Irish Influence on non-Irish Music
-
- Posts: 176
- Joined: Thu Oct 19, 2006 12:52 pm
- Please enter the next number in sequence: 1
- Location: Saskatoon
Irish Influence on non-Irish Music
A few years ago I heard the opinion that Handel's "Arrival of the Queen of Sheba" was lifted from an Irish tune (I don't know if it is true or not).
Recently I thought I heard Randy Bachman say that Stairway to Heaven was influenced by a composition by Carolan.
Are these above sentences true? Are there other examples of Irish influence? Inquiring minds want to know.
Recently I thought I heard Randy Bachman say that Stairway to Heaven was influenced by a composition by Carolan.
Are these above sentences true? Are there other examples of Irish influence? Inquiring minds want to know.
-
- Posts: 950
- Joined: Wed Jun 27, 2001 6:00 pm
- Please enter the next number in sequence: 1
- Location: Singapore
This documentary might be of interest to you:
http://www.youtube.com/watch?v=FIZAV3p9cJk
http://www.youtube.com/watch?v=FIZAV3p9cJk
- Cathy Wilde
- Posts: 5591
- Joined: Mon Oct 20, 2003 4:17 pm
- antispam: No
- Please enter the next number in sequence: 8
- Location: Somewhere Off-Topic, probably
Re: Irish Influence on non-Irish Music
Hmmm. I've heard DeDanaan's "Arrival of the Queen of Sheba (In Galway)" -- do you think your source could have had it flopped around?Brian Boru wrote:A few years ago I heard the opinion that Handel's "Arrival of the Queen of Sheba" was lifted from an Irish tune (I don't know if it is true or not).
Recently I thought I heard Randy Bachman say that Stairway to Heaven was influenced by a composition by Carolan.
Are these above sentences true? Are there other examples of Irish influence? Inquiring minds want to know.
Then again, who knows? It's often one glorious cross-pollenated soup at some point, people do get around, and folk/dance music is pretty darned pervasive ...
Deja Fu: The sense that somewhere, somehow, you've been kicked in the head exactly like this before.
- flutey1
- Posts: 216
- Joined: Fri Oct 13, 2006 5:32 pm
- Please enter the next number in sequence: 1
- Location: Boston / Cork
- Contact:
I don't know about those 2 specific examples...
some music can be intentionally influenced by / based on Irish traditional and is meant to blend that with classical ('art') music - Sean O Riada's Mise Eire, Shaun Davey's The Brendan Voyage - but I'm not sure that's exactly what you're talking about.
on the non-classical side - folk music in North America is a blend of the traditional musics of all the people that immigrated. it's not really the same as any one, but it seems that they all borrowed from each other (the banjo came into Irish music through the American influence, where it was often played by African Americans) and there are lots of examples of that.
it seems to me that the people who object most to Irish music being mixed with other non-traditional genres (classical, jazz, etc) are often the scholars, not the musicians. I don't remember who, but there was a uillean piper that learned parts of The Brendan Voyage off by ear (he couldn't read music) and thought it was great and could play it like any traditional tune in his repertory. and really, so much that we conceive of as being a traditional setting for Irish music today wasn't developed until the 20th century anyway. (or going farther back, as Irish as the jig is, originally it came from Italy; ballads were Norman; the list goes on...)
and I will stop rambling now - those are some random thoughts that came to mind anyway, not sure if they really answer the question
cheers,
Sara
some music can be intentionally influenced by / based on Irish traditional and is meant to blend that with classical ('art') music - Sean O Riada's Mise Eire, Shaun Davey's The Brendan Voyage - but I'm not sure that's exactly what you're talking about.
on the non-classical side - folk music in North America is a blend of the traditional musics of all the people that immigrated. it's not really the same as any one, but it seems that they all borrowed from each other (the banjo came into Irish music through the American influence, where it was often played by African Americans) and there are lots of examples of that.
it seems to me that the people who object most to Irish music being mixed with other non-traditional genres (classical, jazz, etc) are often the scholars, not the musicians. I don't remember who, but there was a uillean piper that learned parts of The Brendan Voyage off by ear (he couldn't read music) and thought it was great and could play it like any traditional tune in his repertory. and really, so much that we conceive of as being a traditional setting for Irish music today wasn't developed until the 20th century anyway. (or going farther back, as Irish as the jig is, originally it came from Italy; ballads were Norman; the list goes on...)
and I will stop rambling now - those are some random thoughts that came to mind anyway, not sure if they really answer the question
cheers,
Sara
-
- Posts: 176
- Joined: Thu Oct 19, 2006 12:52 pm
- Please enter the next number in sequence: 1
- Location: Saskatoon
Re: Irish Influence on non-Irish Music
It was on CBC and the announcer acknowledged that DeDanann was basing his tune off of Handel. But then the announcer when on the speculate about whether Handel had heard enough Irish music to do something classical with it.Cathy Wilde wrote:
Hmmm. I've heard DeDanaan's "Arrival of the Queen of Sheba (In Galway)" -- do you think your source could have had it flopped around?
