Regional styles.
Regional styles came into being because in the past Ireland was a remote, rural and poor country. Many musicians only heard the music of others in their locality and so were influenced to play similarly.Characterisitics that which determine styles include, phrasing, articulation, variation, favoured instruments and dance types and special performance techniques.
However, many players developed their own personal style of playing within these regions. Some regions have their own type of tunes they favour. e.g. The Sliabh Luachra area is famous for Polkas.
Seán ÓRiada in his study of Irish music in the 1960s, observed some of the regional styles
Fiddle
Sligo fiddlers generally used more ornamentation than others. They played very quickly and flowing with slurred bows. The fiddle playing of Sligo man Michael Coleman had a strong influence over all the country, not just Sligo.
In Donegal, there was an emphasis on dexterity of bowing, with very even rhythms, mostly single bows creating an unmistekable staccato sound. -Tommy Peoples
West Clare produced a more rhythmically accented single bowed style.
West Limerick/North Kerry contains the strongest marked rhythm of these 4 styles.
Sliabh Luachra- Extensive range of Polkas and Slides. Unique style of bowing can also be heard in their reels.
East Galway - known for it emphasis on melody.
Pipes
Styles of piping varied from player to player not region to region.
Clare has always been the leader of pipin tradition-Willie Clancy school.
Flute
Very popular in Sligo and Leitrim/Roscommon. (Matt Molloy) Very fast pace and heavily ornamented.
The regions for Sean Nós singing are slightly different, An Rinn Co. Waterford, Connemara, Donegal and West Cork/Kerry. The differences are tendancies rather than hard and fast rules.
Connemara
Melismatic ornamentation highly florid. Not as much rhythmic and melodic ornamentation. Joe Heany
The Déise (West Waterford) uses a lot of nasalisation, melismatic and intervallic variation and seems to pitch songs in the very highest register for the voice. Nioclás Tóibín's "An Buachaillín Bán".
West Munster The use of the glottal stop or click to shut off the voice in the middle or at the end of a phrase is common in West Cork/Kerry. Nasalisation and a small amount of dynamics and use of interolated vowel sounds are also found. Pádraig Ó Tuama, "A Mháire Ní Laoire ó Bhéal an Chéama"
Donegal singers favour a more simple melodic line with little ornamentation.
Regional styles became diluted, even extinct gradually during the last century. Developments in recording, transport and technology as well as urbanisation and globalisation have seen to that. Nowhere in Ireland is remote any more and it is possible to hear music from anywhere via Cd, mp3, video, internet etc. Influences are not always deliberate. Just by hearing other music, a musician becomes influenced.
P.S. examine the conflicting views of musicians re regional styles on chat web sites. It seems that nothing is certain. Above all, musicians/singers develop their own personal style regardless of how it came about.
Regional styles came into being because in the past Ireland was a remote, rural and poor country. Many musicians only heard the music of others in their locality and so were influenced to play similarly.Characterisitics that which determine styles include, phrasing, articulation, variation, favoured instruments and dance types and special performance techniques.
However, many players developed their own personal style of playing within these regions. Some regions have their own type of tunes they favour. e.g. The Sliabh Luachra area is famous for Polkas.
Seán ÓRiada in his study of Irish music in the 1960s, observed some of the regional styles
Fiddle
Sligo fiddlers generally used more ornamentation than others. They played very quickly and flowing with slurred bows. The fiddle playing of Sligo man Michael Coleman had a strong influence over all the country, not just Sligo.
In Donegal, there was an emphasis on dexterity of bowing, with very even rhythms, mostly single bows creating an unmistekable staccato sound. -Tommy Peoples
West Clare produced a more rhythmically accented single bowed style.
West Limerick/North Kerry contains the strongest marked rhythm of these 4 styles.
Sliabh Luachra- Extensive range of Polkas and Slides. Unique style of bowing can also be heard in their reels.
East Galway - known for it emphasis on melody.
Pipes
Styles of piping varied from player to player not region to region.
Clare has always been the leader of pipin tradition-Willie Clancy school.
Flute
Very popular in Sligo and Leitrim/Roscommon. (Matt Molloy) Very fast pace and heavily ornamented.
The regions for Sean Nós singing are slightly different, An Rinn Co. Waterford, Connemara, Donegal and West Cork/Kerry. The differences are tendancies rather than hard and fast rules.
Connemara
Melismatic ornamentation highly florid. Not as much rhythmic and melodic ornamentation. Joe Heany
The Déise (West Waterford) uses a lot of nasalisation, melismatic and intervallic variation and seems to pitch songs in the very highest register for the voice. Nioclás Tóibín's "An Buachaillín Bán".
West Munster The use of the glottal stop or click to shut off the voice in the middle or at the end of a phrase is common in West Cork/Kerry. Nasalisation and a small amount of dynamics and use of interolated vowel sounds are also found. Pádraig Ó Tuama, "A Mháire Ní Laoire ó Bhéal an Chéama"
Donegal singers favour a more simple melodic line with little ornamentation.
Regional styles became diluted, even extinct gradually during the last century. Developments in recording, transport and technology as well as urbanisation and globalisation have seen to that. Nowhere in Ireland is remote any more and it is possible to hear music from anywhere via Cd, mp3, video, internet etc. Influences are not always deliberate. Just by hearing other music, a musician becomes influenced.
P.S. examine the conflicting views of musicians re regional styles on chat web sites. It seems that nothing is certain. Above all, musicians/singers develop their own personal style regardless of how it came about.