Ancient Celtic music

This article is about the music and instruments of the ancient Celts until late Antiquity. For the modern folkloristic genre and its history see Celtic Music.

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The ancient Celts had a distinct culture, which is shown by their very sophisticated art work. Especially the late La Tène culture is characterized by a high aesthetic level, which must have also left traces in Celtic music and musical practices. Music must have been an integral part of this ancient cross-European culture, but its characteristics are lost. Deductions rely primarily on Greek and Roman sources as well as on archaeological finds and interpretations. By the time of Augustus, musical education must have widely gained ground in Gaul, otherwise Iulius Sacrovir couldn't have used the erudite Gauls as a decoy, after Sacrovir and Iulius Florus had occupied the city of Augustodonum during the Gallic insurrection in 21 AD. Most of the information on ancient Celtic music centers on military conflicts and on maybe the most prominent Celtic instrument of its time, the carnyx.

The carnyx

The carnyx (plural: carnyces; Greek: κάρνυξ—"karnyx"—or rarely: καρνον—"karnon") was a Celtic-Dacian variant of the Etruscan-Roman lituus and was called crwth by the Gauls. The carnyx was a ∫-shaped valveless horn made of beaten bronze and consisted of a tube approximately 1 to 1 1/2 meters in length, whereas the diameter of the tube is unknown. Archaeological finds date back to the Bronze Age, and the instrument itself is attested for in contemporary sources between ca. 300 BC and 200 AD. The carnyx was in widespread use in Britain, France, parts of Germany, eastwards to Romania and beyond, even as far as India, where bands of Celtic mercenaries took it on their travels. Since the Gauls and other Celtic people used the instrument as a symbol of their independent musical culture, an attempt was made to derive the Etruscan lituus from the carnyx, but without success.

Gallic coins show the carnyx behind the head of the goddess Gallia or held by a chieftain, a charioteer or a Gallic Victoria. On British coins the instrument is seen swung by mounted Celtic warriors or chiefs. Roman coins, e.g. those heralding Caesar's victory over Gaul, depict the carnyx on Roman tropaea as spoils of war. Other depictions are known from the Augustus statue of Prima Porta. In addition the instrument is carried by Gauls on Trajan's column. The carnyx' most prominent feature is the bell, which was constructed as an animal head, either as one of a serpent, a fish, a bird, a wolf, a horse, an ass or a wild boar. The earliest depiction shows the head of a dragon and was found on Aetolian victory coins from the 3rd century BC, which commemorate the expulsion of the Gallic warriors, who marauded the Delphi sanctum. Behn (1912) interpreted the many bell types as distinguishing features of the various Celtic clans and chiefdoms. Others have suggested a mythological component, which is the most logical explanation, since the Deskford Carnyx in Scotland was a sacrificial offering, of which the possibly dismantled head could have been the key element. The sound of the carnyx was described as lugubrious and harsh, maybe due to the loosened tongue of the bell.

Playing techniques and features

Reconstructions have shown that the instrument's embouchure must have been cut diagonally, so the carnyx could be played in a similar fashion as a modern-day trumpet, i.e. with vibrating lips. Due to the absence of valves, melodies were created by producing harmonics with overblowing techniques, as the reconstructional work by John Kenny has convincingly shown. The fairly wide bell guaranteed a very high playing volume. The best surviving bell of a carnyx was found in North East Scotland as part of the so-called Deskford Carnyx and featured a movable tongue. In addition the bronze jaw of the animal head may have been loosened in order to produce an additional jarring sound that would surely have been most dreadful when combined with the sound of a few dozen more carnyces in battle.. The demoralizing effect of the Gallic battle music must have been enormous: When the Celts advanced on Delphi under Brennus in 279 BC, the unusual echoing effects of the blaring horns completely overawed the Greeks, before even a single fight had commenced.

Use of the carnyx

Since most ancient Roman sources are based on bellicose encounters with the Celtic chiefdoms, the carnyx is today mostly seen as an instrument used during warfare, as Polybius e.g. reports for the battle of Telemon, Gallia Cisalpina, in 225 BC, where the Gauls used the instrument together with other brass instruments to frighten the Roman enemy. The limitation to acoustic or psychological warfare is however erroneous. Brass instruments were regularly used as a means of communication during battle, relaying orders for troop positioning, movement and tactics, also by the Gauls. After the victory of Marius near Vercellae, his Roman rival Catulus Caesar reserved a Cimbrian signalling horn from the loot for himself.

