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* CELTIC LANGUAGES. 406 CELTIC MUSIC. ervation of their national tongues. See Neo- CELTIC MoVEilEM. DiBjJOCBAFUV. Lliuyd, Archwologia Britan- iiicu (O.vford, 1703), is still useful. The Uruin- iiiatica Veltica appeared in a second edition, ir.uch improved by the work of Ebcl ( Berlin, 1S71). Important general articles on tlie Celtic languages were contributed by Windisch to Ersch and Gruber's Encyklopiidic, part ii., section XXXV. (Leipzig. 1884), and to Grober's Gruntlriss der romanixcliett ritilulogic (Strassburg, 1888, et seq.). Consult, also, Brugmami, ^'crglei- chende Gramtnaiik der indoi/ennanischen Sprach- f(i {-Id ed., Strassburg, 1897). Important arti- cles on all the Celtic languages are to lie found in the licvue ccUique (Paris, 1870, et seq.); the Zcitsvhrift fiir verglcichcnde Spracliforschung (Berlin, 1852-06); and the Zeilschrifl fiir cc'l- lische Philologie (Halle, 1801, et seq.). Ref- erences to other scattered articles are given in tiiose periodicals. For Gaulish, consult Holder, Altcelti&cher Sprachschatz (I-*ipzig, 1891); for Irish Windisch, Xur::pcftiss-te irische Grammatik (Leipzig. 1879), a second edition of which is be- ing brought up to date. For modern Irish, re- cent grammars show very little advance over O Donovan. Grammar of Hie Irish Language (Dublin, 18-15). A new grammar by the Chris- tian Brothers. Dublin, is jist announced (1902). For Scottish Gaelic: Gillies, The Elements of Gaelic Grammar (London. ISOrt). based on the elder work of the Rev. Alexander Stewart. Manx ; KcUv. .1 Practical Grannnar of Manx. Manx So- ciety (Douglas, 1859: London, 1870) ; Rhys, The Outlinci of the Phonology of Manx Gaelic (Doug- las, 1S94). Welsh: Rowland, .1 Grammar of the Welsh Language (4th ed., Wrexham, 187C) ; Anwyl. M'rI.th Accidence and Welsh Syntax (London. 1807-1900), which arc more scientific. Breton: There are several old grannuars by Ros- trenen (Rennes, 1738); Le Gonidce (Paris, 1807) ; Guillome (Vannes, 183G) ; and Hingant (TrC'guier, 1868). Ernault has recently pub- lished a Petite grammaire hrctonne (Saint- Brieuc. 1897). See G.euc; Irish; Manx; Welsh. CELTIC LITERATUEE. Se« Breton LlTERATlRE: CELTIC L WOT AGE: CoRNISH LaN- (aAGE AND Literature: Irish (Gaelic) Liter- ATfRE: Manx Literature: Scottish (Gaelic) LiTEBATlTRE : WELSH LANGUAGE AND LITERATURE. CELTIC MUSIC. Welsh and Irish music are insp])aralily connected, for although each coimlry developed its music in accordance with its own traditions and local forms, the bard Avas the dominant influence which shaped its general character alike in both Wales and Ire- land. Poetry was universally identified with music, and musical instrinients were used in- dependently only to furnish dance or march music. In the course of time these conditions were changed, btit it was not until the decline of the bards that instrumental soloists became a factor in the development of Celtic music. From the earliest historical times, when in the Eleventh Century a Welsh chieftain summoned Welsh and Irish bards to a great music confer- ence, down to the Seventeenth Century', when dis- tinctive Celtic music ceased to be written, the nuisical histories of Ireland and of Wales follow nuich the same general plan; and, to a certain extent, early Scotch music (q.v. ) may be asso- ciated with them. ircJs/i music was founded by, and for cen- turies identified with, Druidism. Its influence is apparent even in the modified form of those old songs which still exist. The cadences are savage, weird, yet sad. and far superior artisti- cally to their Irish parallels. The direct reason for this superiority is the fact that the Welsh liarp had a perfect diatonic scale, while in Ire- land the early scale had but five tones. This diatonic scale made possil)le the full cadences and great range of melody vhich is noteworthy in the early pastoral music of Wales, and which distinguished it from both the Scotch, with its abrupt changes from major to minor, and the less complete Irish. Traditionally Celtic musi- cal instruments were introduced into Britain by the Pluenicians, but there is no historic basis for such a belief. The principal Welsh musical instruments were the telyn. or harp; the cru-lh, or sort of a violin: the iiihgtnn, or hornpipe; the pib-hrairh, or bagjiijie; the tadicrdd, a drum; and the cornbuelin, or bugle-horn. Irish Music. — The exact number and position of the tones in the original Irish scale have been long a subject of discussion. All that we can be sure of is that at first only five notes were used, and that later a si.xth and a seventh were added. The melodies were very similar to the Scotch, with the important exception that the Irish avoided the abrupt and violent modula- tions so much used by the former. Dance-music, of which there is a great variety, was mostly written in six-eight time. The Seventeenth Cen- tury marked the appearance of foreign musicians in Ireland and the rapid decline and final dis- appearance of a national music. The early Irish nusical instniments were the harp ; the bagpipe, distinguished from the Scotch pipe by being blown upon by bellows, instead of from the lips; the hcn-hauhhill, a horn of a wild ox or buft'alo; the hninne, a metal trumpet; the corn, a long, curved tube: the stoc and the slurgan, small trumpets; the musical bninch, an instrument adorned with single bells: and the tympan, a stringed instrument played with a bow. Of these, bj- far the most imjiortant was the harp, with its large number of strings and its scale of fixed semi-tones. In the latest period of Irish music (toward the end of the Eighteenth Century), there was great uniformity in the com- pass, the scale, and the method of playing the harp. The ordinary compass was from C below the bass staff to D above the treble stall'; and the scale was generally that of G, though some- times C was used. Almost certainly, however, this uniformity was of comparatively recent date. Some of the oldest harps are the so-called harp of Brian Boni. preserved at Trinity College. Dub- lin, and having 30 strings; that of Robin .dair at Hollybrooke. with 37 strings; and the Dall- way harp, dating from 1621, and having 52 strings. Among the many famous harpists were; Turlogh O'Carolan: Carroll O'Daly, the author of "Eileen Aroon," appropriated by the Scotch as "Robin Adair;" !Myles Reilly; and Thimias and William Conallon. Consiilt : Grove, Dictionary of Music and Musicians (London. 1880) : collec- tions of Irish nuisie by Bunting (1796. 1809. 1840), and by Petrie, in connection with the Society for the Preservation of Irish Music (1855); also collections of Welsh melodies by Parry and by J. Thompson. I