The Musical Priest: January 2015

A vibrant musical culture was documented by the medieval monastic scholars in terms of three musical genres; that of suantrai, goltrai and geantrai thus acknowledging an acquaintance with the music making of the secular community. The pipes and harp were used as symbols on high crosses and accounts suggest a relationship between chant and the sean nos song tradition, thus showing an interaction between the 2 communities. The Muireadach cross at Monasterboice, Co. Louth (which dates back to the 9th/10th c.) depicts 2 categorisations of music, the music of the blessed and the music of the damned, showing a conceptual separation of the 2 practices. According to Dr. Gearoid O hAllmhurain the earliest account of dancing stated that the Mayor of Waterford, the O'Driscoll family father and son, and the prior of the local friary 'took to the floor to celebrate Christmas in style' (1998: 22), However by 1674 a moral controversy between 2 clerics was noted in the papers. 'The archbishop of Dublin Dr. Talbot, was at loggerheads with Friar Peter Walsh, who was having a good time singing and dancing 'giggs and countrey dances' at the Harp and Crown in Dublin. Apparently, the good doctor was finding it difficult to reconcile Walsh's vows of poverty with his nocturnal antics in the local pub'. (1998: 37). This dispute is all the more scandalous when see in terms of the religious conformism and intolerance of dissidents at that time.

Irish musical culture was effected by King Henry VIII's prohibition of Irish Music, and the subsequent fall of the Great Houses of Ireland which stopped the patronage of the arts. The Famine is another very obvious event that led to the loss of a cultural repertory. The Church also has an impact on cultural practice at various times in Irish history. Fr. Matthew's Temperance Movement is one such instance in which the colloqial culture was suppressed in favour of European brass ensembles. The Synod of Thurles and Maynooth 1850and 1875 reformed clergy which in turn had an impact on social practices in rural areas. This again silenced music and confined dancing activities.This viewpoint was reinforced in the Lenten pastorals of 1924 in which the Bishops note the many abuses existent in Irish society including 'women's fashions, immodest dress, indecent dancing, theatrical performances and cinema exhibitions, evil literature, drink, strikes and lockouts.' Unsupervised dancing, motor cars and jazz and unlicenced dance halls all qualified for particular condemnation' (1998:102) The close liason between church and state at the beginning of the Irish state supported the anti-jazz standpoint with the anti-jazz legislation of 1926, Dance Halls Act 1935, further suppressed rural house dances.

The interesting point is that in times of church suppression other forms of music making were advocated i.e. the temperance bands and the ceili bands (Fr Tom Larkin). A further delineation between the music of the blessed and the damned. Fortunately the change in Government leadership in the 60's opened Ireland up to economic and social change. The church slowly lost its stronghold on policy and culture. The positive position of the clergy and religious communities as advocates of the arts at this time must be acknowledged. Especially given the lack of infrastructure to the develop the arts in Ireland at that time. This is particularly notable in terms of the Harp and Harp music. The development of Siamsa Tire, the National Folk Theatre in Tralee is another notable achievement. The activities of the Radharc team (all priests) in documenting Issues effecting Irish society has also been commended.

The Musical Priest

Monday, 19 January 2015

Work Life Balance?

Thursday, 15 January 2015

Relationship of Church and Music in Ireland, A Historical Perspective.

Tuesday, 6 January 2015

Introduction