TRADITIONAL MUSIC

IF MR. James Joyce were to return to Dublin today and if Mr. Leopold Bloom were to come back and make his famous journey through the city as he did on the first "Bloomsday" in 1904, they would both find great changes indeed. Being the kind of persons they were, they would certainly notice very quickly the change in musical taste and the changing face of the Dublin pubs; and, in our day, music and pubs are not unconnected subjects. True, Bloom might still meet a Nosey Flynn or a Bantam Lyons or a Paddy Leonard in Davy Byrne's moral pub in Duke Street and, as in 1904, discuss the chances of picking a winner for. the Ascot Gold Cup. As for music; well . that's another story. By Ciaran MacMathuna.

"Doing any singing these times?"; that was the question Nosey Flynn put to Bloom, referring of course to Mrs. Bloom who had some reputation as a conccrl singer. In her famous soliloquy she recalls singing Maritana with Simon Dedalus in Freddy Mayers private opera. In the Dublin of 1977 she might find it very hard to get a regular live audience for her Edwardian concert repertoire. She might do alright in Cork or Limerick or Australia. To be fair, the fine arias and the grand voices of the past still have a most enthusiastic audience today in the nostalgic Radio programmes of Tommy O'Brien, one of our greatest broadcasters.

Mr. Bloom, however, with underrstandable regret, would have to tell Nosey Flynn, over his glass of Burgundy in Davy Byrne's, that in 1977 Irish traditional music had come into its own and to a great extent had taken over from the conventional recital of the good old days.

Not only that, but the very sanctuary of the pub had been violated by young men and slips of girls playing tin whistles and fiddles and singing folkksongs in Irish and English.

Not that James Joyce was unaware or unsympathetic to this kind of music. After all the main theme of his great short story The Dead centres around a traditional song, The Lass of Aughrim, better known in another Irish version as Lord Gregory. Mr. Bartell D 'Arcy had sung the song at the Misses Morkan's annual dance at their home in Usher's Island and it brought back to Gretta Conroy loving but sad memories of a young, delicate boy in Galway, who used to sing this song for her, but who went into decline and died.

But neither Mr. Joyce nor Mr. Leopold Bloom nor anyone else could have forseen the tremendous upsurge of interest in Irish traditional music which has happened, not in the last seventy years but certainly in the last twenty five years. For good or ill, there has been a sort of cultural revolution in this period and the widening of interest in our own folkmusic is a very significant part of this revolution. It must be said straight away that, in general, this has been for good rather than for ill. The causes of this new wave of interest in our old music have been discussed many times but it might be no harm at all, from time to time, to look at some of its manifestations. Is there a danger that the wave may be taking traditional music off course or could the wave become tidal and swamp the product it is meant to be carrying?

Let us look at one aspect. The traditional music re-awakening has produced many personalities and many institutions. One of these institutions is the All-Ireland Fleadh Cheoil, organised by Comhaltas Ceoltoiri Eireann, an organisation which has done so much to foster our music. One suggestion put forward is the spreading of the Fleadh Cheoil over a longer period and over a wider area to include a number of towns and villages in the selected county. As already pointed out in the case of this year's Fleadh, many musicians were moving out anyway. There would of course be organisational problems involved in such a change but it does at least merit consideration.

The Fleadh Cheoil is one of our biggest and most important annual festivals by any standards. It was held this year in Ennis at the end of August and, if one may be permitted a paradox, it was so well organised and so well attended that it was almost a failure. Thousands of people who came to hear music did not succeed in doing so. The best of musicians were there, playing the best of music but only the lucky ones got to hear them.

The formal functions and concerts were packed to capacity. The streets were too crowded for any comfortable outdoor music. The informal sessions, which are so important to the general atmosphere of the Fleadh, became virtually private sessions and you needed influence to get near one. The pubs were unable to cope and many of them closed their doors. If you were lucky enough to be in a place where there was music you had to stay there because if you ventured ou t the chances were that you failed to get in anywhere else. Musicians in turn found it difficult to play with the sheer weight of people around them and many of them moved out for quieter sessions to outlying towns and villages like Miltown Malbay, Inagh, Ruan or Corofin.

