A Celtic music band

This article is about the modern folkloristic genre and its history. For the music and instruments of the ancient Celts until late Antiquity, see Ancient Celtic music.

Celtic music is a term utilised by artists, record companies, music stores and music magazines to describe a broad grouping of musical genres that evolved out of the folk musical traditions of the Celtic people of Western Europe.^[1][2] As such there is no real body of music which can be accurately described as Celtic, but the term has stuck and may refer to both orally-transmitted traditional music and recorded popular music. Celtic music saw a revival in the 1980s with the emergence of the Irish group Clannad, who became innovators in the genre by blending their heritage of harmony and melody with the design science of the hi-tech studio.^[3]

Alan Stivell at Nuremberg, Germany, 2007

Celtic music means two things mainly. First, it is the music of the peoples calling themselves Celts (a non-musical, primarily political definition), as opposed to, say, "German music" or "English music." Secondly, it refers to whatever qualities may be unique to the musics of the Celtic Nations (a musical definition). Many (most notably Alan Stivell and Paddy Moloney^[4]) claim that the different Celtic musics have much in common^[1][2] while some claim they do not.^[5]

Often, the term Celtic music is applied to the music of Ireland and Scotland because both lands have produced well-known distinctive styles which actually have genuine commonality and clear mutual influences; however, it is notable that Irish and Scottish traditional musicians themselves avoid the term "Celtic music," except when forced by the necessities of the market. The definition is further complicated by the fact that Irish independence has allowed Ireland to promote 'Celtic' music as a specifically Irish product. In reality, the terms 'Scots/Scottish' and 'Irish' are purely modern geographical references to a people who share a common Celtic ancestry and consequently, a common musical heritage.

These styles are known because of the importance of Irish and Scottish people in the English speaking world, especially in the United States, where they had a profound impact on American music, particularly bluegrass and country music.^[6] The music of Wales, Cornwall, the Isle of Man, Brittany, Galicia, Cantabria and Asturias (Spain) and Portugal are also considered Celtic music, the tradition being particularly strong in Brittany, where Celtic festivals large and small take place throughout the year, and in Wales, where the ancient eisteddfod tradition has been revived and flourishes. Additionally, the musics of ethnically Celtic peoples abroad are vibrant, especially in Canada and the United States.

Divisions[link]

In Celtic Music: A Complete Guide, June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage. The Q-Celtic nationalities are the Irish, Scottish and Manx peoples, while the P-Celtic groups are the Cornish, Bretons and Welsh peoples. Musician Alan Stivell uses a similar dichotomy, between the Gaelic (Irish/Scottish/Manx) and the Brythonic (Breton/Welsh/Cornish) branches, which differentiate "mostly by the extended range (sometimes more than two octaves) of Irish and Scottish melodies and the closed range of Breton and Welsh melodies (often reduced to a half-octave), and by the frequent use of the pure pentatonic scale in Gaelic music."^[7]

Definition debate[link]

At issue is the lack of many common threads uniting the "Celtic" peoples listed above. While the ancient Celts undoubtedly had their own musical styles, the actual sound of their music remains a complete mystery.

There is also tremendous variation between "Celtic" regions. Ireland, Scotland, and Brittany have living traditions of language and music, and there has been a recent major revival of interest in Wales. However, Cornwall and the Isle of Man have only small-scale revivalist movements that have yet to take hold. Galicia has no Celtic language today (Galician is a Romance language descending from Galician-Portuguese, although all the Western part of the Peninsula had Celtic languages in pre-Roman times, as did much of Europe, but Galician music is often claimed to be "Celtic." The same is true of the music of Asturias, Cantabria, and that of Northern Portugal (some say even traditional music from Central Portugal can be labeled Celtic). Thus traditionalists and musicological scholars dispute that the "Celtic" lands have any folk connections to each other.

