Cover

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Half Title, Dedication, Title Page, Copyright

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Contents

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p. v

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Foreword

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pp. v-vii

This book is a very important contribution to liturgical musicology in the Catholic tradition and it achieves a number of tasks admirably. The study examines three settings of the mass ordinary by the two Cúil Aodha composers, father and son, Seán and Peadar Ó Riada. ...

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Acknowledgements

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pp. 11-12ix-x

My thanks to Peadar Ó Riada, for allowing me full access to his own music and that of his father, Seán Ó Riada. The knowledge that such vernacular church music not only exists, but continues to be developed in an Irish liturgical context, provides an ongoing source of inspiration. ...

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Introduction

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pp. 1-6

This book presents an investigation into the liturgical music of Seán and Peadar Ó Riada through an examination of three Roman rite mass settings composed in the Irish vernacular, from within the cultural context of the West Cork Gaeltacht of Múscraí (Muskerry).1 The main part of the work, running from chapters three to six, ...

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1. Tradition and Context

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pp. 7-22

In the spring of 1968, Seán Ó Riada1 attended a presentation in Glenstal Abbey2 by Fr Charles O’Callaghan, professor of sacred music at Maynooth, on the recently issued Vatican II instruction, Musicam sacram. 3 This document, which set out to define more clearly the role of music in the light of the newly established liturgical norms, ...

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2. Words and Music

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pp. 23-50

This chapter will focus on certain aspects of the relationship between words and music. In addition to reflection from within the Irish song tradition itself, the study needs to draw from the experience of other monophonic traditions. A primary context is, of course, the chant of the Christian liturgy, which will form a consistent backdrop to our reflections. ...

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3. Ceol an aifrinn: Seán Ó Riada

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pp. 51-98

With this mass setting, we are introduced for the first time to the prose-based translations of the Irish vernacular mass ordinary, which represent an inescapable reality of textual content, form and number for any composer attempting the genre. Ó Riada’s setting of these texts will be viewed as part of a continuum of Roman rite monophonic ...

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4. Aifreann 2: Seán Ó Riada

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pp. 99-144

In this analysis of Seán Ó Riada’s Aifreann 2, focus is maintained on the aesthetic connections between music and words, and mounting evidence attests to a relationship largely free of any referential or emotional ties, but inescapably grounded in the numerical constitution of the text. ...

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5. Aifreann Eoin na Croise: Peadar Ó Riada

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pp. 145-190

This third mass setting of the Ó Riada cycle, an oral composition by Peadar Ó Riada,1 represents both elements of continuity and, as we shall see, significant development along the musical continuum. While the compositional traditions of Gregorian chant remain as general reference points for the common liturgical elements ...

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6. Aifreann Eoin na Croise: Motivic Analysis

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pp. 191-230

The analysis of Aifreann Eoin na Croise contained in chapter five maintained the more general approach already adopted for Ceol an aifrinn and Aifreann 2, and allowed for a consideration of textual and liturgical aspects as well as musical questions. In terms of the continuum of the three mass settings under discussion, ...

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7. Vernacular Chant: Models, Modes and Motifs

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pp. 231-256

The essential definition of Christian liturgical music as a combination of music and words has underpinned this study from the outset.1 The words underpinning the compositions of the combined Ó Riada corpus under investigation may be categorised under the following broad headings: scriptural, liturgical and devotional. ...

Endnotes

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pp. 257-283

Bibliography

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pp. 284-293

Index

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pp. 294-297

CD Info

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