Dominik aczek

History of the Celts in music and lyrics

Gliwice 2014
Contents
0
Introduction.......................................................................................................................2
Historical ack!round......................................................................................................."
Celtic music.......................................................................................................................#
Ireland................................................................................................................................$
Danny oy.....................................................................................................................$
%rance................................................................................................................................&
'ri (artolod..................................................................................................................&
)n )larc*h...................................................................................................................11
Germany..........................................................................................................................12
+ 'anne,aum...............................................................................................................1"
-cotland...........................................................................................................................14
)uld .an! -yne...........................................................................................................14
Hector the hero............................................................................................................1/
'he 0nited -tates............................................................................................................1#
1in!le ells..................................................................................................................1#
Good mornin! to all.....................................................................................................12
Conclusion.......................................................................................................................1&
i,lio!ra3hy....................................................................................................................20
-ummary in 4olish......................................................Bd! Nie zdefiniowano zakadki.
1
Introduction
)s a musician5 I was always interested in folk music which was 6ery different
from that 3er6asi6e domination of the international 3o3 culture. I found out that there
were many fascinatin! instruments5 sounds5 scales5 rhythm 3atterns and e6en
7uartertones to disco6er. I !ot totally in6ol6ed into research5 writin! down e6erythin! I
found meticulously. )fter a while I noticed that there was somethin! common in the
world of folk music5 re!ardless of the area or time. It was a !reat ci6ilisation5 either
fascinatin! and mysterious5 that cau!ht my attention. 'he ci6ilisation of the Celts. %ull
of ma!ic5 druidic enchantments5 ,attles and cultural influences. I had heard of it ,efore
in many fantasy ,ooks ,ut I realized that my knowled!e of the Celts was ine8act or
e6en false. It turns out that the 3eo3le were much more colourful than they were
3resented in the ,ooks and stories or durin! the 3erformances of such artists as Celtic
9oman or .oreena (c:ennitt ;who is one ha6in! the !reatest im3act on my artistic
consciousness<.
In my work5 I decided to include and analyse the most 3o3ular of son!s ha6in!
Celtic roots. +ne has to remem,er that a 6ast ma=ority of the son!s are considered as
modern ,ut their under3innin!s and 3arts of melody were 3resent in the Celtic culture
for a!es. 'hat is a factor that ,rin!s ad6enture to makin! research in this area. 9e could
ima!ine that some of the music 3ieces that are 3resent in minds of many of ordinary
3eo3le were sun! around a fire3lace far away from here. .istenin! to the tunes can
create a sense of ,elon!in! to a ,rotherhood. 'he notes 3layed ,y different instruments
are like lea6es 3resent in the natural en6ironment of the Celts > !reen ima!ery of a
wood.
2
Historical Background
It is hard to descri,e Celtic music and cultural herita!e without ,ein! conscious of their
history. )t the same time5 for certain reasons Celtic history remains ,lurred for modern
researchers and historians. +ne of the ma=or 3ro,lems that they ha6e to face is lack of
written records that would come directly from the 3eo3les ? a 6ast ran!e of Celtic
3o3ulation was illiterate. %ortunately5 modern technolo!y allows us to look dee3er into
that rich culture which still influences our modern ci6ilization and societies ? the 3arts
of @uro3e that were influenced ,y the Celts seem to ,e stron!ly attached to their 3ast
referrin! to the culture of their ancestors.
'he second 3ro,lem a33ears in the unsta,le location and 3o3ulation. (any of Celtic
tri,es differed ,etween themsel6es which can ,e 3resented in the e8am3les of their
deities. 9hat is more5 ha6in! a 3rimiti6e culture at the ,e!innin!5 the Celts were likely
to assimilate with local cultures they were in6adin! and 6isitin!. 'hat makes trackin!
,ack their roots much more difficult. 'hat is why many of the researchers starts from an
in6esti!ation of lan!ua!es su33osedly of Celtic herita!e. 'hey collect words that are not
likely to chan!e ;e.!. 3arts of ,ody< and try to mer!e them with familiar words as likely
as comin! from the Celtic lan!ua!es.
'he first mention of 3eo3le that could ,e connected with the Celts has ,een found in
Italy and comes from 400 .C. ,ut it is ,elie6ed that their history ,e!an much earlier.
'he Celtic history is usually di6ided into 3eriods and times of s3ecific cultures.
