for example, a nursery rhyme or
folk/Irish dance tune;
• an arrangement of a song in a style that is different from the original, for
example, a ‘pop’ version of an old ballad or a ‘classical’ treatment of a pop
song;
• take part in professionally adapted musical arrangements of a wide range of
music in a variety of styles;
• a different arrangement of own composition;
• a set of variations on a ground bass;
• a piece based on a popular riff or ostinato figure.

16
Musical Traditions in Ireland

Some ideas for exploratory exercises based on the set works

The Bucks of Oranmore: reel tune, but in five rather than the traditional two sections

Students could explore:

• quaver movement in 4/4 time with the strong accents on the first and third
beats of each bar;
• the discipline needed to play or sing a tune in unison;
• eight-bar phrases and their embellishment;
• the timbre of the individual instruments on the recording;
• two-part and four-part structures;
• repetition and variation;
• percussion accompaniment to a reel tune;
• other dance forms in 4/4 time.

Donal Lunny: April The 3rd – slip jig in 9/8 time

Students could explore:

• the use of acoustic and electronically-produced sounds together;


• the use of traditional dance-tunes merged with more exotic sounds such as
Eastern/African percussion;
• building up/layering rhythms;
• four-bar phrases in 9/8 time;
• other Irish jigs and other gigs/gigues from the ‘classical’ repertoire;
• traditional jigs played in a pop/rock style;
• other dances of the suite.

Field Marshal Montgomery Pipe Band: The Clan Macrea Society (March)

Field Marshal Montgomery Pipe Band: Susan Macleod (Strathspey)

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Field Marshal Montgomery Pipe Band: John McKechnie (Reel)

Students could explore:

• the differences in metre between the march, strathspey and the reel, for
example, reel has beats 1 and 3 accented and the strathspey has each beat
accented;
• the use and effect of constant dotted rhythms;
• the ‘Scotch snap’ (a very short note preceding a longer one);
• snare drum rolls and rhythms;
• chanters and drones;
• movement from one time-signature to another or to different tempi or
rhythmic features within the same time signature;
• rhythms on the drum kit;
• rhythms on different types of drums;
• tunes played by marching bands;
• adding modern rhythms to traditional bagpipe tunes.

Sir Hamilton Harty: Irish Symphony, second movement – Scherzo – Fair Day

Students could explore:

• the relationship between this movement and the Musical Arrangements area of
study;
• other arrangements by Sir Hamilton Harty, for example, his orchestral
arrangement of The Londonderry Air;
• different arrangements of Irish airs/songs;
• the structure of a symphony;
• how this symphony differs from the classical symphony;
• the idea of the scherzo/minuet in the classical symphony;
• how this scherzo differs from the ‘classical’ scherzo;
• the traditional tunes (song – The Girl I left behind me and reel tune – The
Blackberry Blossom) used in the movement, and how they are arranged;
• the creation of mood and atmosphere in their music;
• telling a story through music;
• the use of drones, parallel intervals etc;
• creating humour in their music, for example, by combining high and low
pitched instrument, ‘jaunty’ rhythms etc;
• the timbral qualities of tuned percussion and other orchestral instruments;
• writing idiomatically for some orchestral instruments that they are familiar
with or may play;
• how Sir Hamilton Harty incorporates other Irish tunes into his music, for
example, Variations on a Dublin Air.

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Some ideas for compositions, arrangements and performances arising from
the Area of Study

Students could:

• compose and perform their own airs, jigs, reels, marches, strathspeys etc;
• create their own arrangements of existing songs, for example, any of the
popular songs which could be regarded as folk songs;
• create their own arrangements of existing airs, jigs, reels, marches,
strathspeys etc;
• compose a modern Irish folk/pop song/ballad;
• set a poem by an Northern Irish/Irish poet to music;
• perform accompanied/unaccompanied song or piece of instrumental music
which reflects any one of the influences/aspects of musical traditions in
Ireland today;
• use Irish influences to create a piece of music in the ‘classical’ or ‘rock’
traditions;
• develop an ‘exotic’ arrangement of music related to the area of study, by
using music technology.

