Carn Mor de Chlachan Beaga, A Large Cairn from Small Stones: Multivocality and Memory in Cape Breton Gaelic Singing

• Main Author: Conn, Stephanie
• Other Authors: Kippen, James R.
• Format: Thesis
• Language: English
• Published: 2012
• Subjects: Gaelic; Cape Breton; song; singing; tradition; musical transmission; memory; phenomenology; Scotland; Nova Scotia; ethnomusicology; folklore; archive; music and place; Turner; Ricoeur; 0413; 0326; Breton Island; Cairn
• Online Access: http://hdl.handle.net/1807/33892

Since the first Scottish Gaelic-speaking settlers arrived in Nova Scotia in the late 18th century, their Gaelic singing tradition has been an integral part of life in communities on Cape Breton Island. With the waning of the Gaelic language, however, came efforts to collect and preserve the song tradition, and the intention to pass it along intact. This dissertation eschews the consideration of Gaelic singing as a monolithic tradition with a common repertoire and experience, and instead examines it as a multifaceted process enacted by individuals in three main sites: home, public performance and the archive. It examines the various ways the practice manifests itself, concluding that memory and individual agency are constants, both for singers and listeners. Through interviews, participant-observer activity and archival research, this study demonstrates that Gaelic singers have been far from passive culture-bearers but have instead actively shaped their song practice by choosing repertoire, melody variants and texts. It also discusses the dynamic role of memory and social interaction in the transmission and performance of Gaelic song. Memories of other singers, discussion of the text, and contextual details draw singers and listeners into a community that is both synchronic and diachronic. This practice is chiefly oral, but is supported by recordings and printed songbooks as well as an array of objects – photo albums, clippings, tapes – which evoke the sense of previous performances and their singers. Despite their intention to transmit the songs with little or no change, singers have a flexible relationship with the material and in some cases subvert the authority of recorded or printed sources by turning instead to first-hand experiences. This simultaneous presence of past and present has tremendous implications for what it means to know a song, and one comes to understand it as a composite of multiple memories, performances and meanings.