I am looking for a particular song that has been aesthetic to me Something with the lyrics along like you ain’t gunna find nobody like me. Ithas a female singing as well it’s some kind of hip/hop rap song of sorts and another lyric set to it I recall something along the lines of the neighbors tell me to turn my music down so I just crank.
Sean-nós (Irish for 'old style') is a highly ornamented style of unaccompanied traditional Irish singing, and in the singing of Ireland's Gaeltacht.
- 4Regional variation
Sean-nós singing style[edit]
Sean-nós singing is a highly ornamented style of solo, unaccompanied singing defined by Tomás Ó Canainn as:
...a rather complex way of singing in Gaelic, confined mainly to some areas in the west and south of the country. It is unaccompanied and has a highly ornamented melodic line....Not all areas have the same type of ornamentation—one finds a very florid line in Connacht, contrasting with a somewhat less decorated one in the south, and, by comparison, a stark simplicity in the northern songs...[1]
Ó Canainn also asserts that '...no aspect of Irish music can be fully understood without a deep appreciation of sean-nós singing. It is the key which opens every lock'.[2]:49
Alternatively, it is simply 'the old, traditional style of singing' and therefore is not always ornamented. It varies very much from one part of the country to another, as according to Hiúdaí Ó Duibheannaigh, who served on the Irish Folklore Commission from 1936 to 1939, '...people now, that word being used these last forty years, think it's a particular style of singing: it's not!'[3]
Sean-nós songs can be relatively simple, though many are long, extremely stylised and melodically complex. A good performance classically involves substantial ornament and rhythmic variations from verse to verse.[citation needed]
Ó Canainn identifies most ornamentation as melismatic ornamentation. This is when a note is replaced or emphasised by a group of adjoining notes, unlike intervallic ornamentation, in which additional notes are used to fill up an interval between two notes.
Decorative elements common in sean-nós singing include[citation needed]:
- Highly ornamented singing where the voice is placed near the top of the range
- Nasalisation
- A second form of nasalisation, used in the south, produces an 'm', 'n' or 'ng' sound at the end of a phrase
- Singing one syllable in a word to several notes
- Brief pauses initiated by glottal stops, 'slides' or glissandi (predominantly when sung by women)
- Very long extended phrases
- A tendency to draw breath after a conjunction or linking words rather than at the end of a phrase[2]:74
- Ending some songs by speaking the finishing line instead of singing it[2]:80
- Varying the melody in each verse
An example of the sean-nós singing style, sung by Bridget Fitzgerald, may be heard here.
All these strategies serve an assortment of aesthetic purposes, such as[citation needed]:
- Connects the text to the interpretation of the melody
- Enhancing a sense of continuity such as by filling the gap between phrases with a nasalised drone
A number of songs are modal, as opposed to major, in melody.[citation needed]
Distinguishing social features[edit]
'Songs were made to accompany the work inside and outside the home, to express the many emotions - love and sadness of daily existence, to record local and other historical events and to often mark the loss of family and friends whether by death or by emigration'.[4]
The very interaction between the performer and audience is a crucial aspect of the sean-nós tradition.[2]:79[4]
- The singer may require cajoling—this may be considered as part of the recital.
- The singer may occasionally adopt a position facing the corner of the room and away from the audience, with eyes closed, a position that has acoustic benefits, aids concentration for performing long intricate songs from memory, and perhaps has some additional ancient significance.
- The listeners are not expected to be silent throughout and may participate in the performance through words of encouragement and commentary. Sometimes a listener will hold the performer's hand, and together they will move or 'wind' their linked hands in the rhythm of the song. Such interactions do not disturb the flow of music, and the performer will often respond musically. (The Irish Gaelic verb cas means to turn or wind, and an idiomatic expression for singing is to turn/wind a song: cas amhrán.)
The performance of most songs is not restricted by gender, although the lyrics may imply a song is from a woman's or man's point of view. There are a few songs that men have a tendency not to sing. Women, however, do not seem to have the same hesitation.[citation needed]
Content of lyrics[edit]
Many of the songs typically sung sean-nós could be seen as forms of love poetry, laments, or references to historical events such as political rebellions or times of famine, lullabies, nature poetry, devotional songs, or combinations of these.[citation needed]
Comic songs are also part of the tradition (e.g., An Spailpin Fanach, Cunnla, Bean Pháidin), as are references to drink (An Bonnan Bui, Preab san Ol, Olaim Puins is Olaim Te).
