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257 ENDNOTES Introduction 1 A region in which Irish functions as the primary vernacular language. ‘The Gaeltacht covers extensive parts of counties Donegal, Mayo, Galway and Kerry – all along the western seaboard – and also parts of counties Cork, Meath and Waterford. There are also six populated offshore islands. The total population of the Gaeltacht is 100,716.’ (Census 2011) Chapter 1 1 The name of Seán Ó Riada (1931–1971) will need no introduction to Irish readers. The pre-eminent Irish composer of his time, he was the single most influential figure in the revival of Irish traditional music during the 1960s. See ‘Seán Ó Riada’ in Harry White and Barra Boydell (eds), The Encyclopaedia of Music in Ireland (Dublin: University College Dublin Press, 2013), pp. 803–6. 2 Paul McDonnell, ‘Ó Riada at Glenstal Abbey’, in Bernard Harris and Grattan Freyer (eds), The Achievement of Seán Ó Riada (Ballina: The Irish Humanities Centre, 1981), pp. 110–11. 3 Musicam sacram (Instruction on Music in the Liturgy), issued by the Roman Sacred Congregation of Rites (SCR), 5 March 1967. English translation in Austin Flannery (ed.), Vatican Council II: the conciliar and post-conciliar documents, revised edition (New York: Costello Publishing Company, 1988). 4 Sacrosanctum concilium (Constitution on the Sacred Liturgy), SCR, 4 December 1963. English translation in Flannery (1988). 5 Address of Pope Paul VI to the Consociatio Internationalis Musicae Sacrae, 12 October 1973. In Robert F. Hayburn, Papal Legislation on Sacred Music 95 AD to 1977 AD (Collegeville, MN: The Liturgical Press, 1979), pp. 567–8. 6 Sacrosanctum concilium 112, in Flannery, p. 31. The reader will note, in the Introduction and elsewhere in the thesis, my adoption of a more elemental expression of this definition, i.e. ‘a combination of music and words’. The nature of the material being discussed, and the questions inherent in it, are best served by this approach. 7 Sacrosanctum concilium 121, in Flannery, p. 34. 8 Tra le sollecitudini, Hayburn, p. 224. 9 Musicam sacram 50, in Flannery, p. 93. 10 Musicam sacram  52, in ibid. 11 Sacrosanctum concilium  121, in ibid., p. 33. 12 Musicam sacram 59, in ibid., p. 95. 13 Sacrosanctum concilium 119, in ibid., p. 33. 14 Musicam sacram 61, in ibid., p. 95. 15 This choir constituted the beginnings of what would later come to be known as Cór Chúil Aodha. See ‘Cór Chúil Aodha’ in White and Boydell, pp. 242–3. 258 THE MASSES OF SEÁN AND PEADAR Ó RIADA 16 The acclamation was the ‘Te decet laus’ (Antiphonale monasticum, 1261), a doxological text associated with the office of Matins and until recently sung on a weekly basis in Glenstal. I am grateful to Dom Placid Murray for this information. 17 Harris and Freyer, p. 111. 18 Ibid., p. 171. Image reproduced with kind permission of the Estate of Tomás Ó Canainn, Ard Barra, Glanmire, Co. Cork. 19 The proceedings of the seminar, which also include contributions from other panellists Rev. Jeremiah Threadgold, Gerard Gillen, Seán McRéamonn and Phil Coulter, are recorded by Dom Paul McDonnell in ‘Music: a supplement to The Furrow’, no. 1, summer 1968 (The Furrow, vol. 19, nos 8/9). 20 Harris and Freyer, 111. McDonnell’s reference to ‘the Ó Riada mass’ testifies to the popular, almost iconic status the work had already gained amongst Irish worshipping communities. 21 Son, and successor of Seán Ó Riada as director of Cór Chúil Aoidh, Peadar Ó Riada is an established composer, performer and arranger of traditional music. See Chapter Five, note 1. 22 Nicholas Carolan, ‘Songs of Múscraí’, Ceol Tíre, vol. 12, 1978, p. 2. 23 A collection of 120 local songs, some of the contents of which were later published in the 1923 and 1924 volumes of the Journal of the Folk Song Society. 24 A. Martin Freeman, ‘Irish Folk Songs’, JFSS, pt. 6, no. 23, Jan. 1920, pp. iii–xxviii, 95–205; no. 24, Jan. 1921, pp. 205–66; no. 25, Sept. 1921, pp. [265]–342. 25 Dáibhí Ó Cróinín, The Songs of Elisabeth Cronin, Traditional Singer (Dublin: Four Courts Press, 2000), p. 12. 26 Liam De Noraidh, Ceol ón Mumhain (Dublin: An Clóchomhar, 1965), p. 26. Of particular interest is De Noraidh’s use of arrows to depict microtonal ‘scoops’ in the vocal delivery. 27 Ó Cróinín, p. 17. 28 Carolan, p. 2. 29 Interview with the author, 29 July 2004. 30 Interview with the author, 26 April 2007. M...


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