I am very proud to be able to publish Sylvia Crawford’s new book, An Introduction to Old Irish Harp Playing Techniques.Continue reading Sylvia Crawford’s new book
I’m being slow at organising my data, but today I managed to re-sample the NMI Carolan harp laser-scan, and uploaded it to Sketchfab. This allows it to be easily embedded in web pages.
The scan data is marked cc-by (attribution) on Sketchfab but I think it is really public domain, since it is just a digital reproduction of a public-domain publicly owned artefact. You don’t need to attribute it to me – please give attribution and credit to the National Museum of Ireland, who own the original object and gave permission for the laser-scan to be made.
Here’s the video of Elaina Sugrue of Accuscan, making the scan back in the October 2018. You can see how the point-cloud, captured by the scanner, is rendered real-time on her laptop screen. This scanning process generates a huge amount of point data, which had to be processed, and separate passes with the scanner “registered”, to generate the finished mesh file.
I think it is important to be able to release this kind of primary data, as part of the project to understand the old harps more. This scan is a wonderful resource, but it needs a lot of further study to be of practical use. I have made many slices and renderings, which in due course I will publish.
This harp, being very damaged and distorted, requires also a lot of theoretical reconstruction work. Hopefully in time we can also publish reconstruction drawings. I am still thinking about how best to go about this.
I remembered my old post, Archaeological copies of old Gaelic harps from back in 2016. We are not moving at the rate I suggested of one per year, but this kind of study and documentation is an important part of this kind of long project.
The header photo is by Brenda Malloy, and shows myself and Elaina Sugrue at the National Museum of Ireland in October 2018
When I was preparing my talk for Galway Early Music Festival, I came up with a new handout which I gave to the participants and which we discussed in the talk and workshop session.
A few different things I have been reading recently have come together in some vague and half-baked ideas on performance issues.
I have been reading The other classical musics edited by Michael Church (Boydell 2015). When I first saw this book, in Blackwell’s bookshop in Oxford, I thought I wouldn’t like it; I thought the idea of “classical music” as a general concept was too problematical. I kept thinking about the issues though, and later I had another look in Topping’s bookshop here. So I realised I had to get it and read it.
I am listening to last night’s BBC broadcast of The Well-Tuned Piano by La Monte Young. This fascinating five hour performance has prompted many thoughts and half-baked ideas on the nature of this kind of music.
I often hear the opinion that decoration on a new harp is a kind of decadent luxury, unnecessary, a bit of an affectation. And when decoration is applied to a replica harp, it is often somewhat simplified, or sketchy, or partial.
After I finished the Trinity College harp neck decoration sheet, I thought again about the issues surrounding this type of art, considering the sketchy and approximate versions of this scheme that we have seen up to now even on the best copies of the harp.
The study of the historical Gaelic harp traditions of Ireland and Scotland is unusual in its scope, materials and foundations. Of course it shares many aspects with other disciplines. As a combination of historical research and performance art, it does not fit easily into mainstream historical or artistic disciplines. In this, it shares a lot with other historically-informed performance (HIP) practice disciplines, such as harpsichord, lute, or baroque violin. However, historical Gaelic harp is different from other HIP areas because of its nature as an oral tradition. Other areas of HIP deal with dead or extinct literate traditions; one can get hold of an 18th century harpsichord instruction manual, and sit at an original or reproduction instrument, and do what the book tells you to. This is not possible for an extinct oral tradition.
In discussion with Siobhán Armstrong the other day, she challenged me to set out my ideas on how we can use modes to categorise or understand the old Gaelic harp music. Here is the scheme that I think I have been gradually bringing together for a while.