Choral Performance Of Mo Ghille Mear

In this first set of interrogations, I observed a choral performance of “Mo Ghille Mear,” which translates to “My Gallant Hero,” by the University College Dublin’s Choral Scholars, and “Tozvireva Tingaputike Neshungu” by Mbira DzeNharira, a “mbira orchestra.” Each performance had their own distinct traits, as coming from two contrasting cultures in different hemispheres. “Mo Ghille Mear,” an Irish composition, was performed almost completely without any instruments except for the bodhrán, which is a percussion instrument. The Mbira DzeNharia piece on the other hand, included a variety of instruments such as the mbira, the hosho, and as well as another idiophone. Through the L-V Guide (Learning and Viewing) and MasCOT (Music as Culture, Object,
The bodhrán player serves as the pace keeper for song, and comes in at 1:08 playing triplets very powerfully and accenting on the beginning of each measure. The singing is completely dependent on the lead singer, there were no instances where the rest of the choir took over. This song itself is very “Western” in the sense that its structure is straight-forward and linear, meaning it goes straight through from a beginning to an end, given that there are choruses that repeat. At 2:32 there is an indication that the bridge is approaching as there is a huge change in the way the choir joins back in quietly. The bodhrán and lead singer work to further amplify this change at 3:05 by jumping back in with a big crescendo, which means an increase in volume, and the bodhrán changes his rhythm from 4 triplets to 4 straight quarter notes to emphasize each beat. Though there are 19 singers versus the 1 lead singer, they all do a fantastic job of balancing out their sound and their respective parts, creating this angelic sound that has people mesmerized regardless that the words are in an ancient