'here are two tri,es that seem to ,e ancestors of the Celts. 'umulus 4eo3le that li6ed in
the north of the )l3s and 0rnfield 4eo3le known for their ,urial 3ractice. )round 15000
C the two cultures =oined and !a6e ,irth to 6ery influential and stron! !rou3in!s of
"
communities. 'hey soon ,ecame dominant in the area of Danu,e asin5 started
e6ol6in! and s3eakin! the Indo?@uro3ean dialect that could ,e descri,ed as A3roto?
CelticB.
'he true Celtic culture was introduced at Hallstatt5 a 3lace situated in the south?west of
modern -alz,ur! in )ustria. 'he Celts were the first who domesticated horses and used
them in their salt mines. 'he lar!e e83ansion of salt?manin! made Hallstatt one of the
most im3ortant tradin! centres north of the )l3s. +ne of the most noticea,le thin!s was
their ,urials made for the dominant leaders and warriors. It shows the !rowin! 6alue of
art and 3resti!e !oods.
)fter the Hallstatt 3eriod the .a 'ene 3eriod came. It is the 3eriod of diffusion and
e83ansions. 'he tri,es se3arate decidin! to inha,it different lands includin! lands of
modern ritish Isles5 %rance and much of Central @uro3e ;includin! 4oland<.
)round "&0 C more than "05000 Gauls ;one of the Celtic descendants< marched
a!ainst Clusium5 the @truscan city. 'hat made the inha,itants ask Come for hel3. Come
answered ,y sendin! three am,assadors. 'he inter6ention resulted in killin! the GaulDs
leader enra!in! them and 3ro6okin! them to attack Come.
'he rest of Celtic history is filled with 7uarrels with Comans. 'he !rowin! @m3ire was
3ushin! the 3eo3le to mo6e westwards. )lthou!h the ma=or 3art of @uro3e was under
the rule of Comans5 Celtic Ce3resentants still 3layed an im3ortant role in the world.
'hey were rulers a33ointed ,y Coman @m3eror to rule some 3arts of their lands.
'he Comans had also another way of con7uerin! new lands. 'hey in6ented
AComanisationB > after their army a33eared on a land they ,e!an teachin! 3eo3le Ahow
the Comans do itB and into8icated a society with their culture. If the con7uest in6ol6ed
4
military inter6ention they immediately raised a monument of an Aau!ustusB > this title
was allotted to 3resent and 3ast @m3erors and !a6e di6ine meanin! to certain 3erson.
'he Comans also 3resented their rulers as incarnation of 6arious !ods that were
worshi33ed on the con7uered lands to af=rt 3eo3le with the ima!e of the @m3eror.
%or a lon! time5 the last area remainin! non?dominated ,y the @m3ire was the ritish
Island. It was caused mainly ,y intensi6e trade ,etween the @m3ire and ritain. (any
of the researchers claim that ACaesar*s in6asions of ritain had ,een for 3resti!e rather
than for con7uestB.
1
'he reason a33eared when the 3ower o6er ritain was collected in
the hands of Cuno,elinos. His o33onents and ri6als decided to ask Come for hel3. 'he
in6asion was 6ery successful and the Comans !arrisoned the -outhern and @astern 3art
of the Island. 'he Celts weren*t likely to surrender e6en they had failed. 'hat caused
many re,ellions and stru!!les for freedom. +ne of the most si!nificant cases was
oudicca. )fter 4rasuta!os5 Iceni kin!5 died lea6in! the Coman em3eror as his heir in
order to 3rotect his 3eo3le5 the Comans didn*t kee3 their word and massacred the whole
land. oudicca5 a widow after 4rasuta!os ,ecame an ins3iration for all 3eo3le ho3in!
for ,etter mornin!.
In statue she was very tall, in appearance most terrifying, in the glance of her
eye most fierce, and her voice was harsh. A great mass of very tawny hair fell to her
hips, around her neck was a large gold necklace, and she wore a tunic of varying
colours, over which a thick mantle was fastened with a brooch.
)ccordin! to her5 ,ecause of Coman e7ui3ment5 the Comans were A,orn into ,onda!eB
and the ritons Awere ,orn freeB. )lthou!h the fi!ht was lon! the ritons failed.
oudicca took 3oison and ended her life.
1
Daithi + Ho!ain5 The Celts: A history ;'he Collins 4ress 2002<
/
)fter the failure of oudicca5 the fi!hts sto33ed for a moment. ut more and
more ta8es were im3osed on ritish and Gauls. ut there were a few more re6olts to
come5 each of them was com3letely thwarted. )lthou!h the Celtic re3resentants were
fiery o33ortunists and had no 3ro,lems with moti6ation they failed in ,attles with
Coman army.
