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A Short History of Irish Traditional Music by Gearóid Ó hAllmhuráin Pdf
The history of Irish traditional music, song and dance from the mythological harp of the Dagda right up to Riverdance and beyond. Exploring an abundant spectrum of historical sources, music and folklore, this guide uncovers the contribution of the Normans to Irish dancing, the role of the music maker in Penal Ireland, as well as the popularity of dance tunes and set dancing from the end of the 18th century. It also follows the music of the Irish diaspora from as far apart as Newfoundland and the music halls of vaudeville to the musical tapestry of Irish America today.
From Medieval Wexford to Midtown Manhattan Larry Kirwan tells the story of Irish music to a backdrop of war, social upheaval and revolution. From Viking invader to Sean O'Riada, Oliver Cromwell to Rory Gallagher, James Connolly to Van Morrison in a clash of uilleann pipes, armalites and electric guitars. The story moves with the Diaspora to The Pogues' London, Dropkick Murphys' Boston and Black 47's New York City. Pulsing, passionate, occasionally tragic - through the eyes of an insider.
A Pocket History of Irish Traditional Music by Gearóid Ó hAllmhuráin Pdf
From the mythological harp of the Dagda to Riverdance, this concise history of Irish traditional music and dance explores a rich spectrum of historical sources and folklore. It uncovers the contribution of the Normans to Irish dancing, the rote of the music maker in Penal Ireland, and the popularity of dance tunes and set dancing from the end of the eighteenth century to the present. It also follows the music of the Irish diaspora from the music halls of vaudeville to the musical tapestry of Irish America today.
Traditional Music and Irish Society: Historical Perspectives by Martin Dowling Pdf
Written from the perspective of a scholar and performer, Traditional Music and Irish Society investigates the relation of traditional music to Irish modernity. The opening chapter integrates a thorough survey of the early sources of Irish music with recent work on Irish social history in the eighteenth century to explore the question of the antiquity of the tradition and the class locations of its origins. Dowling argues in the second chapter that the formation of what is today called Irish traditional music occurred alongside the economic and political modernization of European society in the late eighteenth and early nineteenth centuries. Dowling goes on to illustrate the public discourse on music during the Irish revival in newspapers and journals from the 1880s to the First World War, also drawing on the works of Pierre Bourdieu and Jacques Lacan to place the field of music within the public sphere of nationalist politics and cultural revival in these decades. The situation of music and song in the Irish literary revival is then reflected and interpreted in the life and work of James Joyce, and Dowling includes treatment of Joyce’s short stories A Mother and The Dead and the 'Sirens' chapter of Ulysses. Dowling conducted field work with Northern Irish musicians during 2004 and 2005, and also reflects directly on his own experience performing and working with musicians and arts organizations in order to conclude with an assessment of the current state of traditional music and cultural negotiation in Northern Ireland in the second decade of the twenty-first century.
A History of Irish Music by William H. Grattan Flood Pdf
Chevalier William Henry Grattan Flood (1857-1928) was a renowned musicologist and historian. As a writer and ecclesiastical composer, his personal contributions to Irish musical form produced enduring works. As an historian his output was prolific on topics of local and national historical or biographical interest. Grattan Flood was given the title Chevalier by Pope Benedict XV in 1917. His works include: A History of Irish Music (1905), The Story of the Harp (1905) and The Story of the Bagpipe (1911).
Focus: Irish Traditional Music by Sean Williams Pdf
Focus: Irish Traditional Music is an introduction to the instrumental and vocal traditions of the Republic of Ireland and Northern Ireland, as well as Irish music in the context of the Irish diaspora. Ireland's size relative to Britain or to the mainland of Europe is small, yet its impact on musical traditions beyond its shores has been significant, from the performance of jigs and reels in pub sessions as far-flung as Japan and Cape Town, to the worldwide phenomenon of Riverdance. Focus: Irish Traditional Music interweaves dance, film, language, history, and other interdisciplinary features of Ireland and its diaspora. The accompanying CD presents both traditional and contemporary sounds of Irish music at home and abroad.