Regional variation[edit]
There are four main styles of sean-nós, corresponding to the three areas where Irish is still spoken as a community language, the Gaeltachtaí of west Munster (parts of Kerry, and Cork), east Munster (Waterford), Connacht (Connemara and Meath); and to Ulster. 'It would not be correct to say sean nós is not practised outside these areas, but only those four distinct styles can be recognised. Singers from the Galltacht (i.e. outside the Gaeltacht or Irish-speaking areas) and indeed from outside Ireland may blend them, depending on where they learned'.[4] These differences in style generally correspond geographically to the various dialects of Irish.
While sean-nós singing varies around Ireland, with ease of travel and the influence of recording media, these distinctions have become less definite since at least the early twentieth century; singers sometimes adopt different styles from various parts of the country.[citation needed]
Donegal style[edit]
The Donegal style has been heavily influenced by Scottish Gaelic singing.[5] It is a relatively unadorned and nasal style. The melody is sometimes less ornamented. As a result, the Donegal style can stand out from other regional styles.
Connemara style[edit]
A more decorated style, with forms familiar to a traditional instrumentalist along with other more complex forms. (e.g. as performed by Bridget Fitzgerald)
West Munster style[edit]
Also a highly ornamented style. The notes to be ornamented can be adjacent to each other like in Connemara, but at other times the gap between them can be wide.
East Munster style[edit]
The WaterfordGaeltacht of An Rinn also has a distinct style, despite the small size of its population, which can be heard in the singing of Nioclás Tóibín.
Language variation[edit]
The term 'sean-nós' is popularly applied to songs in English and Irish, with the style of singing that is characteristic. A number of sean-nós songs are macaronic, combining two or more languages. Normally they combine Irish and English, but occasionally Irish and French or other European languages, including Latin. Some traditionalists nevertheless believe that songs must have some Irish lyrics to belong to the tradition.[citation needed]
To the first-time listener accustomed to Western music, sean-nós singing may sound 'Arabic' or 'Indian'. Film-maker Bob Quinn, in his Atlantean series of films, suggests a north African cultural connection.
History of sean-nós song and modern developments[edit]
The tradition of sean-nós song was exclusively oral, and remains customarily so. However a few songs were known to have been conveyed to script as early as the 16th century. A songbook for Elizabeth I contained English interpretations of sean-nós songs. Songs started to be more extensively written down in the eighteenth century and distributed in print from then on.
New composition is a controversial issue within sean-nós song circles. Some singers insist that the traditional should be supplemented with new material, arguing that since society has changed, then the content of the lyrics should reflect this. On the other hand, some singers say that only the older, 'traditional' songs represent the essence of sean-nós song and therefore deserve a protected, preferential status.[citation needed]
Means of preserving Irish music and dance[edit]
Sean-nós song is a sean-nós activity, which also includes sean-nós dance. These forms of Irish dance and song have been documented by scholars of ethnomusicology, musicology, linguistics and other fields, such as Hugh Shields, Tom Munnelly, Fintan Vallely, and Lillis Ó Laoire.
The practice of sean-nós dance, sean-nós song, lilting (also known as 'mouth music'), and 'the bones' (a simple percussion instrument convenient to carry in a pocket) exists for centuries. It might be interpreted as a minimalist means that helped preserve a musical and dance heritage at a time when musical instruments were too expensive for most peasants.[6]
Other Celtic unaccompanied singing styles[edit]
In addition to the unaccompanied Irish traditional sean-nós singing, Irish lilting is usually performed without musical accompaniment. Scottish Gaelic songs were also typically sung unadorned.[7]
See also[edit]
- Puirt á beul (also known as Diddling)
References[edit]
- ^Tomas Ó'Canainn, Traditional Music in Ireland (London: Routledge and Kegan Paul, 1978), pp. 49, 71
- ^ abcdÓ Canainn, Tomas (1993). Traditional Music in Ireland. Cork, Ireland: Ossian Publications Ltd. ISBN0-946005-73-7.
- ^'Sean Nós article first appeared in Ulster Folklife No 37 (1991): pp 97-105'.