)fter all the successes the Comans were still lookin! northwards and dreamin!
of the con7uer of the whole ritain. 'he days of the Gauls were num,ered and it
,ecame clear that the twili!ht of the Celts is a,out to come. 'he last ,attle eru3ted in
)D $4 when the Caledonian and Coman forces met. +ne of the most si!nificant
remem,rance of the ,attle was the s3eech of the Celtic leader Cal!acos. It criticised the
Comans sayin! that Athey !i6e the false name of !o6ernment too ro,,ery5 ,utchery and
3lunder > they create desolation and they call it 3eaceB.
2
)lthou!h the s3eech didn*t
,rin! the success it was to ,e remem,ered ,y Cal!acos followers and enemies. )fter
that failure the only land that could ,ecome a shelter for the 3eo3le was Ireland >
modern source of knowled!e a,out the Celts.
Celtic music
'he term ACeltic musicB is nowadays misused and not reco!nized 3ro3erly. 'hat
errorEmistake created a di6ided 6iew on what really is Celtic music. )n ordinary listener
can consider celtic music e6ery rela8in!5 moody 3ieces of music that consist of musical
3hrases 3layed ,y national instruments of countries like Ireland or -cotland ;,a!3i3es5
Celtic har35 low whistle5 carny8<. In this case5 the term Celtic music is used
interchan!ea,ly with Irish music.
2
Ho!ain5 Daithi The Celts A Chronological istory ;'he Collins 4ress5 2002<5 1&2
#
%or more e83erienced listeners interested in this to3ic5 Celtic music is a
re3ercussion of Celtic culture that has ,een 3resent in @uro3e for 2/00 years. It
re3resents not only the musical as3ect of Celtic herita!e ,ut also 3oetry5 ele!ies5
historical documents etc. It sticks to traditional Celtic 3ieces of music comin! from
ritain5 Ireland5 -cotland ,ut also from %rance5 -3anish5 Italy > e6en 4oland. Celtic
culture had its influence on each of those countries as well as all those countries had
their influence on Celtic de6elo3ment and e8istence. ) careful listener will notice that
the 3ieces 3resented and cate!orized in this work are 6ery consistent5 ,ut at the same
time they ha6e 6isi,le influences from the re!ions they come from.
'he word ACelticB comes from the Greek word AkeltonB referrin! to ,ar,arian
tri,es 3resent in @uro3e at those times. 'hat is a 3ro3er word to descri,e the style and
mood of Celtic music which mainly touches such themes as lo6e5 =ourney5 e8ile5
uncertainty of tomorrow5 loneliness5 war. .yrics are stories of li6in! traditions
3resentin! the herita!e of the 3ast5 showin! res3ect to ancestors.
'he musical as3ect is as well interestin!. ) 6ast ma=ority of Celtic music
maintains certain rules. %irst of all5 Celtic 3ieces tend to e6ol6e and chan!e. 'here are
chan!es of themes and motifs that are 6ery often reintroduced. 'hat chan!ea,ility kee3s
conser6ati6e tendencies > the 6ariations emer!e slowly and are 7uite 3redicta,le due to
conse7uently res3ected 3rinci3les. )s a !enre 3resented and transmitted orally it carries
a !reat fluidity. Conductin! the research5 one can find a 6ast s3ectrum of 6ariations of
certain tune. -ometimes they differ in mood5 resolutions5 articulation5 etc.
Celtic music in ma=or 3art re3resents a wa6e of traditional 9estern @uro3e. It is clear
that in the first sta!e it was 3assed from one !eneration to another. 'hat made this !enre
2
hi!hly indi6idualistic and o3en for new inter3retations ,ein! called Amusic of the
3eo3leB.
'he characteristic sound and style 3resent in many Celtic 3ieces is achie6ed ,y a
common use of dorian and mi8olydian modes and 3entatonic scales. 'here were certain
3ieces that used such a rare scale as mi8olydian with flattened si8th ste3. +ne should
remem,er that the Celts were 3resent on the lands of the %ar +ccident > that
3o3ularized the use of different ran!e of instruments which ha6e 6ery s3ecific a,ilities
and usually differ in 3erformance and scale from the instruments known on the 9est.