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Musical Traditions in Ireland

Introduction

It is important to draw the distinction between Musical Traditions in Ireland and Irish
Traditional Music. The music which is known as traditional music is one strand of a
much wider musical environment which, at the beginning of the twenty-first century,
reflects not only diverse value systems and allegiances, but also, the ‘globalisation’ of
music through the influences and fusion of Western and non-Western musical idioms.
This area of study focuses on the different strands of music-making which contribute
to the musical life of Northern Ireland and the wider Island of Ireland. For the
purposes of teaching they are identified as follows:

• Irish traditional music;


• Scots-Irish tradition;
• Anglo-Irish tradition;
• Band tradition;
• External musical influences.

Irish Traditional Music

The fundamental aspect of Irish traditional music is that it is essentially an oral


tradition, passed from one performer to another through listening and imitation. It
contains three broad elements, dance music, unaccompanied vocal music and the
harping tradition.

Irish traditional music is not a homogenous style in itself as there are various regional
tunes and styles of playing or singing, for example, Donegal is associated mostly with
reels whilst musicians from Cork and Kerry would frequently play slides and polkas.
Performers are also known for their individual approach to and treatment of the
music. The main keys of traditional music are G and D major and A and E minor.

Dance music

The dance music as performed by present-day musicians has developed from a


number of sources, for example, strathspeys and reels of Scottish origin, the hornpipe
from England, and the polkas which were popular dances of polite society in the
nineteenth century. While dancing remains and important activity, the dance music
has also expanded its function by forming the content of the ‘session’ which provides
an opportunity for a number of musicians to play together for their own enjoyment
and to entertain the listener.

Most old and newly composed dance tunes have a structure which consists of two
eight-bar sections, each of which is repeated, although there are also tunes, for
example, The Bucks of Oranmore which have more. A session usually consists of a
number of tunes from different dances and types of dances, each played two or three
times before moving on to the next tune or dance type. When the dance tunes are
played as part of a session, they are usually played faster than they would be if
accompanying a dance.

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The reel is a soft-shoed light dance in 4/4 time with continuous quaver movement and
the accents on the first and third beats of the bar. It is possibly the most popular type
of tune within traditional dance music and can be danced to as a solo or group
stepdance. It arrived in Ireland from Scotland during the late eighteenth century and
many of the reels in the Irish repertoire are variations of the Scottish reels.

The jig was popular in the late seventeenth-century Ireland and exists in four different
types, the most common of which is the double jig. Other types are the single jig, the
slide and the slip jig. Many of the jig tunes date from the eighteenth and nineteenth
centuries.

The double jig is in 6/8 time and is characterized by quavers grouped in threes, with a
the final bar of a section ending with a crotchet so the an up-beat quaver will provide
a link to the next part.

The single jig can be in 6/8 or 12/8 time and differs from the double jig in that its
rhythmic pattern is usually a crotchet followed by a quaver. This dance is associated
with a particular soft-shoe solo dance in competition.

The slide is a fast type of single jig which is normally danced to in set dancing in
Cork and Kerry.

The slip jig (also called the hop jig) is in 9/8 time (cf Donal Lunny’s April 3rd) and it
differs from the other jigs in that its eight-bar sections are normally not repeated. It is
also a solo competition dance, danced in soft shoes.

The polka, which is also popular in Cork and Kerry, originated in Bohemia during the
eighteenth century and spread throughout Europe, arriving in Ireland around the end
of the nineteenth century. The polka is fast in 2/4 time with driving rhythms,
sometimes in four-bar sections with the final bar of the repeat modified to lead to the
next section.

Vocal music

The song tradition encompasses songs in both Irish and English. The style of
unaccompanied singing in Irish is known as the ‘sean-nós’ tradition whilst the songs
in English encompass a wide range of types and styles such as folk songs and ballads
and are usually accompanied. There are also songs which mix both languages. The
song tradition covers a wide range of topics: songs about love, emigration, war,
politics, people, places and songs of Scottish or English origin as collected by Hugh
Shields in his Study of the song tradition in Magilligan (North Co L’Derry). Songs of
the People by Sam Henry is a collection of songs from the locality around Coleraine
(originally a series of newspaper articles).

