![]() ![]() ![]() ABSTRACT: The purpose of this study was to investigate through archival and musicological analysis the audio recordings of Fenian lays made in the middle of the last century. So you have to force your web browser to continue to the site. The link brings you to the University of Otago library which is open and non-private. The fourth chapter might be of interest to composers because it explains the rhythm of languages (especially English) and also the pitch-patterning of the spoken word which is used as the basis of melody. The Highland bagpipe is an ossified hybrid between the two. It combined with the early diatonic scale (stacking thirds on the diatonic scale that those instruments couldn’t play) to create our modern scale. The third chapter might be interesting since it shows that the natural scale was the primary scale used in European antiquity (the so-called Folk Music Scale). On the other end, perhaps 1,500 years ago, there was a musical culture that was primarily based on the Natural Scale with a few elements of the Diatonic Scale. ![]() On one end of the time spectrum, there is the present day with a musical culture of Western Europe art music based on the equally tempered Diatonic Scale and few elements of the Natural Scale remaining. This duality of tuning suggests a spectrum of transcendence of one tuning system over another over time. Moreover, the dichotomy between “art” and “folk” music begins to have an understandable relationship based on a dichotomy of tuning systems that has not been suggested to date. If the assumption is made that the general music played by “the folk” is in fact “pastoral music ” that is, created by instruments employed by shepherds, then confusing variables are eliminated. The present paper suggests that the Natural Scale is the foundation of the Western European Folk Music Scale and solves all of the above-mentioned anomalies. This scale has many characteristics that seem inexplicable to researchers some of these distinguishing traits are that the scale is “gapped,” tuned in a different manner than Pythagorean tuning or Equal Temperament, is somehow aligned with the ecclesiastical modes, is either pentatonic or hexatonic, is also missing half-steps when pentatonic, etc. Abstract: Research into the origin of the Western European Folk Music Scale has been inconsistent, varied, and mostly unsatisfying. ![]()
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