213:
29:
269:"The genealogy, rank, possessions, the virtues and vices of the dead were rehearsed, and a number of interrogations âwere addressed to the deceased: as, why did he die? If married, whether his wife was faithful to him, his sons dutiful, or good hunters or warriors? if a woman, whether her daughters were fair or chaste? If a young man, whether he had been crossed in love? or if the blue-eyed maids of
324:
152:
which can be variably extended or shortened. It seems that there was never an established keening âtextâ; 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,
1185:
is most strongly associated with the old family or ancestral home and land, even when a family member dies abroad. The cry, linked predominantly to impending death, is said to be experienced by family members, and especially by the local community, rather than the dying person. Death is considered
1236:
Most manifestations of the banshee are said to occur in
Ireland, usually near the home of the dying person. But some accounts refer to the announcement in Ireland of the deaths of Irish people overseas... It is those concerned with a death, at family and community levels, who usually hear the
469:
sang a traditional keening song which he learnt from his grandmother BĂ©ib (Bairbre) UĂ MhaoilchiarĂĄin, who had lived during the nineteenth century. The recording is available on the official Joe Heaney website. Heaney was also recorded discussing his childhood memories of keening women in
160:
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
189:(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.
262:, from the final note of the preceding stanza, in which they were answered by the head semichorus; then both united in one general chorus. The chorus of the first stanza being ended, the chief bard of the foot semichorus began the second
98:
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
352:. A banshee could sing when a family member died or was about to die, even if the person had died far away and news of their death had not yet come. In those cases, her wailing would be the first warning the household had of the death.
232:
William
Beauford (1735â1819) described in detail the practice of keening at a traditional Irish funeral ceremony and transcribed the keening melodies that were sung. He provided the following information:
202:), 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
196:(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 (
504:
Scottish music archive has two recordings related to keening which are available to the public; the first is a keening song sung by Calum
Johnston (1891â1972) of
40:. She had "black, uncombed locks" and a blue cloak, and held her hands above the body then dramatically waved them in the air "as if by sudden inspiration".
1198:
209:
The practice of keening was "generally adhered to" throughout
Ireland irrespective of social class until around the middle of the 18th century.
125:("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.
845:
1086:
1384:
206:, the practice of watching over the corpse, which takes place the night before the burial, and may last for more than one night.
254:"The chief bard of the head chorus began by singing the first stanza in a low doleful tone, which was softly accompanied by the
501:
627:
1454:
1044:
1014:
949:
918:
735:
1136:
Russell, Michael. View of
Ancient and Modern Egypt: With an Outline of Its Natural History. Vol. 3. Oliver & Boyd, 1838.
266:, or lamentation, in which they were answered by that of the head, and as before, both united in the general full chorus."
529:
The lack of authentic recordings of keening songs may be due to the reluctance of singers to share something so private.
1470:
1221:
1170:
1150:
Cusack, Mary-Frances. An
Illustrated History of Ireland; from the Earliest Period. By CM F. Longmans, Green, 1868.
1502:"Humanities Research (Expressing, Communicating, Sharing and Representing Grief and Sorrow with Organized Sound)"
387:
1135:
284:
He wrote that mourners would often rock back and forth and clasp their hands together during the keening song.
251:
The relations and keeners were arranged in two divisions, one at the head, the other at the foot of the corpse.
760:
563:
497:
as a âpurring,â beginning âin the 'chest or throat on a low key and rising gradually to the highest trebleâ.
1562:
485:, both entitled Caoineadh na Marbh ('The Keening of the Deadâ). Both of the recordings, which were made by
374:
Authentic keening was effectively extinct by the early twentieth century. One of the attendees at the 1905
1552:
1287:
994:
1567:
383:
1501:
1557:
1262:
1572:
1149:
972:
486:
221:
1542:
419:, which can be heard online. A recording of Gallagher's keening song was featured on the album
379:
1440:
721:
935:
908:
537:
332:
20:
1338:
1030:
1547:
717:
561:
performed a comical version of a keening song for a sketch called "The
Funeral" as part of
1111:
1006:
675:
Lysaght, Patricia (1997). "Caoineadh os Cionn Coirp: The Lament for the Dead in
Ireland".
8:
1446:
684:
581:
84:
1192:
1036:
889:
696:
277:
100:
69:
37:
1392:
1359:
355:
Keening women have been described as "the (human) structural adjunct of the banshee".
1577:
1514:
1450:
1227:
1217:
1176:
1166:
1040:
1010:
945:
914:
823:
731:
542:
494:
301:
481:(1957) has two recordings of keening songs collected from the oral tradition on the
394:, later recalled that it was the last funeral in which the tradition of Keening, or
132:, a "Kinah" is a lament, especially as sung by Jewish professional mourning women. "
813:
803:
688:
692:
345:
203:
186:
129:
116:
88:
1414:
874:
649:
1313:
554:
520:
412:
112:
60:
48:
761:"Part of a Caoineadh in the Conamara Tradition â Cartlanna Sheosaimh UĂ ĂanaĂ"
1536:
1518:
1231:
1180:
827:
558:
458:
Agus och, och, airiĂș, gan thĂș, gan thĂș (Alas, alas, without you, without you)
154:
149:
137:
1032:
Interdisciplinary
Perspectives on Mortality and its Timings: When is Death?