The term sean-nós literally means ‘old style’ and, as in the dance music, there are also
regional styles of sean-nós singing, particularly in relation to the Donegal, Connemara
and Munster. Apart from the regional dialects of these areas, the style of singing
varies in relation to the amount of vocal ornamentation used by the singer, with
Donegal having the least ornamentation, Connemara, the most and Muster somewhere
in between. Traditional singing in English is generally less ornamented.

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The harping tradition

The Irish harping tradition is different from other elements of Irish music in that it
was an aristocratic art tradition requiring much skill and training. Its patrons, up to
the sixteenth century were the old Irish and English aristocratic families, each of
which would have had their own harper. After that time the fortunes of the old
established families declined and the harpers were forced to become itinerant
minstrels. The need to appeal to a wider audience resulted in a change of harping
style and many harpers were influenced by Italian baroque music which was popular
in Ireland during the seventeenth and eighteenth centuries. Elements of the Baroque
style were assimilated into the music of harpers like Turlough O’Carolan (1670-1738)
who is considered to be the last of the great Irish ‘bards’. Much of the present-day
repertoire of Irish harp music is accredited to O’Carolan. One of his most popular
pieces is known as O’Carolan’s Concerto.

Edward Bunting was an organist who, at the age of nineteen, was employed to notate
the music of the ageing harpers at the Belfast harp Festival in 1792. He was so taken
with the tradition that he continued to collect and publish Irish music throughout his
lifetime.

A further reason for the decline in harping was the instrument itself which was
capable of playing in one key only and was unable to address the increasing
chromaticism of Western art music. The instrument had fallen into disuse by the end
of the nineteenth century and was replaced by the neo-Irish harp which was modeled
on the concert harp. Although it does not have pedals, it is possible to raise the pitch
of each string by a semitone through the use of a lever at the top of the string. Also,
the wire strings of the old harp (plucked with the fingernails) were replaced by gut
strings plucked by the fleshy tips of the fingers.

Ornamentation in Irish Traditional Music

Irish traditional music is essentially melodic and depends, to a large extent, on


individual creativity. This creativity is frequently achieved through the use of
ornamentation to embellish the melodic line in ways which become assimilated into
the performances of individual musicians to create recognisable styles and influences.
While the different types of ornamentation remain basically unchanged, the use of
ornamentation will vary from person to person and across time and place.

Since Irish traditional music exists as an aural tradition, ornamentation is not


considered to exist as a separate element to be applied to a basic tune. New tunes will
be acquired with some form of existing ornamentation which may be modified to suit
the musician’s own particular style and many musicians will not be either willing or
able to attach labels to their musical embellishments. The concept of ornamentation
applies both to instrumental music and to the unaccompanied singing in the sean nós
tradition. Some of the terminology applied to ornamentation within the Irish musical
tradition is similar to that used within the classical Western tradition, for example,
grace notes, double stopping and triplet.

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A grace note, in its simplest form, is a single note which is used to ornament and
accent a note of the melody, and can be played above or below the melody note. The
grace note is also used in its double form where the melody note is played before the
grace note. The idea of the grace note is further classified into the ‘pat’ or ‘tip’ - a
lower grace note sounded between two notes of the same pitch, and the ‘cut’ - an
upper grace note sounded between two notes of the same pitch.

Double stopping is a term associated with string playing and means the same as in the
classical music where two or more strings are sounded at the same time. It can be
seen that this technique will produce a harmonic element into the melodic line when it
is used mainly at the ends of phrases. The technique is also used by accordion and
concertina players.

The triplet is a method of ornamentation which is common across all instruments and
styles and is a replication of its use in classical music, that is, three notes, usually
moving by step upwards or downwards, which are played to the value of a single beat.

Other forms of ornamentation include the cran(n), the roll, and the treble.

Cran(n) is an Irish word with diverse meanings such as tree, rod, measure and step in
dancing. It is a particular form of ornamentation used by uilleann pipers which is
often imitated by tin whistle, fiddle, flute concertina and accordion players with
varying degrees of success. It involves the alternation of different grace notes with
the melody note to the value of the single beat and is used to ornament the low D or E
on the chanter of the uilleann pipes.