- ^ abcAmhranaíocht ar an Sean-nós, Tomás Ó Maoldomhnaigh, Treoir, Volume 36 Number 1, Spring 2004 https://comhaltas.ie/music/treoir/detail/amhranaiocht_ar_an_sean_nos/
- ^Sean-nós in Donegal, Julie Henigan http://www.mustrad.org.uk/articles/sean-nos.htm
- ^Irish Step Dancing – A Brief History, Don Haurin & Ann Richens
- ^Newton, Michael (15 September 2013). 'The Fallacies of 'Celtic Music''. The Virtual Gael. Retrieved 7 April 2017.
Sources[edit]
- Dorothea E. Hast and Stanley Scott, Music in Ireland: Experiencing Music, Expressing Culture (New York: Oxford University Press, 2004), 84–136.
![Features of arabic singing video Features of arabic singing video](/uploads/1/2/5/6/125679258/671202842.jpg)
External links[edit]
- Sean-nos singing – A Bluffer's Guide by Anthony McCann in Living Tradition magazine
- Songs in Irish – An index of sean-nós songs with translations
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Sean-nós_song&oldid=916400507'
Every Wednesday at lunchtime, Judy Rose takes a break from her job as chief operations officer at Triados, an “ethical bank” based in Bristol in the west of England, to spend an hour harmonizing with colleagues.
Rose leads a workplace choir that’s brought together colleagues from finance to marketing and HR since 2017. They gather in a light-filled room with a view of a distant harbor and grassy slopes, that’s also opposite the large windows of the canteen, from which amused coworkers watch the singers belt out “Down To The River To Pray.” The choir doesn’t mind: It’s sung in all-staff meetings before now—once, memorably, to illustrate a wider point about workplace harmony. They’re not shy about the delight they taking in singing at work.
Practicing a musical instrument at work and singing in workplace choirs have become so popular in UK offices that they’ve sparked television shows, local choir leagues, and national competitions. These have in turn stoked passions for singing that had no outlet, bringing together workplace singing groups that have then continued to practice, gig, and fundraise. An increasing focus on “wellbeing,” at work, meanwhile, has led some of the UK’s biggest corporations to fund music lessons and choirs.
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The goals of those who want to bring more music to the workplace are lofty: To foster a cohesive workforce and thereby promote staff happiness, loyalty, and productivity. Ultimately, they say, they want to bring transcendence to the office.
Humming at the coffee machine
Rose was inspired to start the choir with two colleagues after Triados held a “wellbeing week” in which co-workers went running together, practiced yoga—and experimented with choral song. Rose played the trombone as a child and loves music, but her busy day job didn’t leave much space for singing—or socializing—until she became the choir’s de facto musical director.
“It’s a really nice way for me to engage with people I wouldn’t normally spend time with,” Rose says, adding that it makes her happy to know colleagues have enjoyed learning a song and then “hearing people humming it at the coffee machine.” Singing takes people out of their comfort zone, but that once they’ve made the leap, Rose thinks it helps build self-assurance. It “gives confidence, a feeling of achievement. And fun,” Rose said. “We’re not a very strict choir…There’s a lot of laughing.”
There have been efforts to document the benefits of singing at work. Claudia Röhlen was studying gender and diversity at Rhine-Waal University of Applied Sciences in northern Germany when she became fascinated by the power of ensemble singing. For her thesis, she conducted detailed interviews with two conductors and two participants of workplace choirs based in Berlin and London.
Related Slideshow - Famous musical duos: Where are they now? (Provided by Photo Services)
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Röhlen’s interviewees described a sense of interconnectedness as a result of their participation in workplace choirs, an effect that brought them both relaxation and euphoria. They also experienced joy, confidence, and gratitude, Röhlen says, feeding into an overall experience of “self-transcendence”—a sense of going beyond their own ego and identifying a greater good.
Working songs
The popularity of choirs has a grass-roots evolution, starting with personal passions and small-scale efforts that, in some cases, have grown large.
In 2012, a BBC TV show, The Choir, challenged workplaces across the country to form singing groups and compete against each other. David Ogden, a choirmaster with a background in church music, was brought on to rehearse some of the new groups. Years later he’s still in the post, running choirs that emerged from the show, including for aerospace company Airbus and Bristol’s Royal Mail. He also runs choirs for high-end travel company Sawdays and car-leasing company Arval.