547:
482:
375:
359:
317:
309:
217:
168:
The keen can be formed of three motifs: The salutation (introduction), the
33:
28:
508:, and the second is a verse performed by Donald MacIntyre (1899â1964) of
446:
Agus anuiridh, nĂl duin ar bith agam (I've been left alone after a year)
255:
229:
212:
937:
Writing and
Society: Literacy, Print, and Politics in Britain, 1590â1660
893:
808:
791:
700:
586:
509:
462:
416:
293:
818:
308:
times. Keening has strong parallels in the Middle East and elsewhere.
280:
described Irish funeral traditions and keening songs in his 1841 book
1509:
727:
523:
471:
466:
1060:
526:
in the 1940s, and described and sang a rendition of what she heard.
941:
576:
408:
401:
396:
258:: at the conclusion, the foot semichorus began the lamentation, or
92:
80:
415:, Ireland sang a keening song she had learnt from an old woman to
1087:"'The Aran Fisherman's Drowned Child' by Frederic William Burton"
596:
391:
363:
349:
328:
162:
76:
148:
The tune and lyrics rely on the repetition of a couple of basic
591:
133:
65:
36:
in the early nineteenth century, depicted from the memories of
601:
505:
305:
297:
180:
169:
72:
1339:"Death Customs and Caoineadh â Cartlanna Sheosaimh UĂ ĂanaĂ"
875:"Caoinan: or Some Account of the Antient Irish Lamentations"
407:
In the early 1950s, CitĂ NĂ GhallchĂłir (Kitty Gallagher) of
91:
languages (the Scottish equivalent of keening is known as a
270:
245:
238:
193:
973:"The Irish Funeral Cry (the Ullaloo, Keeners and Keening)"
792:"Keening the Dead: Ancient History or a Ritual for Today?"
331:, Fairy Legends and Traditions of the South of Ireland by
323:
224:, which appears to show paid keening women in the doorway.
650:"The Keening Tradition â Women's place in Gaelic society"
423:(1995). Below is Gallagher's version with a translation.
1212:
Lysaght, Patricia; Bryant, Clifton D.; Peck, Dennis L.
220:
Fisherman's Drowned Child" (1851) by the Irish painter
519:, heard keening in its traditional environment in the
369:
1471:"Robin Williams Helps Carole Burnett Express Herself"
1145:
1143:
910:
Literacy and Orality in Eighteenth-Century Irish Song
1112:"BEAUFORD, WILLIAM â Dictionary of Irish Architects"
474:
and the ways funeral traditions have changed since.
244:
The body, "ornamented with flowers, was placed on a
140:, commemorating the destruction of the Holy Temple.
136:" (plural) are mournful dirges recited each year on
1442:Critical Companion to Eugene O'Neill, 2-Volume Set
1140:
846:"All you ever wanted to know about an Irish Wake"
1534:
1163:Celtic culture : a historical encyclopedia
550:mourning the death of their loved ones at sea.
1214:Encyclopedia of death and the human experience
716:
512:said to have been used by paid keening women.
1211:
872:
635:. London: Howe and Parsons. pp. 221â236.
1513:. 3. Australia: ANU E Press. pp. 3â14.
1499:
1314:"Lyr Req: Keening Song (from Peter Kennedy)"
1197:: CS1 maint: multiple names: authors list (
1028:
839:
837:
282:Ireland: Its Scenery, Character and History.
1415:"Keening Tradition : The Keening Wake"
1263:"Keen for a dead child, by Kitty Gallagher"
882:The Transactions of the Royal Irish Academy
789:
546:(1904) features a chorus of women from the
455:DĂĄ mbeithea go moch agam (If I were early)
440:TĂĄ tĂș ar shiĂșl uaim (You are gone from me)
429:Word for lamenting â no literal translation
362:was said to be closest to the wailing of a
197:
165:, that is sounds that are without meaning.
120:
1438:
993:
181:Historical record and performance practice
83:. Keening, which can be seen as a form of
1250:The Life and Legacy of a Hebridean Priest
1061:"The Irish Wake â Customs and traditions"
834:
817:
807:
1186:inevitable once the cry is acknowledged.
843:
322:
211:
175:
111:"Keen" as a noun or verb comes from the
75:tradition, known to have taken place in
27:
906:
674:
437:Cad a Dhéanfaidh mé? (What will I do?)
296:, is as old as funerals, going back to
1535:
1237:banshee, rather than the dying person.
933:
287:
967:
965:
963:
961:
532:
59:
868:
866:
785:
783:
781:
779:
777:
755:
753:
751:
749:
747:
644:
642:
625:
621:
619:
617:
1311:
370:Survival into the twentieth century
13:
1160:
1003:Keening and other Old Irish Musics
958:
629:Ireland, Its Scenery and Character
388:St Michael's Roman Catholic Church
143:
14:
1589:
1161:T., Koch, John (1 January 2006).