The roll is one of the most popular forms of ornamentation for all instruments, and
exists as a long roll and a short roll and is related to the mordent in classical music. In
each case, a single melody note is being ornamented. The value of the long roll is
equivalent to the dotted crotchet where three repetitions of the melody note are
separated firstly by an upper grace note and then by a lower grace note. The first note
is held longer and the remaining four notes played quickly within the remaining value
of the dotted crotchet. The short roll has the value of a crotchet and starts with an
upper grace note followed by the melody note, then a lower grace note followed by
the melody note.

The treble is similar to the triplet where a longer note, usually a crotchet is divided
into three shorter notes, not necessarily of the same value. It is a type of
ornamentation favoured by fiddle players in the North, executed through the use of
short accented bow strokes.

Like instrumental music, the diversity of technique in sean nós singing reflects both
regional differences and personal preferences. The techniques of melodic
ornamentation are also found in sean nós singing and to these is added the technique
of varying intervals between specific notes of a melody. Rhythmic variation can also
be used to embellish a song and variation of both melody and rhythm can occur
within different verses of the song as well as between different performances of the
same song by the same singer.

At all times and in all cases, the traditional musician uses ornamentation for an
expressive purpose rather than as a showcase for performing technique.

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Instruments of Irish Traditional music

The major melody instruments used in present-day traditional music sessions are tin
whistle, flute, fiddle, uilleann pipes, accordion, melodeon, concertina, banjo, harp,
and sometimes, mandolin and harmonica. Any combination of these might be
accompanied by guitar, bouzouki, piano/keyboards, drumkit and woodblock (in
bands) bodhran and sometimes, spoons or bones. The use of African, Asian and
Arabic instruments is also becoming more popular (cf Donal Lunny’s April 3rd).

The tin whistle is probably the most popular instrument for introducing young people
to traditional music. Although whistle-like instruments made of bone have been
discovered in various archeological digs, the present-day instrument dates from the
nineteenth century. It is made of metal and is available in different sizes and,
therefore, different pitches, the highest and lowest being D whistles which are an
octave apart.

The flute which is most commonly used in traditional music is an eighteenth century
import and although it was sometimes played in traditional music at the end of the
eighteenth century, it was not until the latter part of the nineteenth century that it
became a common instrument. At that time it was rarely, if ever, used to accompany
dance. The most common type of flute is the wooden ‘simple system’ flute which is
basically a tube closed at one end with six finger holes, a mouth hole (embouchure)
and some keys which can provide additional notes.

The fiddle is a generic name for a stringed instrument played with a bow. It is the
same instrument as is used in ‘classical’ music but, in keeping with the restricted
range of notes in traditional tunes, the fiddler rarely moves beyond first position
playing. There may also be differences in the ways in which traditional players hold
their instruments and bows and these can differ considerably from the classical player.

The uilleann pipes are thought to have evolved from the old Irish war pipes around
the beginning of the eighteenth century. The uilleann meaning ‘elbow’ pipes consists
of a bag, bellows (for filling the bag with air), chanter (with finger holes to produce
the melody), drones and regulators which can be used to create harmony to
accompany the melody. The chanter and regulators have double reeds whilst the
drones have a single reed.

A right-handed player sits with the bag under the left arm. The bag is linked to the
bellows under the player’s right arm so that s/he is simultaneously pumping with the
right arm, squeezing with the left arm and using the fingers of both hands to play the
melody on the chanter which rests on the right knee while the drones and regulators
sit across the top of the player’s legs.

The accordion exists in two main types of instrument: the button accordion and the
piano accordion. The button accordion is a ‘single action’ instrument where two
different notes can be sounded by pressing or drawing the bellows whilst pressing a
single key. The piano accordion is a ‘single’ action instrument which produces the
same note on the press and draw of the bellows. This makes it more cumbersome
when playing dance music.

24
The melodeon is an earlier, simpler form of accordion. It has ten keys which provide
a range of twenty notes (two notes - press and draw – on each button). It also has two
‘spoon-shaped’ keys which can provide a simple bass accompaniment.

Like the accordion the concertina (also known as the squeeze-box) exists in two main
forms: single action instruments and double action instruments. The double action
instrument is most commonly used and is recognizable by its hexagonal shape. The
instrument has three rows of five buttons on each side with the melody notes divided
up between the two hands.