Critics of the idea of modern Celtic music claim that the idea is the creation of modern marketing designed to stimulate regional identity in the creation of a consumer niche; June Skinner Sawyers, for example, notes that "Celtic music is a marketing term that I am using, for the purposes of this book, as a matter of convenience, knowing full well the cultural baggage that comes with it". The so-called "marketing" or "show-business" creation was popularized by the idealistic man who first (late 1960s) blended the music of all the Celtic countries with a modern touch in his recordings and concerts such as the 1971 album Renaissance of the Celtic Harp: the Breton Alan Stivell.^[8] Although this composer is one of the main modern promoters of this kind of music, he did not create the term.^[9]

Forms[link]

Identifying "common characteristics" of Celtic music is problematic. Most of the popular musical forms now thought of as characteristically "Celtic" were once common in many places in Western Europe. There is debate over whether jigs were adapted from the Italian gigue, a common form of the baroque era,^[10][11] for example, while polkas have their origin in Czech and Polish tradition.^[12]

On the other hand, there are musical genres and styles specific to each Celtic country, due in part to the influence of individual song traditions and the characteristics of specific languages. Strathspeys are specific to Highland Scotland, for example, and it has been hypothesized that they mimic the rhythms of the Scottish Gaelic language.^[13]

The Celtic music scene involves a large number of music festivals. Some of the most prominent include:

• Festival Internacional do Mundo Celta de Ortigueira (Ortigueira, Galicia) (Spain)
• Festival Intercéltico de Avilés (Avilés, Asturies, Spain)
• Folixa na Primavera (Mieres, Asturies, Spain)
• Yn Chruinnaght (Isle of Man)
• Celtic Colours (Cape Breton, Nova Scotia)
• Celtic Connections (Glasgow, Scotland) ^[14]
• Festival Interceltique de Lorient (Lorient, Brittany) ^[15]
• Fleadh ceol na hEireann (Tullamore, Ireland)
• Festival Intercéltico de Sendim (Sendim, Portugal)^[16]
• Hebridean Celtic Festival (Stornoway, Scotland) ^[17]
• Montelago Celtic Night (Colfiorito, Macerata, Italy)
• Triskell International Celtic Festival (Trieste, Italy)

Celtic fusion[link]

The oldest musical tradition which fits under the label of Celtic fusion originated in the rural American south in the early colonial period and incorporated Scottish, Scots-Irish, Irish, English, and African influences. Variously referred to as roots music, American folk music, or old-time music, this tradition has exerted a strong influence on all forms of American music, including country, blues, and rock and roll.^[18] In addition to its lasting effects on other genres, it marked the first modern large-scale mixing of musical traditions from multiple ethnic and religious communities within the Celtic diaspora.

In the 1960s several bands put forward modern adaptations of Celtic music pulling influences from several of the Celtic nations at once to create a modern pan-celtic sound. A few of those include bagadoù (Breton pipe bands), Fairport Convention, Pentangle, Steeleye Span and Horslips.

In the 1970s Clannad made their mark initially in the folk and traditional scene, and then subsequently went on to bridge the gap between traditional Celtic and pop music in the 1980s and 1990s, incorporating elements from New Age, smooth jazz, and folk rock. Traces of Clannad's legacy can be heard in the music of many artists, including Enya, Donna Taggart, Altan, Capercaillie, The Corrs, Loreena McKennitt, Anúna, Riverdance and U2.

Later, beginning in 1982 with The Pogues' invention of Celtic folk-punk and Stockton's Wing blend of Irish traditional and Pop, Rock and Reggie, there has been a movement to incorporate Celtic influences into other genres of music. Bands like Flogging Molly, Black 47, Dropkick Murphys, The Young Dubliners, The Tossers introduced a hybrid of Celtic rock, punk, reggae, hardcore and other elements in the 1990s that has become popular with Irish-American youth.

Today there are Celtic-influenced sub genres of virtually every type of popular music including electronica, rock, metal, punk, hip hop, reggae, new age, Latin, Andean and pop. Collectively these modern interpretations of Celtic music are sometimes referred to as Celtic fusion.

