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Hedd Wyn was a Welsh-language poet who was killed on the first day of the Battle of Passchendaele during World War I. He was posthumously awarded the bard's chair at the 1917 National Eisteddfod. Evans, who had been awarded several chairs for his poetry, was inspired to take the bardic name Hedd Wyn from the way sunlight penetrated the mist in the Meirionnydd valleys.
In music, tremolo, or tremolando, is a trembling effect. There are two types of tremolo.
In Celtic cultures, a bard is a professional story teller, verse-maker, music composer, oral historian and genealogist, employed by a patron to commemorate one or more of the patron's ancestors and to praise the patron's own activities.
Taliesin was an early Brittonic poet of Sub-Roman Britain whose work has possibly survived in a Middle Welsh manuscript, the Book of Taliesin. Taliesin was a renowned bard who is believed to have sung at the courts of at least three kings.
In Welsh culture, an eisteddfod is an institution and festival with several ranked competitions, including in poetry and music. The term eisteddfod, which is formed from the Welsh morphemes: eistedd, meaning 'sit', and fod, meaning 'be', means, according to Hywel Teifi Edwards, "sitting-together." Edwards further defines the earliest form of the eisteddfod as a competitive meeting between bards and minstrels, in which the winner was chosen by a noble or royal patron.
The Music of Wales, particularly singing, is a significant part of Welsh national identity, and the country is traditionally referred to as "the land of song".
Edward Williams, better known by his bardic name Iolo Morganwg, was a Welsh antiquarian, poet and collector. He was seen as an expert collector of Medieval Welsh literature, but it emerged after his death that he had forged several manuscripts, notably some of the Third Series of Welsh Triads. Even so, he had a lasting impact on Welsh culture, notably in founding the secret society known as the Gorsedd, through which Iolo Morganwg successfully co-opted the 18th-century Eisteddfod revival. The philosophy he spread in his forgeries has had an enormous impact upon neo-Druidism. His bardic name is Welsh for "Iolo of Glamorgan".
Welsh poetry refers to poetry of the Welsh people or nation. This includes poetry written in Welsh, poetry written in English by Welsh or Wales based poets, poetry written in Wales in other languages or poetry by Welsh poets around the world.
Pibroch, piobaireachd or ceòl mòr is an art music genre associated primarily with the Scottish Highlands that is characterised by extended compositions with a melodic theme and elaborate formal variations. Strictly meaning "piping" in Scottish Gaelic, piobaireachd has for some four centuries been music of the Great Highland Bagpipe. Music of a similar nature, pre-dating the adoption of the Highland pipes, has historically been played on the wire-strung Gaelic harp and later on the Scottish fiddle, and this form is undergoing a revival.
Cerdd Dant is the art of vocal improvisation over a given melody in Welsh musical tradition. It is an important competition in eisteddfodau. The singer or (small) choir sings a counter melody over a harp melody.
The pibgorn is a Welsh species of idioglot reed aerophone. The name translates literally as "pipe-horn". It is also historically known as cornicyll and pib-corn. It utilises a single reed, cut from elder or reed, like that found in the drone of a bagpipe, which is an early form of the modern clarinet reed. The single chambered body of the elder pipe has a naturally occurring parallel bore, into which are drilled six small finger-holes and a thumb-hole giving a diatonic compass of an octave. The body of the instrument is traditionally carved from a single piece of wood or bone. Playable, extant historical examples in the Museum of Welsh Life have bodies cut and shaped of elder. Another, unplayable instrument at the Museum, possibly of a later date, is made from the leg bone of an unspecified ungulate. Contemporary instruments are turned and bored from a variety of fruitwoods, or exotic hardwoods; or turned from, or moulded in plastics. The reed is protected by a reed-cap or stock of cow-horn. The bell is shaped from a section of cow-horn which serves to amplify the sound. The pibgorn may be attached to a bag, with the additional possibility of a drone, which is then called pibau cwd; or played directly with the mouth via the reed-cap.
The triple harp is a type of multi-course harp employing three parallel rows of strings instead of the more common single row. One common version is the Welsh triple harp, used today mainly among players of traditional Welsh folk music.
Welsh-language literature has been produced continuously since the emergence of Welsh from Brythonic as a distinct language in around the 5th century AD. The earliest Welsh literature was poetry, which was extremely intricate in form from its earliest known examples, a tradition sustained today. Poetry was followed by the first British prose literature in the 11th century. Welsh-language literature has repeatedly played a major part in the self-assertion of Wales and its people. It continues to be held in the highest regard, as evidenced by the size and enthusiasm of the audiences attending the annual National Eisteddfod of Wales, probably the largest amateur arts festival in Europe, which crowns the literary prize winners in a dignified ceremony.
Robert ap Huw, was a Welsh harpist and music copyist. He is most notable for compiling a manuscript, now known as the Robert ap Huw manuscript, which is the main extant source of cerdd dant and is a late medieval collection of harp music. It is one of the most important sources of early Welsh music.
Cerdd dafod is the Welsh tradition of creating verse or poetry to a strict metre in the Welsh language.
Music in Medieval Scotland includes all forms of musical production in what is now Scotland between the fifth century and the adoption of the Renaissance in the early sixteenth century. The sources for Scottish Medieval music are extremely limited. There are no major musical manuscripts for Scotland from before the twelfth century. There are occasional indications that there was a flourishing musical culture. Instruments included the cithara, tympanum, and chorus. Visual representations and written sources demonstrate the existence of harps in the Early Middle Ages and bagpipes and pipe organs in the Late Middle Ages. As in Ireland, there were probably filidh in Scotland, who acted as poets, musicians and historians. After this "de-gallicisation" of the Scottish court in the twelfth century, a less highly regarded order of bards took over the functions of the filidh and they would continue to act in a similar role in the Scottish Highlands and Islands into the eighteenth century.
"The Seagull" is a love poem in 30 lines by the 14th-century Welsh poet Dafydd ap Gwilym, probably written in or around the 1340s. Dafydd is widely seen as the greatest of the Welsh poets, and this is one of his best-known and best-loved works.
"The Wind" is a 64-line love poem in the form of a cywydd by the 14th-century Welsh poet Dafydd ap Gwilym. Dafydd is widely seen as the greatest of the Welsh poets, and this is one of his most highly praised works. Rachel Bromwich called it "one of the greatest of all his poems", while the academic critic Andrew Breeze has hailed it as "a masterpiece" and "a work of genius", noting especially its "rhetorical splendour".
Welsh folk music refers to music that is traditionally sung or played in Wales, by Welsh people or originating from Wales.
Wiliam Llŷn was a Welsh-language poet whose work largely consists of elegies and praise-poems. He is considered the last major Welsh poet of the bardic tradition, comparable to the greatest late-medieval Welsh poets, and has been called Wales's supreme elegist. Two of his poems are included in The Oxford Book of Welsh Verse.
References
- ↑ Sally Harper (5 July 2017). Music in Welsh Culture Before 1650: A Study of the Principal Sources. Taylor & Francis. p. 2. ISBN 978-1-351-55726-9.
- ↑ Music in Welsh Culture Before 1650: A Study of the Principal Sources by Sally Harper, Routledge, 2007, ISBN 0754652637
- ↑ Welsh Traditional Music by Phyllis Kinney, University of Wales Press, 2011, ISBN 0708323588
