Early song Wales has a history of
folk music related to the
Celtic music of countries such as
Ireland and
Scotland. It has distinctive instrumentation and song types, and is often heard at a
twmpath (folk dance session),
gŵyl werin (
folk festival) or
noson lawen (a traditional party similar to the
Gaelic "
Céilidh"). Modern Welsh folk musicians have sometimes reconstructed traditions which had been suppressed or forgotten, and have competed with imported and indigenous rock and pop trends. Wales has a history of using music as a primary form of communication. The oldest known traditional songs from Wales are those connected to seasonal customs such as the
Mari Lwyd or
Hunting the Wren, in which both ceremonies contain processional songs where repetition is a musical feature. and the rise of the
Methodist church in the 18th and 19th century. The church frowned on traditional music and dance, though folk tunes were sometimes used in
hymns. Since at least the 12th century, Welsh
bards and musicians have participated in musical and poetic contests called
eisteddfodau.
18th and 19th century, religious music Music in Wales is often connected with male voice
choirs, such as the
Morriston Orpheus Choir,
Cardiff Arms Park Male Choir and
Treorchy Male Voice Choir, and enjoys a worldwide reputation in this field. This tradition of choral singing has been expressed through sporting events, especially in the country's national sport of
rugby, which in 1905 saw the first singing of a national anthem, Wales's
Hen Wlad Fy Nhadau, at the start of an international sporting encounter. Welsh traditional music declined with the rise of
Nonconformist religion in the 18th century, which emphasized choral singing over instruments, and religious over secular uses of music; traditional musical styles became associated with drunkenness and immorality. The development of hymn singing in Wales is closely tied with the
Welsh Methodist revival of the late 18th century. The hymns were popularised by writers such as
William Williams, while others were set to popular secular tunes or adopted Welsh ballad tunes. Around the same period, the growing availability of music in the
tonic sol-fa notation, promoted by the likes of
Eleazar Roberts, allowed congregations to read music more fluently.
19th–20th century, secular music A tradition of
brass bands dating from the
Victorian era continues, particularly in the
South Wales Valleys, with Welsh bands such as the
Cory Band being one of the most successful in the world. Although choral music in the 19th century by Welsh composers was mainly religious, there was a steady body of
secular songs being produced. Composers such as
Joseph Parry, whose work
Myfanwy is still a favourite Welsh song, were followed by
David Jenkins and D. Emlyn Evans, who tailored songs specifically for the Victorian music market. These secular hymns were embraced by the emerging male voice choirs, which formed originally as the tenor and bass sections of chapel choirs, but also sang outside the church in a form of recreation and fellowship. The industrial workforce attracted less of a jollity of English
glee clubs and also avoided the more robust militaristic style of music. Composers such as
Charles Gounod were imitated by Welsh contemporaries such as Parry,
Protheroe and
Price to cater for a Welsh fondness of dramatic narratives, wide dynamic contrasts and thrilling climaxes. Solo artists of note during the nineteenth century included charismatic singers
Robert Rees (Eos Morlais) and
Sarah Edith Wynne, who would tour outside Wales and helped build the country's reputation as a "land of song". In the twentieth century, Wales produced a large number of classical and operatic soloists of international reputation, including
Ben Davies,
Geraint Evans,
Robert Tear,
Bryn Terfel,
Gwyneth Jones,
Stuart Burrows,
Ryland Davies,
Gwynne Howell,
Dennis O'Neill,
Margaret Price,
Rebecca Evans and
Helen Watts, as well as composers such as
Alun Hoddinott,
William Mathias,
Grace Williams and
Karl Jenkins. From the 1980s onwards, crossover artists such as
Katherine Jenkins,
Charlotte Church and
Aled Jones began to come to the fore.
Welsh National Opera, established in 1946, and the
BBC Cardiff Singer of the World competition, launched in 1983, attracted attention to Wales's growing reputation as a centre of excellence in the classical genre. Composer and conductor
Mansel Thomas OBE (1909–1986), who worked mainly in South Wales, was one of the most influential musicians of his generation. For many years employed by the BBC, he promoted the careers of many composers and performers. He himself wrote vocal, choral, instrumental, band and orchestral music, specialising in setting songs and poetry. Many of his orchestral and chamber music pieces are based on Welsh folk songs and dances.
Post-1945, popular music After World War II, two significant musical organisations were founded, the
Welsh National Opera and the
BBC National Orchestra of Wales, both were factors in Welsh composers moving away from choral compositions to instrumental and orchestral pieces. Modern Welsh composers such as
Alun Hoddinott and
William Mathias produced large scale orchestrations, though both have returned to religious themes within their work. Both men would also explore Welsh culture, with Mathias setting music to the works of
Dylan Thomas, while Hoddinott, along with the likes of
Mervyn Burtch and
David Wynne, would be influenced by the poetic and mythical past of Wales.The 1960s saw important developments in both Welsh and English language music in Wales. The BBC had already produced Welsh language Radio programmes, such as Noson Lowen in the 1940s, and in the 1960s the corporation followed suite with television shows
Hob y Deri Dando and
Disc a Dawn giving Welsh acts a weekly stage to promote their sound. A more homely programme
Gwlad y Gan was produced by rival channel
TWW which set classic Welsh songs in idyllic settings and starred baritone
Ivor Emmanuel. The Anglo-American cultural influence was a strong draw on young musicians, with Tom Jones and Shirley Bassey becoming world-famous singers; and the growth of
The Beatles'
Apple Records label saw Welsh acts
Mary Hopkin and
Badfinger join the roster. Not to be outdone, the short lived
Y Blew, born out of Aberystwyth University, became the first Welsh language pop band in 1967. This was followed in 1969 with the establishment of the
Sain record label, one of the most important catalyst for change in the Welsh language music scene. In more modern times there has been a thriving musical scene. Bands and artists which have gained popularity include acts such as
Man,
Budgie, and solo artists
John Cale &
Mary Hopkin in the early 1970s and solo artists
Bonnie Tyler and
Shakin' Stevens in the 1980s, but through mimicking American music styles such as Motown or Rock and Roll. The Welsh language scene saw a dip in commercial popularity, but a rise in experimentation with acts such as punk band Trwynau Coch leading into a 'New Wave' of music. Bands that followed, like
Anhrefn and
Datblygu, found support from
BBC Radio 1 disc jockey
John Peel, one of the few DJs outside Wales to champion Welsh language music. Wales embraced the new music of the 1980s and 1990s, particularly with the thriving
Newport rock scene for which the city was labelled 'the new
Seattle'. Acts and individuals based in the city during the period included
Joe Strummer of
The Clash,
Feeder,
The Darling Buds,
Donna Matthews of
Elastica, as well as
Skindred and punk and metal acts. Famous performers or attendees at venues such as
TJ's included Oasis, Kurt Cobain, and others.
21st century The early 21st century produced a credible Welsh 'sound' embraced by the public and the media press of Great Britain. Such acts included the
Manic Street Preachers,
Stereophonics,
Catatonia,
Super Furry Animals and
Gorky's Zygotic Mynci. The first two allowed the Welsh pop scene to flourish, and while not singing in Welsh they brought a sense of Welshness through iconography, lyrics and interviews. The latter two bands were notable for bringing
Welsh language songs to a British audience. Music venues and acts thrived in the 2010s, with the noted success of the
Cardiff music scene, for which the city has been labelled 'Music City'. == Styles of Welsh music ==