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Hebridean Folksongs: Waulking songs from Vatersay Barra, Eriskay, South Uist and Benbecula. Latha bha 'n Ridire ag òl [2] ; Shuidh mi air cnocan an tiùrr ; Dh'éirich mi gu moch Di-luain ; Mìle marbhaisg air a' ghaol [3] ; Thug mi 'n oidhche, ge b'fhad' i ; Tha mo ghaol air Catriana ; 'S nu ri dìreadh 'san dùbhghlaic ; Phiuthar chridhe, chomainn chléibh' ; Trom òr o chalainn ; Lìon mulad, lìon mulad ; Gura mis' tha gu tinn ; Tha mulad, tha mulad ; Mhurchaidh bhig, a chinn a' chonais [2] ; Mhic Iarla nam Bratach Bàna ; Ciad soiridh bhuam dhachaigh ; A Mhic Iain 'ic Sheumais [3] ; Ach a Maighread nan cuiread [3] ; Thogainn fonn gun bhith trom ; Dh'fhalbh mo rùn bho chionn seachdain ; Chunnaic mis' an t-òg uasal ; Ó, daonnan, daonnan, daonnan [2] ; Dh'fhalbh rùn 's dh'fhàg e 'n caladh ; Ó, 's fhada bhuainn Anna ; Hó, mo nighean dubh, till, till ; Clò Mhic 'ille Mhìcheil ; 'S muladach, 's muladach thà mi ; O hao, o hao, 's mi fo mhìngean [2] ; Cumha banntrach Shanndraidh ; A Dhòmhnaill Dhuinn, ma rinn thu m' eugcoir ; Gur h-è mo ghille dùbhdhonn [2] ; Chunnaic mise mo leannan [2] ; Gura mis' tha fo mhulad, tha lionn-dubh air mo lìonadh [2] ; Gura mise tha fo Mhulad an Tìr a' Mhurain 's an t-Sìobain ; 'S 'ga innse cha dèid mi ; 'Ille dhuinn bhòidhich [3] ; Fhir bhuidh' an deagh-nàdair ; Ó, 's toil liom an nìghneag ; Cha déid mi do dh'fhear gun bhàta ; Chaidh mo lothag air chall [2] ; Cha n-eil mi gun mhulad orm ; Cà na dh'fhàg thu m'fhichead gini ; Có nì mire rium ; Nighean donn bheadarrach, ho ró ; Hug hòireann ó, 's e m'aighear ì ; Mhic 'ic Ailein, seasgair sìobhalt' ; Òganaich dhiunn a rinn m'fhàgail [2] ; Bheir soiridh, soiridh bhuam ; Thug an latha gu dìle

Donald MacCormick

Published: 1969

Total Pages: 458


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This volume presents forty-seven waulking songs recorded in South Uist, Barra, and the adjacent smaller islands between 1938 and 1965. Intensely evocative of the seventeenth- and eighteenth-century Highlands and Islands, these songs are one of the most interesting folk survivals of western Europe. Documenting a remarkable oral tradition of folkmusic, this work contains an analysis of the motifs found in the older waulking sounds, musical notes by Francis Collinson, and a chapter listing the songs in the three volumes.

Hebridean Folksongs: Waulking songs from Barra, South Uist, Eriskay and Benbecula. Am bròn Binn [2] ; Ach, a Mhurchaidh òig ghaolaich ; 'S mi dol timcheall na dòirlinn ; Ged is grianach an latha [2] ; Tha an oidhche nochd fuar ; Seathan mac Rìgh Éirinn ; Chailin òig as stiùramaiche [4] ; Calen o custure me [Callino casturame] ; Bha mis' a raoir air an àirigh ; Chaidh mi 'na ghleannain a's t-fhoghar ; Tha caolas eadar mi 's Iain ; Dh'éirich mi moch madainn Chéitein [2] ; Tha 'n t-uisg', tha 'n ceò air na beannan [2] ; Craobhan ó, hòireann o ho ; Dh'éirich mi 's cha robh mi sunndach ; Hùgan nan gù, théid mi dhachaigh ; Cha n-e uiseag a dhùisg mise ; Tha 'n crodh an diu dol air imprig ; Mo shùil silteach, mo chridhe trom [2] ; Chì mi ghrian 's i falbh gu siùbhlach ; 'S trom an dìreadh ; Cha déid mi a Chille Moire ; Chaidh mis' a dh'Eubhal imprig ; Chatriana a dh'fhalbhas gu banail ; O, 's e mo ghaol an Anna [2] ; 'S moch an diu a rinn mi éirigh ; Tha sneachd air na beanna Diùrach ; Cha déid Mòr a Bharraidh bhrònaich ; 'S a Dhia! 's gaolach liom an gille ; A bhradag dhubh a bhrist na glasan ; Tàladh Dhòmhnaill Ghuirm ; Chuala mi 'n dé sgeul nach b'ait liom ; Alasdair mhic Cholla gasda ; A pliuthrag 's a phiuthar [2] ; 'S muladach mi o chionn seachdain ; Coisich, a rùin [4] ; A Mhic a' Mhaoir [2] ; Mo rùn Ailein, hó hò ; Latha dhòmh 's mi ó hó ; Gu dé nì mi nochd ri m' nàire ; 'N robh thu 'sa bheinn [2] ; Gura h-e mo ghaol an t-Iain ; 'S mise bhean bhochd chianail dhuilich ; 'S muladach truagh, 's cianail thà mi ; Chuir iad mise 'n ceann na cléitheadh ; 'S t dhomb bhith falbh, bhith cur umam ; Dhìrich mi suas an Coire Riabhach ; Turadh am muigh ; Fhir a' chinn duibh ; 'S toil liom, 's toil liom, 's toil liom aona-mhac

