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y, who were for centuries the patrons of the poets and musicians of Ireland, were dispossessed of their influence and estates. The failure of the two Jacobite uprisings in Scotland marked the beginning of a period of intense persecution of Gaelic Scotland. It was at this time that the cultures of Gaelic Scotland and Gaelic Ireland were split apart, and henceforth regarded as separate entities. Up to this time, they had been considered to be a single culture.
 
It could be argued that traditional Irish music is related to music found elsewhere in Europe. A lot of Irish musicians would agree that today there certainly is a relationship with the music of Scotland and the north of England. This indicates that such relationships may have existed earlier in history and possibly throughout the 1700’s. This makes it feasible to look to other countries in Europe for an idea on what was happening at the time.
 
Equally, there is the argument that the Gaels had their own indigenously derived music, which was unique and not connected to what was going on anywhere else in Europe. Both points, I suspect are a little extreme and that the actual answer lies somewhere in between the two.
 
One event separates us from having little or no knowledge whatsoever. In 1792 Edward Bunting, was hired to transcribe the music of a number of harpers who appeared at a festival in Belfast. This festival had been sponsored by an early example of what we now call the antiquarian movement. These were people who believed that Gaelic culture was being destroyed, and wanted to save it before it may be too late.
 
One of the harpers who turned up in Belfast was Denis Hempson. He, as far as we know was the last living traditional Gaelic harpist, playing with fingernails on a wire-strung harp. All the other harpers, although their tunes were Irish, played gut-strung harps that were the same as those elsewhere in Europe, and their playing styles similarly were based on European styles. So it's to the amazing determination of Hempson and the dedication of Bunting that we owe a large part of our knowledge about pre-1700s music in Ireland. However, we have to remember that this was all filtered through, first Hempson, and then, Bunting, who couldn't play the harp.
 
Dance, of course now forms a large portion of what has become known as Irish traditional music. In Irish music, we wind up with a few traditional dance metres. The Hornpipe, the Jig and the Reel. Of course, these are widely considered to be the “big three” in terms of Irish traditional music. Others did and still do exist, as we know, the music from Ireland takes it’s roots from many other cultures in Europe, there is no exception with the forms of dance.
 
Let's take reels first as they may be easiest to deal with. The typical statement is that "The reel came to Ireland in the 1700-1800s from Scotland". This is based on the known fact that early Irish publications do not show very many reels compared to jigs and we also know that thanks to the co-existence of the Scottish patronage system and affordable publishing costs; there was an explosion of reel composition going on in Scotland at this time. Look at the current Irish reel repertoire and you will find it shot through with Scottish compositions. Personally I accept that the reel in Irish music owes an enduring debt to the Scottish tradition.本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。