Ogden says workplace choirs today continue a long history of workers using songs to commune during the day, from plantation slaves, to fishermen, to coal miners. Choirs historically “were designed to build community, and that’s what it does,” Ogden said. “You’ve got young and old people, people from different sectors” singing together. There’s the physical enjoyment—the “delight of singing a song you know, just whacking it out”—but there’s also the sense of collective effort that, in some jobs, is lacking.
Ogden also makes the point that, in some industries, the immediacy of song is a revelation. When Airbus started its choir, participants were amazed “that they could learn a song in a couple of minutes” when designing a plane takes 10 or 20 years, he said. With song, workers used to long timelines “get that sense of achievement and sense of satisfaction much more immediately.”
And, finally there’s recognition. The applause and public praise associated with performance can be totally alien: “People may never have done anything in their lives they’ve received a clap for…[especially] as an adult.” That recognition is powerful, Ogden says.
How the UK got its groove back
The proliferation of singing groups comes at a moment when employees and managers—particularly in the West—are becoming concerned with how healthy and happy our workplaces truly are.
![Features Of Arabic Singing Features Of Arabic Singing](/uploads/1/2/5/6/125679258/208503564.jpg)
This reflects the convergence of two forces. The first is a deep interrogation by workers into how we seek and derive meaning from our jobs, with the ultimate aim of avoiding burnout and combatting a potentially damaging compulsion to work that drains color and light from our wider lives.
The other is an increasing acknowledgement by employers that the health and happiness of a workforce is intimately bound up with workplace culture. Just this month, the former leaders of a large French telecom went on trial for the part the company’s culture may have played in the suicides or attempted suicides of over 30 current or past employees. At the other extreme, perhaps, are companies like New Zealand’s Perpetual Guardian, which trialed and then implemented a four-day workweek for its employees at full pay, in recognition of their desire for greater flexibility and control over their work-life balance.
The confluence of these two forces has spawned wellbeing initiatives, from gym memberships to time off for volunteering. Many of the UK’s choir projects are self-organized and take place outside work hours. But a number are a perk, subsidized by the company and on company time.
The switch from complex dealmaking to the black-and-white notation and the weighted keys of a piano provides a welcome break for Patrick Massey, an in-house lawyer for Macquarie Asset Management. “Some people go for a run at lunch time, or go to the gym,” Massey says. He slips into a piano room near his office for half-hours of practice. In his limited spare time, Massey conducts one of London’s most successful amateur orchestras, the Pico Players.
There’s a practical reason to play at work: Pianos are loud. Practice at home in the evening might disturb neighbors or housemates. It is, paradoxically, at work, in the middle of the city, that Massey knows he can be free.
Every week Massey also has a piano lesson organized via Music in Offices, which since 2007 has been offering work-based music tuition, running choirs, and organizing music and song-based events at workplaces across London. “My motivation is very much to bring music more into daily life, for everybody,” says Music in Offices founder Tessa Marchington, who also set up the Office Choir of the Year competition, in which choirs from across the country have competed for the last ten years. “It’s a form of communication that can transform [experience], not only at an individual level, but also at a level of community,” she said.
A productivity addiction
Eleanor Rose Rusbridge, founder of Sing At Work, a company that focuses on offering workplace choir-leading and song-based teambuilding days, argues that in a culture addicted to work, there has never been a better time for the releasing, leveling potential of song. Her company plans to put any profits back into companies’ localities by offering free choirs to community groups.
Rusbridge knows about addiction. For two years, she led a choir for the New Hanbury Project, a faith-based London charity that supports people struggling with addiction and homelessness. She argues that there are parallels between that experience and the “addiction to productivity” she sees in modern workplaces. Both, she suggests, can be combated with the communality of choral singing, which is distinct from many other social workplace activities—like post-work drinks—in that it doesn’t rely purely on chatting (or alcohol.) Choir is available equally to introverts and extroverts, she says.
“Companies are really beginning to understand why their staff’s wellbeing is important and why they have a responsibility to think about that,” Rusbridge says. “At its absolute basic level, singing is a very, very life-affirming thing.”