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The opening bars of "The Minstrel Boy". By request of Moore to James Power during publication, the harmonized air of the song (as found in the Gibson-Massie collection of the Irish Melodies at Queen's University Belfast) is in the key G major, whilst this, the solo of the song, is (in Moore's words) a "note lower" in F major.
[4] [5] [a] After this battle, Dagda discovered his harp hanging on a wall, in a feasting-house wherein Bres and his father Elathan were also. The harp had two names, Daur Dá Bláo [b] ("Oak of Two Meadows" [8] [10] [c]) and Cóir Cetharchair ("Four-Angled Music" [11] or perhaps rather "Four-sided Rectitude" [12] [13]). On this harp, the Dagda ...
After the medieval harp, the Gothic harp became the popular style of harp in the Renaissance. These harps grew to be larger with more strings. Brays were added for resonance on lower bass strings. Throughout the seventeenth and eighteenth centuries, harp makers in Europe added levers and other mechanisms to increase chromatic capability of the ...
On a low-headed harp the corr was morticed at the bass end to receive a tenon on the lámhchrann; on a high-headed harp this tenon fitted into a mortice on the back of the lámhchrann. The com (soundbox) was usually carved from a single piece of willow, hollowed out from behind. A panel of harder timber was carefully inserted to close the back.
Harpens kraft (Danish) or Harpans kraft, meaning "The Power of the Harp", is the title of a supernatural ballad type, attested in Danish, Swedish, Norwegian, and Icelandic variants. In The Types of the Scandinavian Medieval Ballad it is catalogued type A 50, "Man saves his bride from merman by playing his harp".
An' I'll learn you the art o' war, If you'll meet me i' the morning." [5] (Chorus) Hey, Johnnie Cope, are ye wauking yet? Or are your drums a-beating yet? If ye were wauking I wad wait To gang to the coals i' the morning, When Charlie looked this letter upon, He drew his sword the scabbard from, Come, "Follow me, my merry merry men,
The equestrian monument in Hawick, commemorating the defeat of a group of English border reivers in 1514, and bearing the motto "Teribus Teriodin".. Teribus ye teri odin or teribus an teriodin (Scots pronunciation: [ˈtirɪbəs ən ˌtiri ˈodɪn]) is popularly believed to have been the war cry of the men of Hawick at the Battle of Flodden, [1] and has been preserved in the traditions of the ...
Songs sought to reassure the owner of the tomb about his fate after death by way of praise. [5] The greater freedom, in the case Harper's Song from the Tomb of King Intef, even went so far as to doubt the reality of an afterlife, lamenting death and advising that life should be enjoyed whilst it could. [ 5 ]