Other modern adaptations[link]

Outside of America, the first deliberate attempts to create a "Pan-Celtic music" were made by the Breton Taldir Jaffrennou, having translated songs from Ireland, Scotland, and Wales into Breton between the two world wars. One of his major works was to bring "Hen Wlad Fy Nhadau" (the Welsh national anthem) back in Brittany and create lyrics in Breton. Eventually this song became "Bro goz va zadoù" ("Old land of my fathers") and is the most widely accepted Breton anthem. In the 70s, the Breton Alan Cochevelou (future Alan Stivell) began playing a mixed repertoire from the main Celtic countries on the Celtic harp his father created.^[9]
Probably the most successful all inclusive Celtic music composition in recent years is Shaun Daveys composition 'The Pilgrim'. This suite depicts the journey of St. Colum Cille through the Celtic nations of Ireland, Scotland, the Isle of Man, Wales, Cornwall, Brittany and Galicia. The suite which includes a Scottish pipe band, Irish and Welsh harpists, Galician gaitas, Irish uilleann pipes, the bombardes of Brittany, two vocal soloists and a narrator is set against a background of a classical orchestra and a large choir.

Modern music may also be termed "Celtic" because it is written and recorded in a Celtic language, regardless of musical style. Many of the Celtic languages have experienced resurgences in modern years, spurred on partly by the action of artists and musicians who have embraced them as hallmarks of identity and distinctness. In 1971, the Irish band Skara Brae recorded its first and only LP (simply called Skara Brae), all songs in Irish. In 1978 Runrig recorded an album in Scottish Gaelic. In 1992 Capercaillie recorded "A Prince Among Islands", the first Scottish Gaelic language record to reach the UK top 40. In 1996, a song in Breton represented France in the 41st Eurovision Song Contest, the first time in history that France had a song without a word in French. Since about 2005, Oi Polloi (from Scotland) have recorded in Scottish Gaelic. Mill a h-Uile Rud (a Scottish Gaelic punk band from Seattle) recorded in the language in 2004.

Several contemporary bands have Welsh language songs, such as Ceredwen, which fuses traditional instruments with trip-hop beats, the Super Furry Animals, Fernhill, and so on (see the Music of Wales article for more Welsh and Welsh-language bands). The same phenomenon occurs in Brittany, where many singers record songs in Breton, traditional or modern (hip hop, rap, and so on.).

See also[link]

• Folk music of Ireland
• Music of Brittany
• Music of Cornwall
• Music of Galicia, Cantabria and Asturias
• Music of the Isle of Man
• Music of Scotland
• Music of Wales
• Traditional Gaelic music

References[link]

• Sawyers, June Skinner (2000). Celtic Music: A Complete Guide. Da Capo Press. ISBN 0-306-81007-7. 

External links[link]

• Ancient Celtic music - article at Citizendium
• www.folklyrics.net/celtic.html Celtic songs lyrics
• Celtic melody library

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Natalie MacMaster
Natalie MacMaster performing in Centralville, Massachusetts, 2007
Background information
Birth name	Natalie Ann MacMaster
Born	(1972-06-13) June 13, 1972 (age 40)
Genres	Cape Breton fiddle music
Occupations	Musician
Instruments	Violin, Backing vocals
Years active	1989–present
Labels	Rounder Records,
Associated acts	Buddy MacMaster Donnell Leahy
Website	www.nataliemacmaster.com

Natalie MacMaster, CM (born June 13, 1972) is an award-winning fiddler from the rural community of Troy in Inverness County, Nova Scotia, Canada who plays Cape Breton fiddle music.

MacMaster has toured with the Chieftains, Faith Hill, Carlos Santana and Alison Krauss, and has recorded with Yo-Yo Ma. She has appeared at the Celtic Colours festival in Cape Breton, Celtic Connections in Scotland, and MerleFest in the United States.

Background[link]