Donald MacCormick

Published: 1969

Total Pages: 394


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This book takes a radical approach to the study of traditional songs. Folk song scholarship was originally obsessed with notions of completeness and narrative coherence; even now long narratives hold a privileged place in most folk song canons. Yet field notebooks and recordings (and, increasingly, publications) overwhelmingly suggest that apparently 'broken' and drastically shortened versions are not perceived as incomplete by those who sing them. Dealing with a wide range of traditions and languages, this study turns the focus on these 'dog-ends' of oral tradition, and looks closely at how very short texts convey meaning in performance by working the audience's knowledge of a highly allusive idiom. What emerges is the tenacity of meaning in the connotative and metaphorical language of traditional song, and the extraordinary adaptability of songs in different cultural contexts. Such pieces have a strong metonymic force: they should not be seen as residual 'last leaves' of a once-complete tradition, but as dynamic elements in the process of oral transmission. Not all song fragments remain in their natural environment, and this book also explores relocations and dislocations as songs are adapted to new contexts: a ballad of love and death is used to count pins in lace-making, song-snippets trail subversive meanings in the novels of Charles Dickens. Because they are variable and elusive to dating, songs have had little attention from the literary establishment: the authors show both how certain critical approaches can be fruitfully applied to song texts, and how concepts from studies in oral traditions prefigure aspects of contemporary critical theory. Like the songs themselves, this book crosses and recrosses the perceived divide between the literary and the oral. Coverage includes English, Welsh, Breton, American, and Finnish songs.
All they wanted was land: land for crofting and land on which to build a house. In 1908, ten desperate men from the islands of Barra and Mingulay in the Western Isles were imprisoned in Edinburgh for refusing to leave the island of Vatersay, where they had built huts and planted potatoes without permission. The case caused an outcry throughout Scotland, and led eventually to the purchase of the island by the government for crofting. This book, the first about Vatersay, tells the remarkable story of the raiders and their struggle to escape from the poverty which the policies of an absentee landowner forced them to endure. The Vatersay Raiders documents not only these events, which had enormous significance in the history of crofting, but also the fascinating earlier history of Vatersay and its now-deserted neighbour Sandray. An outline of more recent developments brings the account up to date.
The bagpipe is one of the cultural icons of Scottish highlanders, but in the twentieth century traditional Scottish Gaelic piping has all but disappeared. Few recordings were ever made of traditional pipe music and there are almost no Gaelic-speaking pipers of the old school left. Recording an important aspect of Gaelic culture before it disappears, John Gibson chronicles the decline of traditional Highland Gaelic bagpiping - and Gaelic culture as a whole - and provides examples of traditional bagpipe music that have survived in the New World. Pulling together what is known of eighteenth-century West Highland piping and pipers and relating this to the effects of changing social conditions on traditional Scottish Gaelic piping since the suppression of the last Jacobite rebellion, Gibson presents a new interpretation of the decline of Gaelic piping and a new view of Gaelic society prior to the Highland diaspora. Refuting widely accepted opinions that after Culloden pipes and pipers were effectively banned in Scotland by the Disarming Act (1746), Gibson reveals that traditional dance bagpiping continued at least to the mid-nineteenth century. He argues that the dramatic depopulation of the Highlands in the nineteenth century was one of the main reasons for the decline of piping. Following the path of Scottish emigrants, Gibson traces the history of bagpiping in the New World and uncovers examples of late eighteenth-century traditional bagpiping and dance in Gaelic Cape Breton, Nova Scotia. He argues that these anachronistic cultural forms provide a vital link to the vanished folk music and culture of the Scottish highlanders. This definitive study throws light on the ways pipers and piping contributed to social integration in the days of the clan system and on the decline in Scottish Gaelic culture following the abolition of clans. It also illuminates the cultural problems faced by all ethnic minorities assimilated into unitary multinational societies.
Histories of voice are often written as accounts of greatness: great statesmen, notable rebels, grands discours, and famous exceptional speakers and singers populate our shelves. This focus on the great and exceptional has not only led to disproportionate attention to a small subset of historical actors (powerful, white, western men and the occasional token woman), but also obscures the broad range of vocal practices that have informed, co-created and given meaning to human lives and interactions in the past. For most historical actors, life did not consist of grand public speeches, but of private conversations, intimate whispers, hot gossip or interminable quarrels. This volume suggests an extended practice of eavesdropping: rather than listening out for exceptional voices, it listens in on the more mundane aspects of vocality, including speech and song, but also less formalized shouts, hisses, noises and silences. Ranging from the Scottish highlands to China, from the bedroom to the platform, and from the 18th until the 20th century, contributions to this volume seek out spaces and moments that have been documented idiosyncratically or with difficulty, and where the voice and its sounds can be of particular salience. In doing so, the volume argues for a heightened attention to who speaks, and whose voices resound in history, but refuses to take the modern equation between speech and presence/representation for granted.