Then again, who knows? It's often one glorious cross-pollenated soup at some point, people do get around, and folk/dance music is pretty darned pervasive ...
-
- Posts: 176
- Joined: Thu Oct 19, 2006 12:52 pm
- Please enter the next number in sequence: 1
- Location: Saskatoon
Saraflutey1 wrote:
it seems to me that the people who object most to Irish music being mixed with other non-traditional genres (classical, jazz, etc) are often the scholars, not the musicians. I don't remember who, but there was a uillean piper that learned parts of The Brendan Voyage off by ear (he couldn't read music) and thought it was great and could play it like any traditional tune in his repertory. and really, so much that we conceive of as being a traditional setting for Irish music today wasn't developed until the 20th century anyway. (or going farther back, as Irish as the jig is, originally it came from Italy; ballads were Norman; the list goes on...)
and I will stop rambling now - those are some random thoughts that came to mind anyway, not sure if they really answer the question
cheers,
Sara
What I had more in mind but I don't think I explained it very well was wasn't so much a cross pollination of Irish and other genres but where someone on purpose or inadvertently lifts a tune from another source. For example Paul Simon's "American Tune" sounds surprisingly like a tune from J.S. Bach (I think it is from the St. Matthew Passion but I am not sure).
To me Stairway to Heaven sounds vaguely like O'Carolan's Dream but I can't remember if that is the song Randy Bachman meant.
- dyersituations
- Posts: 696
- Joined: Fri Aug 05, 2005 9:19 am
- antispam: No
- Please enter the next number in sequence: 8
- Location: Portland, OR
- SteveShaw
- Posts: 10049
- Joined: Mon Mar 17, 2003 4:24 am
- antispam: No
- Location: Beautiful, beautiful north Cornwall. The Doom Bar is on me.
- Contact:
Re: Irish Influence on non-Irish Music
Hmm. The opening has a passing resemblance to Merry Blacksmith and Devil among the Tailors. Both a bit tenuous I admit. Trouble is with all these diatonic tunes is that you've only got seven notes to play with, so you are going to get an awful lot of passing resemblances thrown up. Bach to the drawing board...Cathy Wilde wrote:Brian Boru wrote:A few years ago I heard the opinion that Handel's "Arrival of the Queen of Sheba" was lifted from an Irish tune (I don't know if it is true or not).
And I know that Sheba isn't diatonic but you know what I mean.
"Last night, among his fellow roughs,
He jested, quaff'd and swore."
They cut me down and I leapt up high
I am the life that'll never, never die.
I'll live in you if you'll live in me -
I am the lord of the dance, said he!
He jested, quaff'd and swore."
They cut me down and I leapt up high
I am the life that'll never, never die.
I'll live in you if you'll live in me -
I am the lord of the dance, said he!
- SteveShaw
- Posts: 10049
- Joined: Mon Mar 17, 2003 4:24 am
- antispam: No
- Location: Beautiful, beautiful north Cornwall. The Doom Bar is on me.
- Contact:
And I'll swear that McCartney lifted "Hey Jude" straight from a De Danaan track!
"Last night, among his fellow roughs,
He jested, quaff'd and swore."
They cut me down and I leapt up high
I am the life that'll never, never die.
I'll live in you if you'll live in me -
I am the lord of the dance, said he!
He jested, quaff'd and swore."
They cut me down and I leapt up high
I am the life that'll never, never die.
I'll live in you if you'll live in me -
I am the lord of the dance, said he!
- flutey1
- Posts: 216
- Joined: Fri Oct 13, 2006 5:32 pm
- Please enter the next number in sequence: 1
- Location: Boston / Cork
- Contact:
it's kind of a question of how much is really inadvertant, but I don't know, maybe some is. unfortunately we don't have notes from the composers saying they heard a tune they liked somewhere and adapted it, but who knows if they would have said that...Brian Boru wrote:What I had more in mind but I don't think I explained it very well was wasn't so much a cross pollination of Irish and other genres but where someone on purpose or inadvertently lifts a tune from another source. For example Paul Simon's "American Tune" sounds surprisingly like a tune from J.S. Bach (I think it is from the St. Matthew Passion but I am not sure).