In general the bigger the Fleadh Cheoil the less people you meet and the less music you hear. There is no question of blaming anyone for this  the Fleadh is being killed by success. Nor should there be any question of abandoning this great festival no more than the Derby or the Races should be abandoned because one tenth of the people who attend never get to see a horse. But there should be re-thinking and perhaps some new formula or new format might emerge which would make more accessible to everybody and especially to those who; for one reason or another, do not like the pub atmosphere. Do not imagine for a moment, dear reader, that the present writer has anything against pubs; most of his best friends are publicans!

One suggestion put forward is the spreading of the Fleadh Cheoil over a longer period and over a wider area to include a number of towns and villages in the selected county. As already pointed out in the case of this year's Fleadh, many musicians were moving out anyway. There would of course be organisational problems involved in such a change but it does at least merit consideration.

TRADITIOIAL LISTIIGS

Abbey Tavern Howth Co. Dublin Tel 322006 Loud and crowded, often with tourists, but good entertainment from resident musicians and ballad singers. Mock tudor whitewash and oak beams and very nice too. Expensive sea food restaurant if the decibels and the heat pall. Open Mon to Sat. Sessions start about 8.30 p.rn, Admission 60p.

Baggot Inn Baggot Street Dublin 2Tel761430 Lively, young and untidy, limited in comfort but good atmosphere. Top folk and ballad groups. Ronnie Drew is here most Monday nights. Music Fri Sat Sun Mon nights. Sessions start about 8.30 p.m. Admission between SOp. and 70p. depending on who's on.

The Four Seasons 199 North King Street Dublin 7 Tel 745517

The time to go here is a Sunday morning when John Kelly, master fiddle player, presides guru-like, with followers of traditional music. Limited space and a reverent atmosphere but this is an experience for addicts. Usual pub prices and pub hours. No admission charge.

O'Donoghue's 15 Merrion Row Dublin 2

Tel 762807

The first house of Irish folk music, meeting place for musicians and singers from all over the world. If you're lucky you may chance on an all day, all night session. Crowded, so advissable to go early, especially at weekends. Limited, good food available. Usual pub prices and pub hours. No admission charge.

Spancil Kitchen South Richmond Street Dublin Tel 781294

Late night music place above the Ozark restaurant. Good music provided by often unknown resident musicians with big name dropping in from time to time to do their th ing. Admission charge of £1.50 gets you a meal of bacon and cabbage or Irish stew. Wine extra. If you have a meal in the Ozark resstaurant you can get in free. Open Friday to Sunday 10.00 p.rn. to 2.00 a.m.

Tailors' Guild Hall Christchurch Dublin 8 Tel 780797

18th century hall in the Liberties with ideal atmosphere for folk and ballad music. Regular entertainments are Bluegrass on Thursdays, Barethread Folk Club on Fridays, Ballads on Saturdays. Small bar with drink at standard prices. Open seven nights a week. Sessions usually start at 9 p.rn. Admission 40p. to 50p.

Lynch's Ceili House Cogan Street Oldcastle, Co Meath Tel Oldcastle 207

Michael Lynch and his family are all talented musicians and this small pub has now become a mecca for traditional music lovers. If you're lucky you'll hear Sean Maguire, master fiddler, Joseph ine K7egan on the fiddle and piano, or the Lynch Brothers ceili band. Music Mon Wed Fri Sat Sun. Sessions start about 9.00 p.rn, Usual pub prices, no admission charge.

Rakish Paddy's lissnacusha Lanesboro Co Longford Tel Longford 21123

The bar is dominated by a massive JohnBehan sheetmetal sculpture of traditional performers on the fiddle and flute, a fair guide to the entertainment on offer. Over the years most top musicians have found their way to this small friendly pub off the beaten track in lakeeland country. Music sessions (on Saturday nights only during the winter months) start at 9.00 p.m. Admission 50p.

The Merriman Tavern Scarrif Co Clare Tel Scarrif 11

This friendly wooden-clad pub developed its formidable reputation for traditional music from the now legendary fleadhanna held in Scarrif over a decade ago. It is now regularly visited by top traditional musicians as well as the cream of the talent in Co. Clare. The Bothy Band, Clannad and Paddy Reilly are all due to play here in October. Music sessions (on Saturrday nights only during winter months) start at 9 p.rn , Admission 75p. to £1.