The banjo may have been introduced to Ireland around the end of the nineteenth
century by the black-faced minstrel shows which toured Ireland just before the
famine. (Percy French played banjo in such shows around 1880). Steel strings were
invented at the beginning of the twentieth century and this, along with influences from
mandolin players, including the use of the plectrum, encouraged players to
experiment, also in terms of tuning the banjo in fifths to the notes GDAE (like the
fiddle/violin and mandolin.

The bouzouki has eight metal strings and is played like a guitar with up to twenty-six
frets. It is used mostly for accompaniment.

The Scots-Irish tradition

The links between Ulster and Scotland are historically strong with both countries
sharing the Celtic culture in which poets and musicians moved freely between both
countries. Following the plantation of Ulster in the seventeenth century the influence
of the Lowland Scots became an important part of everyday music-making, for
example, the concept of the narrative ballad which differed from the non-narrative
Gaelic songs. Many ballads are common to both the Irish and Scottish repertoires.

Instrumental music shared by Ulster and Scotland is particularly evident in the fiddle
music of Donegal and the on-going musical exchanges have been developed by the
seasonal workers who would migrate to Scotland to find work during the Winter
months. The influence of Scottish music is particularly apparent in the reels and
strathspeys which became popular in Donegal from the end of the nineteenth century.
One example of a reel common to both repertoires is Rakish Paddy which is known as
Cabair Féigh in Scotland. Another type of Scottish tune which is popular in Donegal
is the ‘highland’. In common time and characterized by the use of dotted rhythms, the
highland is often based on existing strathspey melodies.

Further Scottish influences can be found in the competitive pipe band tradition with
bands which have achieved international status.

The Anglo-Irish Tradition

Just as the Scots-Irish tradition is represented through the instrumental dance music,
so the Anglo-Irish tradition is best represented by the range of ballads and folk songs
with English words, often set to old Irish melodies. Some of the best examples are to
be found in ‘Moore’s Irish Melodies’ with songs such as The Meeting of the Waters,

25
Oft in the Stilly Night, The Snowy-Breasted Pearl etc. Additionally, Ulster has its
own Anglo-Irish tradition with songs such as My Lagan Love, Kitty of Coleraine, The
Londonderry Air, The Green Glens of Antrim, The Star of the County Down etc.
many of these are part of the Victorian Parlour-Song tradition.

The Anglo-Irish tradition of song-writing is also reflected in the songs of Percy


French and, in more recent times, those of Mary Black, Christy Moore, Paul Brady,
Brian Kennedy etc.

Local songs and singing games

As in the English tradition, many songs are also associated with street and other
games played by children, for example, I’ll tell me Ma, My Aunt Jane etc. Students
could be encouraged to do some research into local songs and singing games and use
these as a basis for performing and composing activities.

Narrative songs

Ballads and other songs in English have provided not only a means of celebrating
people and places, but also a means of remembering, and sometimes celebrating,
events which have significant historical meaning for different communities. Students
should be helped to understand that, whilst language may be political, the melody, of
itself, has no extraneous meaning other than the emotion engendered by the words;
also, that the same melody may have different sets of words.

The Band Tradition

The band tradition covers a range of popular instruments, including flute bands, pipe
bands, accordion bands, brass and wind bands. The tradition of marching bands is
international, but, in the context of Northern Ireland, it can also assume political as
well as cultural significance.

Many of the bands are registered as members of the Northern Ireland Bands
Association and participate in local, national and often, international competitions.
The flute band tradition is more indigenous to Northern Ireland whereas the other
types of bands tend to be representative of a much wider international musical culture.

Flute bands

The flute band originates from the eighteenth century military band. The Irish
Volunteers, founded in the late 1770s during the American War of Independence,
modelled themselves on the British Army and adopted the fife and drum bands. By
the late nineteenth century the small flute had replaced the fife and every district
through the province had its own flute band that paraded at either the Orange or
Hibernian demonstrations. It is more than likely that the flute became a popular
instrument in traditional music-making through its use in the flute band. In more
recent times, the marching flute band has become more associated with Protestant
culture and has developed into two distinct types of band.

