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Keening
Keening (Irish: caoineadh, pronounced [ˈkiːnʲə]) is a traditional form of vocal lament for the dead in the Gaelic Celtic tradition, known to have taken place in Ireland and Scotland. Keening, which can be seen as a form of sean-nós singing, is performed in the Irish and Scottish Gaelic languages (the Scottish equivalent of keening is known as a coronach).
Keening was once an integral part of the formal Irish funeral ritual, but declined from the 18th century and became almost completely extinct by the middle of the 20th century. Only a handful of authentic keening songs were recorded from traditional singers.
"Keen" as a noun or verb comes from the Irish and Scottish Gaelic term caoineadh ("to cry, to weep"), and references to it from the 7th, 8th, and 12th centuries are extensive. Probably at the origin of "couiner" in French.
The tune and lyrics rely on the repetition of a couple of basic motifs which can be variably extended or shortened. It seems that there was never an established keening ‘text’; the singer is expected to improvise as feeling dictates. Despite the keen varying between performances, keeners worked within the same body of motifs and diction. Keening was rhythmically free, without a metre.
The words are thought to have been constituted of stock poetic elements (the listing of the genealogy of the deceased, praise for the deceased, emphasis on the woeful condition of those left behind, etc.) set to vocal lament. Words of lament were interspersed with non-lexical vocables, that is sounds that are without meaning.
The keen can be formed of three motifs: The salutation (introduction), the dirge (verse), and the gol (cry).
In the 12th century, Giraldus Cambrensis (Gerald of Wales) described vocal laments taking place in which the mourners were divided in two, each alternately singing their part and sometimes joining in full chorus. Written sources that describe the singing style appear from the sixteenth century on.
In ancient times, a chief's own bard (assisted by the chief's household) would perform the funeral song. More recently, keeners would be hired female mourners. The mourners accompanied the keening woman (bean chaointe), with physical movements involving rocking and kneeling. The Irish tradition of keening over the body during the funeral procession and at the burial site is distinct from the wake, the practice of watching over the corpse, which takes place the night before the burial, and may last for more than one night.
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Keening
Keening (Irish: caoineadh, pronounced [ˈkiːnʲə]) is a traditional form of vocal lament for the dead in the Gaelic Celtic tradition, known to have taken place in Ireland and Scotland. Keening, which can be seen as a form of sean-nós singing, is performed in the Irish and Scottish Gaelic languages (the Scottish equivalent of keening is known as a coronach).
Keening was once an integral part of the formal Irish funeral ritual, but declined from the 18th century and became almost completely extinct by the middle of the 20th century. Only a handful of authentic keening songs were recorded from traditional singers.
"Keen" as a noun or verb comes from the Irish and Scottish Gaelic term caoineadh ("to cry, to weep"), and references to it from the 7th, 8th, and 12th centuries are extensive. Probably at the origin of "couiner" in French.
The tune and lyrics rely on the repetition of a couple of basic motifs which can be variably extended or shortened. It seems that there was never an established keening ‘text’; the singer is expected to improvise as feeling dictates. Despite the keen varying between performances, keeners worked within the same body of motifs and diction. Keening was rhythmically free, without a metre.
The words are thought to have been constituted of stock poetic elements (the listing of the genealogy of the deceased, praise for the deceased, emphasis on the woeful condition of those left behind, etc.) set to vocal lament. Words of lament were interspersed with non-lexical vocables, that is sounds that are without meaning.
The keen can be formed of three motifs: The salutation (introduction), the dirge (verse), and the gol (cry).
In the 12th century, Giraldus Cambrensis (Gerald of Wales) described vocal laments taking place in which the mourners were divided in two, each alternately singing their part and sometimes joining in full chorus. Written sources that describe the singing style appear from the sixteenth century on.
In ancient times, a chief's own bard (assisted by the chief's household) would perform the funeral song. More recently, keeners would be hired female mourners. The mourners accompanied the keening woman (bean chaointe), with physical movements involving rocking and kneeling. The Irish tradition of keening over the body during the funeral procession and at the burial site is distinct from the wake, the practice of watching over the corpse, which takes place the night before the burial, and may last for more than one night.