'he e8istence of 7uartertones and flourishin! ornaments5 slurs and !race notes should
not ,e a sur3rise > that also makes difficult to transcri,e traditional 3ieces for the !uitar
or 3iano.
Ireland
Danny Boy
'he story of Danny oy ,e!ins in 1$// when A'he )ncient (usic of IrelandB
collection was 3u,lished ,y Geor!ie 4etrie5 a collector of music. 'he tune was 3ro6ided
to the collector ,y 1ane Coss of .ima6ady. %irst name of the tune was taken from
County .ondonderry in Forthern Ireland. A.ondonderry )irB ,ecame the national
anthem of Forthern Ireland. It is 6ery 3o3ular amon! Irish emi!rants.
In 1&2# %rederick 9eatherly wrote lyrics to the melody of A.ondonderry )irB and titled
the son! ADanny oyB. It was 3o3ularized ,y @l6is 4resley.
$
'he lyrics treat a,out a dead man shares his o,ser6ations he makes from the 3osition of
&
his !ra6e. -easons chan!e and the man has ho3e to see his ,elo6ed after their death.
10
SCORE 1
+ne of my fa6ourite 3erformances is the one of Celtic 9oman. )lthou!h it is
usually stated that the women ha6e small and delicate 6oices they unusually fit to the
s3irit of the tune.
France
Tri Martolod
A'ri martolodB is a traditional ritannic son! with rhythmic 3attern of !a6ot ;a
%rench dance<. It was 3o3ularized ,y )lan -ti6ell who disco6ered it amon! retonic
courses at the a!e of 1/. It is said that the melody and lyrics come from the 1&
th
century
> when it was 3ro,a,ly created ,y fishermen and mariners. 'he first 6ersion was called
11
)n tri?u!ent martolod ;'he si8teen mariners<. )ccordin! ernard .a,leiz5 there are "2
officially known 6ersions of the son! 6aryin! in te8t and lyrics.
Inter3retin! a traditional5 folk music 3ieces one has to take into consideration
that different 6ersions can ,e found. ) son! can ,e differently assimilated ,y 6arious
!rou3s. +ne of the most chan!ed as3ects of a 3iece is lyrics > it can differ due to
historical5 !eo!ra3hical and social as3ects. 'he same thin! ha33ened to A'ri martolodB
which ori!inally comes with ritannic te8t ,ut ,ein! soon translated into %rench. 'hat
made some of the 6ariations com,in! ,oth lan!ua!es. -ome theories e6en 3rom3t that it
was the %rench 6ersion that was translated into reton.
'here is another way of classification different 6ersions of the lyrics. %irst
cate!ory com,ines all short 6ersions of the te8t. .on!er te8ts ,elon! to the second
cate!ory. -ometimes their len!th is increased ,y some re3etitions or du3lication of
certain 6erses.
'he son! reminds me of a lon! =ourney where tens of mariners ha6e multi3le
tasks to do durin! their sail. 'he difficulties of the =ourney are eased ,y sin!in! chants.
+ne of the most formida,le 3arts of the son! a33ears in ,ar num,er three ? the
em,ellishment ;created from one 7ua6er and two semi?7ua6ers< is 6ery 3o3ular in folk
music. +ne of the factors that make 3eo3le fond of that !enre and se3arates it from
modern 3o3ular music > de6elo3ed melody.
12
SCORE 2
An Alarch
)n )larcDh5 also called .e Cy!ne ;Athe swanB< is a traditional retonic son! with
3atriotic messa!e. It features the moti6e of trium3hal return from the e8ile of 1ohn G
Duke of rittany ;also called the A'he -wan of (ontfortB<. His father was an @n!lish
3retender to the throne of rittany. )fter his father 3assed away5 1ohn inherited the
!rie6ances and5 with su33ort of his mother5 continued the ,attle for the title.
'he melody is interestin!ly ,e!un > the author uses anacrusis ;to ,e more s3ecific >
front?3hrasin!<. %or the first four ,ars a 3attern can ,e e8tracted > ,ars one and three
ha6e smaller note 6alues ;7ua6ers and semi7ua6ers< while ,ars two and four consist of
two crotchets. 'hat 3ro6ides a feelin! of harmony and a 7uestion?answer relation. 'he
fourth ,ar also consists a dotted crotchet which ,ecomes an end of a 3hrase and
introduction
'he son! consists of two time si!natures > 2E4 and "E4. 'he first fi6e ,ars chan!e the
time si!nature fre7uently. 'he last nine ,ars kee3 the time si!nature of 2E4.
