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23 results

Page 1 of 2

  • Chapter 15 - Singing Welshness

  • Edited by Trevor Herbert, Royal College of Music, London, Martin V. Clarke, The Open University, Milton Keynes, Helen Barlow, The Open University, Milton Keynes
  • Book: A History of Welsh Music
  • Published online: 08 September 2022
  • Print publication: 29 September 2022, pp 332-354

  • Summary

    The chapter examines the relationships between music, sport and Welsh identity. Focusing on the national rugby union and football teams, it explores the ways in which performances of ‘Mae Hen Wlad Fy Nhadau’ by players and supporters have contributed to a cohesive sense of national identity. Examples range from its first recorded use prior to the rugby team’s famous victory over the New Zealand All Blacks in 1905 to its part in the Football Association of Wales’s efforts to galvanise supporters during the team’s successful Euro 2016 campaign. It also considers the adoption of popular hymns such as ‘Guide Me, O Thou Great Jehovah’ and ‘Calon Lân’ by supporters, investigating the extent to which affiliation to the national team takes on a spiritual quality. Drawing on the contributions of popular Welsh artists such as Max Boyce, the chapter also assesses the self-referential nature of connections between musicality and sporting pride in corporate expressions of national identity. It considers the ways in which language, religious practice and social structures encouraged and maintained a culture of massed patriotic singing, and how this has been reimagined and perpetuated in the twenty-first century through a combination of institutional support, technological developments and the influence of social media.

  • Chapter 8 - The Celtic Revival

  • Edited by Trevor Herbert, Royal College of Music, London, Martin V. Clarke, The Open University, Milton Keynes, Helen Barlow, The Open University, Milton Keynes
  • Book: A History of Welsh Music
  • Published online: 08 September 2022
  • Print publication: 29 September 2022, pp 171-194

  • Summary

    The eighteenth and early nineteenth centuries saw a revival of interest in Welsh language and culture, and the chapter addresses this as it was reflected in music. The period saw flourishing activity from scholars and musicians in collecting, publishing and performing Welsh ‘traditional’ music, supported by newly formed Welsh and London-Welsh cultural societies. A number of important publications sought to capture Welsh music and present it to a wider public - particularly a fashionable London public - notably, Blind Parry’s Antient British Music (1742) and Edward Jones’s Musical and Poetical Relicks of the Welsh Bards (1784); while a more direct reflection of the Welsh oral tradition is found in the work of collectors such as Iolo Morganwg, John Jenkins ‘Ifor Ceri’ and Maria Jane Williams. Amidst this activity, two apparently contradictory but in fact related ideas were being pursued, sometimes simultaneously: an idea of the place of music in the deep antiquity of Welsh culture, and an idea of music as an expression of Welsh identity in modern Britain.

A History of Welsh Music
  • Edited by Trevor Herbert, Martin V. Clarke, Helen Barlow
  • Published online: 08 September 2022
  • Print publication: 29 September 2022
  • From early medieval bards to the bands of the 'Cool Cymru' era, this book looks at Welsh musical practices and traditions, the forces that have influenced and directed them, and the ways in which the idea of Wales as a 'musical nation' has been formed and embedded in popular consciousness in Wales and beyond. Beginning with early medieval descriptions of musical life in Wales, the book provides both an overarching study of Welsh music history and detailed consideration of the ideas, beliefs, practices and institutions that shaped it. Topics include the eisteddfod, the church and the chapel, the influence of the Welsh language and Welsh cultural traditions, the scholarship of the Celtic Revival and the folk song movement, the impacts of industrialization and digitization, and exposure to broader trends in popular culture, including commercial popular music and sport.

  • Introduction Listeners in Music History: Studying the Evidence

  • Helen Barlow, Trevor Herbert
  • Journal: Nineteenth-Century Music Review / Volume 17 / Issue 3 / December 2020
  • Published online by Cambridge University Press: 14 April 2020, pp. 343-357
  • Print publication: December 2020

  • This themed issue focuses on the study of listeners in history. The articles address the personal responses to music of ‘ordinary listeners’ – that is, people whose experiences of music are recorded in personal documents and third-party descriptions (as opposed, say, to music critics who wrote about music in order to influence the ideas and tastes of a public readership). This overview essay proposes that the testimony of ordinary listeners can cast new light on musical practices, the way music has been heard and its role in past societies. It points to a perceived gap in historical musicology, whereby the evidence left by listeners in the past has been the subject of little targeted research and has generally been relegated to a supporting role. The themed issue emerges from work conducted as part of the Listening Experience Database project, a research project set up to address that gap, and focuses on empirical historical research.

    This overview essay discusses the types of evidence on which the articles are based and some of the issues and cautions they raise, and sets out to demonstrate the unique quality and value of the evidence through the exploration of five topics in the history of British music in the long nineteenth century. The approach they exemplify has potential to shed light on music as part of the experience of ordinary people, often in contexts and places that have not featured prominently either in nineteenth-century music history or in musicological study generally.

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