Tradition in transition ... it seems that what we are and what Celtic music (for one example) is all about. Music changes over the years. The "standard" A 440 is now up from a "standard" 415 of 100 - 150 years ago, even the tuning note has changed over the years. The quaint recordings from the twenties of Michael Coleman, Paddy Keenan and other early masters, seems to have listeners thinking - "this is the way that tune is played"
Well that's true, for that day, perhaps when Michael Coleman's bursitis made his bowing a little more abrupt. Whether he ever played the same tune the same way, two days in a row or a year later is unknown. In looking at the O'Neill collection - I marvel at the breadth of types of music and wonder at all the errors which are now notated. Are they errors of transcription or - were the tunes actually played that way?
There are some interesting changes happening in the fabric of Irish society at this time - which may affect Irish Traditional Music Tomorrow. When Eire joined the European Union, one of the proviso's was allowing immigration from Eastern Europe and even Africa ... so, in twenty or thirty years will we be exploring Celtic Gypsy music or will Afro Celtic be the rage? I don't know ... but it is interesting to ponder. In the interim, I'll keep exploring Dan Beimborn's output, study John McGann's remarkable guide books, open Keith MacDonald's Skye Collection (circa 1888), listen to the Wrigley Sisters, wonder at Shoglenifty, boogey to Liz Carrol's jazzy excursions, be amazed at Johnny Clegg's use of Zulu bass drones in Irish tunes sung in Swahili and then laugh at the marvelous choices I can make. We are living in an interesting time -
Duke Ellington said once - "If it sounds good, it is good."
Mandola fever is permanent.
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