Stuk BBR-18712/1/258861 - Breandán Breathnach Collection. Reel-to-Reel 298 [sound recording] / [various performers]

Performers:
Ennis, Seamus, Dublin, lecture in English [= speech in English] A1–23;
singing in Irish A2, 4–6, 14;
singing in English A8;
pipes solo A10–13, 16–18, 20, 23;
O Rochain, Muiris, Miltown Malbay, speech in Irish and English A23;
Unidentified performers, pipes solo A24;
Gallahar, Brian, Dublin, speech in English A24

Running Order:
1. Speech: Untitled (clipped at beginning and end) [Topic: background to the song 'Roisin Dubh']
2. Song: Roisin Dubh (short; clipped at beginning)
3. Speech: Untitled [Topic: singing styles; singing styles simpler in north of Ireland; Seamus Delargy said that that was also true of folk tales; singing styles and tales most intricate in south; style in Connemara is archaic; example melody: Cailin Deas Cruite na mBo / The Pretty Girl Milking Her Cow; Cait Ni Mhuimhneachain; explanation of song content]
4. Song: Untitled [Introduced in previous track; associated with Cait Ni Mhuimhneachain]
5. Speech, Song: Untitled [Introduction to the next song; composed by Maire Bui Ni Laoghaire, poet from near Ballingeary], Untitled
6. Speech, Song: Untitled [Topic: Labhras O Cadhla; introduction to the next song, about a woman whose husband is away from home as a soldier], Untitled
7. Speech: Untitled [Folk music as modal music; scales and modes; sings modes in tonic solfa form; anecdote about Aeolian and Hyperdorian modes]
8. Song: Untitled [Kitty from Ballinamore]
9. Speech: Untitled (incomplete) [Topic: instrumental music; Irish did not use harmony; primitively flavoured singing of Connemara; woodwind instruments carried by the Celts on their travels; these instruments derive from the shepherd's reed with which he called his flock; that reed was later developed to a bagpipe; which came first, string or reed instruments?; quotes Dryden's 'Ode to Saint Cecilia's Day'] [END OF BAND ONE]
10. Speech: Untitled [Partial repeat and continuation of topic from track 9; playing too fast; intricacies are lost if speed is too fast; illustration of playing too fast using the reel 'The Sligo Maid']
11. Reel: The Sligo Maid [Played at what the performer regards as the correct speed]
12. Speech: Untitled [Topics: learners should be aware of pulse and syncopation; emphasis; each tune should have its own nuances and expressions of feeling; bad emphasis illustrated using the jig 'The Munster Buttermilk']
13. Jig: The Munster Buttermilk [Played with correct emphasis]
14. Speech: Untitled [Instrumental music having its origins in vocal music; backgroung to the dandling song Na Ceannabhain Bhana; that song sung and then the melody played as dance tune]
15. Speech: Untitled [Earliest dance music was in triple time; varieties of triple time; common time and varieties of it]
16. Jig: Saddle the Pony [Example of triple time]
17. Speech, Slip Jig: Untitled [Slip jigs are in 9/8 time], The Rocky Road to Dublin
18. Speech, Single Jig: Untitled [Single jigs are in 12/8 time, which is related to common time], Untitled [Pat Ward's Jig]
19. Speech: Untitled [Development of instruments from primitive forms; the parts of the uilleann pipes; drones harmonise with any note on the chanter; regulators and harmony; harmony in fiddle playing is an imitation of the regulators; harmony highly developed in Donegal fiddle playing; limitations of the warpipes / Highland pipes; 4/4 time, the time signature for reels; origin of Miss McLeod's Reel]
20. Reel: Miss McLeod's Reel
21. Speech: Untitled (incomplete) [4/4 or 2/4 used as time signatures for hornpipes; the Lancashire clog dance; the hornpipe The Standing Abbey and its associations for Ennis; remarks on the revival of Irish traditional music] [END OF BAND THREE]
22. Speech: Untitled [Partial repeat and continuation of topic on previous track]
23. Hornpipe, Speech: The Standing Abbey, Untitled [Concluding remarks by lecture chairman]
24. Recording of piping class at WCSS [Teacher: Brian Gallahar] [END OF BAND TWO]