Ar bapur, nid oes cofnod cerddorol o osodiad cerdd dant hyd at 1839, yn llyfr John Parry (Bardd Alaw), The Welsh Harper – ond nid oes sicrwydd fod y gosodiad hwnnw yn adlewyrchiad cywir o’r hyn a glywid ar lafar gwlad. Ond gellir bod yn siwr o un peth – fod canu i gyfeiliant telyn o ryw fath yn mynd yn ôl yn bell iawn, mor bell ag oes y derwyddon. Mae’n siwr fod pobl heblaw’r Celtiaid yn gwneud hyn, ond dros y canrifoedd fe ddaeth un elfen bwysig i’r amlwg yng Nghymru a fyddai’n gwneud y grefft o ganu gyda’r tannau mor wahanol, sef y berthynas arbennig rhwng cerddoriaeth a barddoniaeth. Cyfrwng i gyflwyno barddoniaeth yw cerdd dant, a’r geiriau yw’r elfen bwysicaf."
http://cerdd-dant.org/hanes-cerdd-dan/y-dechrau/
(Google Translate)
"From the early twentieth century, the earliest recordings of singing comes from a musical taste - and even the recordings that sounded very different musical tastes today. Therefore very difficult thing is to try to imagine what it was like musical tastes many centuries ago!
On paper, there is no record of a musical setting of a poem tooth up to 1839, in the book of John Parry (Bardd Alaw), The Welsh Harper - but there is no guarantee that that statement is an accurate reflection of what they heard word of mouth. But be sure of one thing - that singing to harp accompaniment of some sort will go back very far, as far as the Druids. It sure people other than the Celts did this, but over the centuries it became one important element to the fore in Wales would make the art of singing with strings so different, namely the special relationship between music and poetry. Medium for poetry is musical tastes, and words are the most important element."
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