1"
'he melody consists of three 3hrases. 'wo of them meet in the ,ar num,er four > the
3erfect cadence musically ends the first 3hrase and the second 3hrase ,e!ins minor third
hi!her. 'he third 3hrase introduces a new theme which is re3eated twice. 'o achie6e a
melodic 7uestion?answer from the first half of the 3hrase ends on the si8th ste3 of the
scale ;7uestion< while the second ends on the 3erfect cadence > the first ste3 of the scale
;answer<.
SCORE 3
Germany
Germanic territories were richly colonised ,y the Celts. 'he researchers thorou!hly
consider Germany as ,ein! one of the ,irth 3laces of such tri,es as el!ae5 )n!les5
%ranks5 1utes5 -a8ons5 Gisi!oths5 astarnae. (any of the scientists 3oint out similarities
in Germanic and Celtic customs and reli!ion. )s it can ,e noticed5 the main difference
,etween their 3hiloso3hical systems is the nomenclature. Celtic !ods are as well
reco!nized ,y German as their own. )ccordin! to -te3hen ). (cFallen5 Aa Gikin! of
the tenth century would likely ha6e felt 7uite comforta,le in a Celtic ritual amon! the
14
Gauls a thousand years earlierB. 'hat is also a 3roof of the homo!enization of those two
cultures. +ne of the causes why the Celts were so successful and e83ansi6e on those
territories was their assimilation with local tri,es.
'here is also a more scientific reason why we can consider Germans as of Celtic
ancestry. I!enea5 a !enetics cor3oration ,ased in Hurich made DF) analysis which
3ro6ed that almost 4/ 3ercent of modern inha,itants of Germany ha6e Celtic roots.
O Tannebaum
'he music comes from 1#
th
century -ilesian folk music 3iece A)ch 'anne,aumB.
'he 3iece was 3rimarily associated with @rnst )nschItz ,ut he was the author of
modern lyrics. He directs the words of the son! to the Christmas tree. It is a true
connection ,etween the new tradition that ,ecame 6ery 3o3ular in 1#
th
century ? 3lacin!
Christmas tree durin! Christmas time.
SCORE 4
1/
'he tradition of ,urnin! a s3ruce comes from 3a!an customs. It was ado3ted ,y
Christianity and 3o3ularized ,y (artin .uther :in!. rin!in! a fir or s3ruce tree home
,ecame a tradition much later. 4eo3le sto33ed ,urnin! the tree ;which was a sym,ol of
3rotection< and decided to 3ut candles.
cotland
Auld Lang Syne
) 3o3ular folk son! from -cotland. Its final 6ersion of lyrics was created ,y
Co,ert urns in 12$$. +ne of the occasions the son! is 3erformed at is Ho!manay >
-cottish Few Jear*s Cele,ration. It is reco!nized as one of the most 3o3ular and widely
3erformed son!s in the world. It was e6en sun! ,y Kueen @liza,eth II as a 3art of
modernization of the monarchy.
%irst !erms of the tune were disco6ered in an anonymous 3oem from 1/
th
century which
was 3u,lished ,y Gero!e annatyne > a -cottish collector of folk 3ieces. )t this time5
the 3oem was titled A)uld kindness %oryettB5 in 1$
th
century con6erted to A)uld .an!
-yneB5 3ro,a,ly ,y Co,ert )yton.
+ne of the most interestin! facts connected with )uld .an! -yne is that the melody is
not the one which urns wrote the lyrics to. 'he older 6ersion is still 3erformed ,y
some chanters. +ne of their re3resentants is (airi Cam3,ell who 3resented it on
+ri!inal -oundtrack of A-e8 and the CityB.
1#
SCORE 5
%or someone like me5 comin! from 4oland5 the son! recalls L+!niska =uM do!asa ,laskB
which is a scoutin! chant. I think it !i6es a similar im3ression to its ori!inal 6ersion.
Hector the hero
) lament of almost unsur3assed ,eauty written ,y 1ames -cott -kinner in honor
of (a=or General -ir Hector )rchi,ald (acDonald. (acDonald committed suicide after
accusations of homose8uality > his sensiti6eness amon! that 6iolence 3resent in
!arrisons was e83osed to unfounded char!es. )s it was re6ealed shortly after his death >
he had a wife and a son. 'hat was a 3u,lic =olt and a national shame for ritish army.
'here were5 for certain5 many reasons why the case files were soon destroyed.