To me Stairway to Heaven sounds vaguely like O'Carolan's Dream but I can't remember if that is the song Randy Bachman meant.
in regards to Handel, his Messiah was premiered in Dublin in 1742 so he had a connection to Ireland, but it seems unlikely that he would have heard much by way of traditional tunes. that was before the Belfast Harp Festival, Bunting's collections of harp music adapted for piano, the others that followed it, and Thomas Moore, which became parlor music for the aristocracy - the only people with whom Handel would likely have interacted.
but of course, anything is possible
Sara
-
- Posts: 176
- Joined: Thu Oct 19, 2006 12:52 pm
- Please enter the next number in sequence: 1
- Location: Saskatoon
Perhaps Handel heard these tunes in the pub at some time?flutey1 wrote:
in regards to Handel, his Messiah was premiered in Dublin in 1742 so he had a connection to Ireland, but it seems unlikely that he would have heard much by way of traditional tunes. that was before the Belfast Harp Festival, Bunting's collections of harp music adapted for piano, the others that followed it, and Thomas Moore, which became parlor music for the aristocracy - the only people with whom Handel would likely have interacted.
Sara
- Cathy Wilde
- Posts: 5591
- Joined: Mon Oct 20, 2003 4:17 pm
- antispam: No
- Please enter the next number in sequence: 8
- Location: Somewhere Off-Topic, probably
I was thinking about this on the way into work today, and it's not out of the realm .... Smetana, Grieg, Rimsky-Korsakov, Beethoven, Elgar, Mahler, Holst ... they've all incorporated folk themes in their compositions somewhere. And those are just the few I can recall from my long-ago Music History classes ...
Once again, so much of the "old" classical music is based on dance forms to begin with -- gigues, mazurkas, hornpipes, polkas, schottisches & waltzes (apologies to Charles Schultz; I couldn't help myself), etc. -- so why not?
Would be nifty though that DeDanaan inadvertently -- or "adverdently?" -- brought a tune back "home."
Once again, so much of the "old" classical music is based on dance forms to begin with -- gigues, mazurkas, hornpipes, polkas, schottisches & waltzes (apologies to Charles Schultz; I couldn't help myself), etc. -- so why not?
Would be nifty though that DeDanaan inadvertently -- or "adverdently?" -- brought a tune back "home."
Deja Fu: The sense that somewhere, somehow, you've been kicked in the head exactly like this before.
- flutey1
- Posts: 216
- Joined: Fri Oct 13, 2006 5:32 pm
- Please enter the next number in sequence: 1
- Location: Boston / Cork
- Contact:
I do hope that's not a serious question...Brian Boru wrote:Perhaps Handel heard these tunes in the pub at some time?
why would Handel have been in a pub (or one where there was any traditional music, which was associated with the poor Catholic Irish at that time)? and the Irish pub session is actually a relatively new thing, playing used to happen largely in houses.
quite a few classical composers did indeed incorporate folk themes into their music, but with many it was intentional. I think Shaun Davey used ideas to do this from the way Stravinsky incorporated Russian folk themes into his Rite of Spring. (someone correct me if that idea's crazy)
I'll have to go listen to the DeDanaan tune again, I think I've heard it, but not recently.
cheers,
Sara
- m31
- Posts: 392
- Joined: Fri Jul 21, 2006 9:21 pm
- Please enter the next number in sequence: 1
- Location: ...next door to the Milky Way...
From Wikipedia, http://en.wikipedia.org/wiki/American_Tune:Brian Boru wrote:...where someone on purpose or inadvertently lifts a tune from another source. For example Paul Simon's "American Tune" sounds surprisingly like a tune from J.S. Bach (I think it is from the St. Matthew Passion but I am not sure)...
Musically, the song is notable for being based on a melody line from Johann Sebastian Bach's chorale from "St. Matthew Passion," itself a reworking of an earlier secular song, "Mein Gmüth ist mir verwirret," composed by Hans Hassler.
I remember reading that Paul Simon finally admitted in interview that American Tune is based on Bach's melody...
Part of the musical (and story telling) "tradition" is plagiarism, but it was never called that until people started making gross sums of money from their tunes and when copyright law was introduced. At one time, quoting or paraphrasing someone else's melody was actually a complement, as I would expect in the case of Bach's reworking of "Mein...". In Paul Simon's case, it was plagiarism. It's how you look at it.