Furthermore, the instrument can be seen in action on the famous Gundestrup cauldron in the depiction of a warrior initiation ritual (2nd or 1st century BC), a clear evidence for the use of the instrument outside of the purely military realm. The ritual use of the instrument is further supported by the Deskford Carnyx, which was shown to have been as a sacrificial offering to an unknown god.

Other Celtic instruments

Wind instruments

In his accounts of the battle of Telemon, Polybius clearly distinguishes between trumpet- and horn-like instruments played by the Gallic warriors. In general the Celtic peoples had a variety of instruments at their disposal. Aside from the carnyx, at least two other wind instrument types made from metal are known from Roman and Greek depictions.

The Celtic horn

The Celtic horn was a large, oval-curved horn with a thin tube and a modestly large bell, not unlike the Roman cornu, especially since it also had a crossbar as a means of supporting the instrument's weight on the player's shoulder. On a Pompeian fresco, the horn is carried by a female dancer, and a Gallic warrior carries a broken exemplar, fastened together by a (leather?) band, on a Capitoline sculpture.

The Celtic trumpet

The Celtic trumpet was similar to the straight Roman tuba and came in different lengths. A Celtic musician is depicted playing the instrument on a late Greek vase. A related instrument is probably the early mediaeval Loch Erne horn that was found in Ireland.

Other wind instruments

Many regional variants of the Celtic horns are known and came in different shapes, sizes and diameters, like the Loughnashade Trumpa from Ireland and similar horns from Scandinavia and other regions. Couissin (1927) documented a third Celtic wind instrument type with a bent horn, similar to the Caledonian Caprington Horn or the infamous prehistoric Sussex horn that was however lost and of which only drawings and reproductions survive. It is not known whether the horn mentioned by Couissin was a fragment of another Celtic horn or a simple cow horn of the rural population, a bowed horn-instrument known all across Europe.

Woodwinds and similar instruments

Bone and stone flutes are known since the Stone Age. Later wooden flutes were introduced, corresponding to the Roman fistulae, but also woodwinds made of tubes and pipes, similar to a pan flute.

Percussion

Crotales (hand bells) are known since the Bronze Age. They were sometimes built with a ring and could be strapped to the player's apparel.

The Celtic lyre

Not much is known about this instrument, only that it was used by Celtic bards and that it was well-known in Rome, where it was called lyra. The Goths invoked their tribal gods with prayers and chants, which they accompanied by lyre play. By the time of the Barbarian Invasions in the 5th century the lyre had become the most important stringed instruments of the Germanic tribes. It was a six-stringed wooden lyre with hollow ledger arms and wooden vortices in the ledger rod.

Chants

Caledonian national songs are already attested by Tacitus. Livius reports Gallic war songs that were heard at the Allia. After the Gallic victory, the city's inhabitants had to endure the dissonant battle chants. A sole Gallic warrior is reported to have gone into a fight singing. Livius on the other hand only desribes the Roman Titus Manlius, who would defeat him in 361 BC, as remaining in defiant silence to concentrate all his anger on the impending fight. In 218 BC the Gauls resisted the enemy commander Hannibal and his troops during his crossing of the Rhône with furious battle cries and the demonstrative clashing of their swords and armor. Since many of the Gauls and Germans joined Caesar's army after his victory over Gaul, their war chants were added to the Roman oeuvre of army songs: When 2000 soldiers from the Gallic cavalry defected to Octavian before the battle of Actium, they didn't only cheer for Caesar but presented genuine Gallic war songs.

Germanic chants

coming soon

The Romans as biased ethnographers

The Romans historians and poets were often interested in foreign music, especially that of the Gaulic and Germanic Celts, but the priority of their literary aims over a detailed ethnographical observation is a common characteristic of Roman historiography. The preferral of political goals, especially in the Roman reports on their military campaigns, can be exemplified by C. Iulius Caesar, who twice mentions Gallic signalling horns in his Bellum Gallicum. The instrument was used in Alesia by orders of Vercingetorix to alarm his troops, and the Belgian tribe of the Bellovacians used it to summon a council of war, after they had been defeated by the Romans in 51 BC. Caesar calls the instrument a tuba, although the correct term must have been known to him, so it's unclear if it was a carnyx or the Gallic trumpet (see above). Here the interpretatio Romana obscures the ethnographical detail, although it can be derived from the many illustrations on victory reliefs that the distinctiveness of the Gallic horns had not been passed unnoticed by the Romans. In Caesar's case, ethnographical details are in most cases only presented, as long as they are beneficial as a foil for Roman behavior. A good example is Caesar's detailed description of the Gallic opportunistic behavior, where the women's inconstantia is used to contrast the magnitudo animi of the Roman military. Furthermore the colorful account helped to play down Caesar's setback in Gergovia.