12
SCORE 6
+ne of the most noticea,le and memora,le as3ects of the son! is common use of
a33o!!iatura which is no lon!er used ,ut is a characteristic e83ression and ornament for
-cottish ,a!3i3es. I think this is a ri!ht choice in case when a sound is considered.
9hen I listen to the son! 3erformed on the ,a!3i3es I can almost hear a lament hidden
on the sta6e.
!"e #nited tates
Jingle Bells
+ne of the most fre7uently 3erformed son!s5 1in!le ells ;also known as +ne
Horse +3en -lei!h< written ,y 1ames 4ier3ont. 'he 3iece is stron!ly connected with
Christmas5 which is usually considered as misinter3retation > the lyrics 3resent only the
ima!e of winter landsca3e.
1$
SCORE 7
'he melody is 6ery sim3le and re3eteti6e what makes the 3iece so memora,le and
easy to remem,er. In many co6era!es the melody consists of 7ua6ers and semi?7ua6ers.
In 6ersion 3resented a,o6e we can find dotted 7ua6ers. 9ords are usually monosylla,ic
creatin! mo6in! sense of rhythm as ,ein! attached in realtion word?note. 'he lyrics
were translated into many lan!ua!es > the 6ersions usually differ in meanin!.
Good morning to all
Good mornin! to all ;known ,etter as Ha33y irthday to you< is considered as
the ,est known son! in the world. It was created ,y 4atty Hill ;a 3rinci3al of a
kinder!arden< and her sister5 (ildred ;a com3oser and 3iano 3layer<. 'hey aim was to
1&
create a son! which would ,e easy to sin! and remem,er ,y youn! children. efore a
,irthday cele,ration of one of the children 4atty decided to write a new lyrics. 'he
melody of AGood mornin! to allB and AHa33y irthday to JouB were com,ined and
3u,lished in 1&12 ,ut is ,elie6ed to e8ist ,efore.
9hat is interestin!5 the 3iece is still co3yri!hted. It started in 1&"/ when 1essica
Hills filled a lawsuit ,ecause of an unauthorized son! use. 'he ri!hts were held ,y
-ummy Com3any which was ,ou!ht ,y 9arner (usic in early &0s. 'he cor3oration
;,ein! one of the Great %our music la,els< claims that is still holds the ri!hts to the
3erformance fees. It has ,een challen!ed many times ,y different entities. 'he uncertain
le!al situation causes different limitations of use. (any of film makers decide to cut the
son! and use only the last words and ,ars ;which is allowed as free of char!e and called
Amusical 7uotationB<.
SCORE 8
20
Conclusion
)lthou!h the Celtic culture emer!ed from the herita!e of the folks the 3eo3le
had contact with it ,ecame an amazin! and ori!inal under3innin!s ha6in! no less
influence on the western culture than dominatin! Coman culture.'he Celts were not as
6isi,le as the con7uerin! Comans ,ut they still e8isted in historical lo,,y ,rin!in! their
own taste to the !lo,al history. 'here is no source we could !et the knowled!e a,out the
Celtic a33eareance of. ut e6ery,ody would !et fascinated with that di6erse ,ut
consistent culturally ci6ilisation. +ne of the !reatest 3arts of their herita!e ha6in! !reat
im3act on the western de6elo3ment was certainly Celtic music5 3oetry and lyrics. 'hey
cro3 u3 e6en in the 4olish culture which was stron!ly attached to -la6ic tradition.
21
Bi$liogra%"y
Ho!ain5 Daithi The Celts A Chronological istory ;'he Collins 4ress5 2002<
:och5 1ohn The Celts. istory, !ife, Culture ;)C?C.I+5 2012<
erresford @llis5 4eter A brief history of the Celts ;.ondonN Consta,le O
Co,inson .td5 200"<
ernard .as,leiz5 Tri "artolod in (usi7ue reto!ne
htt3NEEwww.celticscores.com
htt3NEEwww.standin!stones.com
htt3NEEen.wiki3edia.or!EwikiEHa33yPirthdayPtoPJou5 retrie6ed 12.12.201"
htt3NEEwww.slate.comEarticlesEartsEculture,o8E2011E02EyouPsayPitsPyourP,irthda
y.html5 retrie6ed 12.12.201"
Co,ert rauneis Copyright and the #orld$s "ost %opular &ong ;2010<.
rowne5 Cay . and rowne5 4at. The 'uide to (nited &tates %opular Culture
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