CLOG (Univ. of Glasgow)
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‘Dùisg thus’ às do chodal’ [‘Wake up from your sleep’]: Catrìona nighean Mhic Aonghais, a fresh voice from nineteenth-century Greenock
Full text linkThe fame and significance of Dunkeld in the tenth and eleventh centuries
Full text linkThe church of Dunkeld was apparently refurbished to house the saint’s relics in the time of Cinaed mac Ailpín (died 858) and modern surveys of the afterlife of St Columba have thus often paid respect to Dunkeld as the ‘Scottish’ capital of the Columban familia that disintegrated after the ‘viking’ disruptions of the ninth century, before itself losing status later in the same century. However, the so-called break-up of that familia in the ninth century is far from obvious in the source material. At the same time, rather than go into decline, several important sources considered here suggest that Dunkeld\u27s significance as well as its famed association with St Columba only grew after c.900, to a height in the early eleventh century when the Columban cult was central to Scottish politics and when the family of a certain Crínán, abbot of Dunkeld, displaced Cinaed mac Ailpín’s dynasty, ruling the expanding kingdom until the later thirteenth century
Late-medieval chants from Iona? A context
Full text linkThe late thirteenth- or early fourteenth-century Inchcolm Antiphoner (Edinburgh University Library, MS 211.iv.) contains unique chants in honour of Columcille with texts echoing words and phrases in Adomnán’s Vita Columbae and with music exhibiting matching structural elements. Recent research has identified a number of musical concordances, but the significance of these has yet to be fully explored. Questions arise. What are the directions of transmission; how important are the distinctive elements; do they exhibit any particular traits?
The paper analyses five of the chants and correlates their musical and poetic structures which echo claims that they exhibit Celtic characteristics. These include the use of end and internal rhyme, assonance, and alliteration, and their musical equivalents in repeated note groups and phrases. These also include inversion and retrograde, the latter mirroring the use of chiasmus in both texts and music. The significant placing of the Golden Mean is also discussed.
The paper concludes that there is clear evidence of elaborate techniques of prosody with roots in Old Gaelic literature in Gaelic and Latin and with music intimately married to the texts and exhibiting a type of patterning identified as Celtic by Bruno Stäblein half a century ago
An interesting absence: St Brigit
Full text linkWritings and art works starting from around 1900 connected St Brigit of Kildare to Iona. But these have no connection to Iona tradition, where St Brigit is entirely absent from place-names or traditions. This absence is, however, of interest considering how important the cult of Brigit was throughout western Scotland in the middle ages
Beyond the cailleach: The re-writing of women’s ageing in Iain Mac a’ Ghobhainn’s Gaelic poetry
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