26
The First Flute band uses the small B flat flute which has a simple system of
fingering, with one or more keys, accompanied by snare drums and a bass drum.
These bands play the melody, usually in unison, with a small compliment of drums,
and are frequently involved in playing in band competitions. In more recent times
some marching flute bands that are not competition-orientated, have developed a
reputation for a more ‘energetic’ style of playing and more prominent drumming. It is
interesting to note that the music played by such bands attains its emotive impact
through association rather than through any intrinsic meaning within the music itself.

The Part band is more ambitious in its use of different sized flutes (from B flat bass
to B flat first flute). Such bands play arrangements, fully scored in the brass band
style, which are often made by their conductors. Their repertoire often includes
arrangements of ‘classical’ music. Some flute bands have a very high level of skill
and musicianship, and play at international championship level, for example,
Ballygowan F B, Ballywalter F B, Ballyclare F B, Ballylone F B, Ravenhill F B,
Hamilton F B and Hunter Moore memorial F B.

Pipe bands

Pipe bands are another aspect of the Scots-Irish tradition. The instrument of the pipe
band is the highland bagpipe which was originally connected to the clan system in
Scotland. With the formation of the Scots regiments in the British army it was
adopted by the military during the late eighteenth century. The marching pipe bands
are modelled on the bands of the Scots regiments and are closely associated with
competitions at both national and international levels. Whilst the art music of the
bagpipe is called ceol mór (big music) or piobaireachd (normally played by a solo
piper) the music of the pipe band is called ceol beag (little music) and normally
consists of marches, reels, jigs and strathspeys.

The highland pipes and their standardized printed music repertoire have now become
the standard marching band instrument within Ireland and across continents where
affiliation with Scotland exists.

There is a Northern Ireland branch of the Royal Scottish Pipe Band Association with
over ninety bands registered as members. There is also an Irish Pipe Band
Association with all bands participating across the various competitions which operate
at a range of levels. Unlike the other band competitions which focus primarily on
ensemble playing, the pipe band competitions which run each Saturday from early
June to late August, also include competitive elements for drumming and for Drum
majors.

One of the most successful pipe bands which has achieved world championship status
is the Field Marshall Montgomery Pipe Band. Other successful bands include
McNeillstown P B, Upper Crossgar P B, Cullybackey P B, Tamlaght O’Crilly P B
and Quinn Memorial P B, but most areas across Northern Ireland will have access to a
local pipe band.

27
Accordion bands

The accordion, like the flute, is also one of the instruments used in traditional music.
There are, however, many different types of accordions and this is reflected in the
diverse types of band and accordion orchestra.

The most popular instrument in the accordion marching band is the two row button
accordion, mainly because the instrument is light and, therefore, easy to carry.
However, bands are also likely to include instruments with up to five rows of buttons
or even piano accordions.

Accordion bands and orchestras also participate in competitions playing specially


composed and arranged music from the classical repertoire. Some examples of
accordion bands are: Miller’s Hill A B, Dunloy A B, Kircubbin A B, Eglish A B and
Blaris A B.

Brass bands

The brass band tradition is modelled on that of the North of England where brass band
playing was closely associated with the coal-mining industry. There is a wide range
of music specially composed and arranged for brass bands, frequently by well-known
conductors. Although the senior brass bands are based in England, prominent
Northern Ireland bands in competition include Belfast Laganvale Band, First Old
Boys, Fifty-fifth Old Boys, CWA Brass, Murley Silver Band and Strabane Concert
Brass.

The brass band usually has about twenty-four players. The instruments which are
included in a brass band are normally:

• Cornets (one in B flat the ‘soprano’ and six in E flat);


• Horns (three flügelhorns in B flat, three alto saxhorns in E flat - called ‘horns’,
two tenor saxhorns in B flat - called ‘baritones’);
• Trombones (two tenor trombones and one bass trombone);
• Tubas (two tenor tubas in B flat - called ‘euphoniums’, two bass tubas in E flat
- called ‘E flat basses’, two bass tubas in B flat - called ‘B flat basses’;
• Percussion section (snare drums, bass drums and cymbals).

Wind/Concert bands

These bands are modelled on the military band and are declining in numbers in
Northern Ireland, despite the fact that there are many school and ELB wind bands,
with a few school bands being members of the Northern Ireland Bands Association.
Two of the adult concert bands are Tullylish Concert Band (Banbridge) and St
Catherine’s (Newry).

