Hafan Llyfrau Basged Man Talu Fy Nghyfrif Cymorth Cynigion Arbennig Cysylltu   English  
Dod o Hyd i Siop Lyfrau
Gwybodaeth Lyfryddol
Welsh Traditional Music
Phyllis Kinney
ISBN: 9780708323571 (070832357X)Dyddiad Cyhoeddi Ebrill 2011
Cyhoeddwr: Gwasg Prifysgol Cymru / University of Wales Press, Caerdydd
Fformat: Clawr Caled, 246x189 mm, 336 tudalen Iaith: Saesneg Allan o Stoc Ein Pris: £24.99   
Does dim Adolygiad Cwsmer i'r teitl hwn.
Ysgrifennwch Adolygiad Cwsmer
Cyfrol ddarluniadol hardd yn olrhain hanes cerddoriaeth draddodiadol Cymru ar hyd yr oesoedd, ynghyd â thros 200 o enghreifftiau cerddorol. Ysgrifennwyd gan Phyllis Kinney, cantores opera broffesiynol, athrawes ganu, darlithydd a chymrawd o Brifysgol Bangor.

A handsomely illustrated volume tracing the emergence of Welsh traditional music through the ages, complemented with over 200 musical examples. Compiled by Phyllis Kinney, a retired rofessional opera singer, voice coach, lecturer and also a fellow of Bangor University.
Not since 1932, when W. S. Gwynn Williams published his pioneering study Welsh National Music and Dance has there been a general English-language account of the growth of Welsh traditional music. Phyllis Kinney’s important new study rectifies this omission and gives us a comprehensive analysis of the development of Welsh folk music through the centuries. In an attractive book, generously printed and enriched with illustrations and numerous music examples, she charts a course from the scant evidence of early times to the vigorous collecting and publishing activities of the twentieth century, while bringing out the fundamental characteristics of Welsh traditional music in every period.

Much as the antiquarians of the eighteenth century liked to claim that Welsh traditional music reached back to the time of the Druids, most of what survives to us appears to originate in the seventeenth century and after. Sadly, little was set down in print until the late eighteenth century and then melodies were often presented in decorated form and without the traditional words which had been sung to them. It is interesting to note, however, that the wayward genius Edward Williams (Iolo Morganwg) was active as a remembrancer of Welsh songs, particularly in his native Glamorgan, and we owe much to John Parry of Ruabon, Edward Jones, (Bardd y Brenin) and John Parry (Bardd Alaw) for their work in publishing Welsh music.

The nineteenth century saw the publication of collections by Maria Jane Williams and John Thomas (Ieuan Ddu), leading on to the highly popular volume by Brinley Richards, The Songs of Wales, which appeared in 1873 and made Welsh songs accessible to a wider audience, albeit in Victorian dress. By the late nineteenth century huge social changes and the growing popularity of choral and congregational singing threatened the very survival of traditional songs, and it was only active collecting by the Welsh Folk-Song Society (founded in 1906) that saved them from extinction. The author pays tribute in particular to the efforts of the polymath John Lloyd Williams, a distinguished botanist who also collected and published Welsh songs, applying scientific techniques of analysis and recognising variant forms and relationships between melodies.

Phyllis Kinney’s training as a musicologist has enabled her to go well beyond a descriptive history of collecting and publishing Welsh traditional music. This authoritative study will take its place as the standard work on the subject.

Rhidian Griffiths

It is possible to use this review for promotional purposes, but the following acknowledgment should be included: A review from www.gwales.com, with the permission of the Welsh Books Council.

Gellir defnyddio'r adolygiad hwn at bwrpas hybu, ond gofynnir i chi gynnwys y gydnabyddiaeth ganlynol: Adolygiad oddi ar www.gwales.com, trwy ganiatâd Cyngor Llyfrau Cymru.
Tabl Cynnwys:
Chapter 1: The Oral Tradition
Chapter 2: The Watershed
Chapter 3: Manuscript to Print
Chapter 4: Edward Jones and Traditional Airs
Chapter 5: Seasonal Festivities
Chapter 6: Carols, Ballads and the Anterliwt
Chapter 7: The Early Collectors: Iolo Morganwg and Ifor Ceri
Chapter 8: The Great Change
Chapter 9: The Momentum Continues
Chapter 10: J. Lloyd Williams and the Welsh Folk-Song Society
Appendix 1: Cerdd Dant
Appendix 2: Printed Music Collections by publication date
Bywgraffiad Awdur:
Phyllis Kinney has contributed numerous articles to journals and has published several recognised books in the field of Music. She, together with her husband, Meredydd Evans, were the subjects of a festschrift published by UWP in 1997 entitled Cynheiliaid y Gân.
Gwybodaeth Bellach:
This beautiful new book examines the emergence and practices of Welsh traditional music through the ages. The volume is handsomely illustrated and contains musical examples and previously unpublished imagery.

It offers readers, both general and specialist, an introduction to, and analysis of, the traditional music of Wales. With musical examples throughout, the book is written in a straightforward, accessible style by an acknowledged authority in the field, who places the material firmly into a social and historical context. Covering the period from medieval times to the present day, this study should appeal to anyone with an interest in the cultural history of the people of Wales.

The first chapters examine music in Welsh life from the end of the Roman occupation to medieval times, connecting in particular with the function of poets during the Heroic Age and in later courts of the Welsh princes. The author goes on to discuss the decline of the traditional bardic system and corresponding rise in Anglicisation of the gentry in the sixteenth and seventeenth centuries and the impact this had on Welsh folk dance and music.

In the second half of the book, among the many different forms of Welsh traditional music discussed are seasonal music (including wassail songs, Christmas and May carols and Plygain carols), folk drama, ballad-singing, the relevance of the eisteddfod and the musical journals of the nineteenth century. It includes a history of song collecting from the eighteenth century to the establishment and ongoing activities of the Welsh Folk-Song Society in the twentieth. Tune names and the transferral of scores to manuscript are also discussed, with both instrumental and vocal traditions examined, as well as the uniquely Welsh tradition of ‘cerdd dant’.

This is a work of pioneering scholarship that accounts for Welsh traditional music within the context of a greater Welsh musical tradition.

'The traditional music of Wales is rich and multi-faceted. This book, which has been written in a spirit of appreciation and respect, is a well-deserved acknowledgement of the unique and influential role of that music in the shaping of the Welsh nation.'
Wyn Thomas, Pro Vice-Chancellor, Bangor University
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