863:
774:
744:
639:
614:
64:) is a traditional form of vocal
944:: Psychology Press. p. 86.
192:In ancient times, a chief's own
87:, is performed in the Irish and
1500:Sorce Keller, Marcello (2013).
1493:
1463:
1432:
1407:
1377:
1352:
1331:
1305:
1280:
1255:
1242:
1205:
1154:
1129:
1104:
1079:
1053:
1022:
987:
927:
873:Beauford, William (1790â1992).
844:Jo Smith, Cathy (26 May 2009).
452:Agus mé liom fein (I am alone)
312:compared Gaelic keening to the
1288:"Traditional Songs of Ireland"
900:
710:
668:
515:Phyllida Anam-Ăire, author of
348:, keening laments are sung by
1:
999:Caointe agus Seancheolta Eile
913:. UK: Routledge. p. 85.
723:Roles of the Northern Goddess
693:10.1080/0015587X.1997.9715938
607:
564:Carol, Carl, Whoopi and Robin
463:Seosamh Ă hĂanaĂ (Joe Heaney)
241:prepared the keen in advance.
32:A woman keening at a wake in
1252:, Birlinn Limited. Page 191.
1029:McCorristine, Shane (2017).
421:Traditional Songs of Ireland
273:had treated him with scorn?"
172:(verse), and the gol (cry).
106:
7:
1439:M. Dowling, Robert (2009).
1005:] (in Irish), Ireland:
570:
339:
10:
1594:
790:Mc Laughlin, Mary (2019).
384:Scottish Gaelic literature
18:
1248:Roger Hutchinson (2010),
1165:. ABC CLIO. p. 189.
489:, are reminiscent of the
434:Agus a leanbh (My child)
248:, or some elevated spot."
16:Vocal lament for the dead
517:The Celtic Book of Dying
907:Henigan, Julie (2015).
487:Sidney Robertson Cowell
292:Wailing and singing in
222:Frederic William Burton
934:Wheale, Nigel (1999).
460:
382:, an iconic figure in
336:
225:
198:
121:
52:
41:
718:Ellis Davidson, Hilda
626:Hall, Samuel (1841).
538:John Millington Synge
425:
333:Thomas Crofton Croker
326:
215:
185:In the 12th century,
176:History and mythology
31:
21:Keen (disambiguation)
1385:"Tobar an Dualchais"
1360:"Tobar an Dualchais"
1216:. SAGE. p. 97.
995:Ă MadagĂĄin, BreandĂĄn
977:Dublin Penny Journal
685:Taylor & Francis
68:for the dead in the
19:For other uses, see
1563:Culture of Scotland
1395:on 10 November 2021
809:10.3390/rel10040235
288:Parallels elsewhere
187:Giraldus Cambrensis
101:traditional singers
1553:Culture of Ireland
1389:Tobar an Dualchais
1364:Tobar an Dualchais
1292:mainlynorfolk.info
1267:Alan Lomax Archive
1037:Palgrave Macmillan
1007:ClĂł Iar-Chonnachta
533:In popular culture
502:Tobar an Dualchais
400:, was used in the
337:
278:Samuel Carter Hall
226:
42:
38:Samuel Carter Hall
1568:Music of Scotland
1477:. 29 January 2015
1456:978-0-816-06675-9
1091:farmersjournal.ie
1046:978-1-137-58328-4
1039:. pp. 4â10.
1016:978-1-902-42097-4
951:978-0-415-08498-7
920:978-1-138-66465-4
737:978-0-415-13611-2
543:Riders to the Sea
228:Around 1791, the
61:[ËkiËnÊČÉ]
1585:
1558:Music of Ireland
1529:
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1391:. Archived from
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663:
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654:The Keening Wake
646:
637:
636:
634:
623:
582:Sean-nĂłs singing
540:'s one-act play
310:Sir Walter Scott
201:
124:
85:sean-nĂłs singing
63:
58:
1593:
1592:
1588:
1587:
1586:
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1573:Women and death
1533:
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1523:
1521:
1504:
1496:
1491:
1490:
1480:
1478:
1475:Improvised Life
1469:
1468:
1464:
1457:
1449:. p. 743.
1437:
1433:
1423:
1421:
1419:keeningwake.com
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835:
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738:
730:. p. 168.
715:
711:
673:
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573:
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493:, described by
380:Allan MacDonald
372:
346:Irish mythology
342:
290:
183:
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146:
144:Melody and text
130:Biblical Hebrew
117:Scottish Gaelic
109:
89:Scottish Gaelic
56:
24:
17:
12:
11:
5:
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1312:Spiegel, Max.
1304:
1279:
1254:
1241:
1222:
1204:
1171:
1153:
1139:
1128:
1103:
1078:
1067:. Ireland. n.d
1052:
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986:
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773:
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555:Robin Williams
534:
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495:Eugene OâCurry
413:County Donegal
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1543:Death customs
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1447:Facts On File
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1223:9781412951784
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1172:9781851094400
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851:
850:Irish Central
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559:Carol Burnett
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479:Songs of Aran
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344:According to
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