Composers such as Vaughan Williams have arranged and composed music for wind
band, for example, his ‘English Folk Song Suite’.

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Céilí bands

Unlike the other bands the céilí band is a dance band. The first céilí band came into
being around 1926 but it wasn’t until the 1940s and 1950s that the movement became
fully developed with the introduction of competitions under the aegis of Comhaltas
Ceoltóirí Éireann. The classic formation of the céilí band usually consists of a
number of fiddles and flutes, accordion, banjo, concertina, piano and drums and has
between three and ten members. An important performance context for many céilí
bands is the competitions which culminate in the All-Ireland Fleadh Cheoil each year.

External musical influences

It could be argued that there is no ‘pure’ musical tradition in Ireland which can be
traced back as an unchanging aspect of musical life, for music not only reflects
culture but is also shaped by new and changing contexts and environments. One
obvious aspect of change relates to instruments, where, apart from the uilleann pipes
and the bodhrán all other instruments are imports to meet perceived needs. For
example, the accordion originated in Austria and became popular in Ireland because it
was perceived as a suitable instrument for accompanying set dances. It, like many
other instruments, may originally have been brought home from England or Scotland
by migrant workers. Similarly, the flutes used in Irish traditional music are English
nineteenth century instruments, originally developed for the performance of classical
music whilst the fiddles are Italian instruments which probably arrived in the
eighteenth century.

Much of what is now labelled ‘traditional dance music’ is the result of assimilation
and adaption, during the nineteenth century, of mostly Scottish, English and classical
influences into the domestic music of rural communities.

During the second half of the twentieth century the effects of recording and other
technologies has had a huge impact on traditional music, in one way by making it
available across the world, but in another, by providing greater access to other world
musics and musical styles. At a local level, the stylistic differences in performance
between different regions has been somewhat eroded. Musicians can select those
elements of different styles which they find appealing and adapt them to form their
own personal styles. This has resulted in different regional styles being heard in any
one place.

Classical influences

Seán Ó Riada was a classical composer with a background as a jazz pianist who was
very interested in Irish traditional music. He established a band, ‘Ceoltóírí Cualann’
based on the idea of the jazz group where the musicians would play together and then
feature as soloists at different times within the piece. His instrumentalists also
performed in changing combinations to produce different textures. His intention was
to create a new Irish ‘classical’ music. This group eventually reformed as ‘the
Chieftains without Ó Riada and still retain their distinctive style of performance
which places dance music beyond the context of the dance itself.

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More recently, Mícheál Ó Súilleabháin has become well-known for his fusion of
traditional and classical elements. He reproduces fiddle techniques and
ornamentation very effectively on the piano, for example, the triplet achieved on a
single note.

An example of Ó Súilleabháin’s approach is Oileán/Island, a work for traditional flute


and chamber orchestra in the concerto style. Another work, Idir Eatharu/ Between
Worlds is based on an English folk song tune, Jockey to the Fair which became was
assimilated into Irish traditional music as a single jig tune.

Examples of other works which combine traditional and classical instruments and
idioms are Shaun Davy’s Brendan Voyage (a suite for uilleann pipes and orchestra)
and Siege of Derry Symphony (pipe band and orchestra).

In addition, composers such as Sir Hamilton Harty whose main interests were
classical, sometimes based movements or complete compositions on Irish tunes
and/or folklore, for example, Harty’s Irish Symphony and Variations on a Dublin Air.

The influence of World Musics

In recent times different world musics and ethnic traditions have influenced music-
making in Ireland. One of the first influences was that of American music, in
particular ‘rock’ music, reflected in the amplification of instruments and the
introduction of a ‘heavy beat’ as exemplified by groups such as Moving Hearts, the
Waterboys, Horslips, Thin Lizzy etc.

The interest in African and other Eastern sounds continues to grow and influence Irish
musicians as they seek to expand the boundaries of their music-making. In Northern
Ireland the group Different Drums fuses the indigenous drums (lambeg and bodhran)
and music of Ireland and Scotland with African drums and rhythms from a range of
sources and styles to create new and exciting forms of music-making.

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