This book brings together important material from a range of sources and highlights how government organizations, musicians, academics and commercial companies are concerned with, and seek to use, a particular notion of Irish musical identity. Rooting the study in the context of the recent history of popular, traditional and classical music in Ireland, as well as providing an overview of aspects of the national field of music production and consumption, O'Flynn goes on to argue that the relationship between Irish identity and Irish music emerges as a contested site of meaning. His analysis exposes the negotiation and articulation of civic, ethnic and economic ideas within a shifting hegemony of national musical culture, and finds inconsistencies between and among symbolic constructions of Irish music and observed patterns in the domestic field. More specifically, O'Flynn illustrates how settings, genres, social groups and values can influence individual identifications or negations of Irishness in music. While the apprehension of intra-musical elements leads to perceptions of music that sounds Irish, style and authenticity emerge as critical articulatory principles in the identification of music that feels Irish. The celebratory and homogenizing discourse associated with the international success of some Irish musical forms is not reflected in the opinions of the people interviewed by O'Flynn; at the same time, an insider/outsider dialectic of national identity is found in various forms of discourse about Irish music. Performers and composers discussed include Bill Whelan (Riverdance), Sinead O'Connor, The Corrs, Altan, U2, Martin Hayes, Dolores Keane and Gerald Barry.
The Companion to Irish Traditional Music by Fintan Vallely Pdf
"The Companion to Irish Traditional Music is not just the ideal reference for the interested enthusiast and session player, it also provides a unique resource for every library, school and home with an interest in the distinctive rituals, qualities and history of Irish traditional music and song."--BOOK JACKET.
Made in Ireland by Áine Mangaoang,John O'Flynn,Lonán Ó Briain Pdf
Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.
Music and Irish Identity represents the latest stage in a life-long project for Gerry Smyth, focusing here on the ways in which music engages with particular aspects of Irish identity. The nature of popular music and the Irish identity it supposedly articulates have both undergone profound change in recent years: the first as a result of technological and wider industrial changes in the organisation and dissemination of music as seen, for example, with digital platforms such as YouTube, Spotify and iTunes. A second factor has been Ireland’s spectacular fall from economic grace after the demise of the "Celtic Tiger", and the ensuing crisis of national identity. Smyth argues that if, as the stereotypical association would have it, the Irish have always been a musical race, then that association needs re-examination in the light of developments in relation to both cultural practice and political identity. This book contributes to that process through a series of related case studies that are both scholarly and accessible. Some of the principal ideas broached in the text include the (re-)establishment of music as a key object of Irish cultural studies; the theoretical limitations of traditional musicology; the development of new methodologies specifically designed to address the demands of Irish music in all its aspects; and the impact of economic austerity on musical negotiations of Irish identity. The book will be of seminal importance to all those interested in popular music, cultural studies and the wider fate of Ireland in the twenty-first century.
Ireland, a Bicycle, and a Tin Whistle by David A. Wilson Pdf
As he travels through the North, Wilson gets beneath the political surface to portray both the tragedy and comedy of everyday life in the Protestant and Catholic communities. Aware of the polarized image that each side has of the other, he emphasizes the importance of finding common ground and of asserting the middle against the extremes. Just as traditional Irish music is characterized by ornamentations and elaborations on a melodic theme, Ireland, a Bicycle, and a Tin Whistle is full of variations and wanderings on the theme of the trip itself. And just as traditional Irish musicians will follow a sad slow air with a lively foot-tapping reel, Wilson's mood ranges from the nostalgic and reflective to the irreverent and mischievous. If there is a lament in one ear, there is a song in the other.
Rebel Song is a collection of pictures and words of some of the most important musicians who changed the face of Irish Music to the international force it is today. As Irish musicians began to find international fame in the second half of the 20th century, there was a growing swell of bands like the Fureys, the Pogues and the Dubliners who transformed traditional rebel music into something with an energy and intensity that was more direct and outspoken than ever before. Irish folk music had expressed the pain of generations under colonial domination. This blossomed into a nation's resistance and rebellion, and spilled over into rock and pop, and then into a fusion with punk. Filled with passion and politics, the tunes of rebellion moved from a rallying call to resistance, and onto a global stage that continues to push back and assert Irish identity and love of life. Artists like U2, Sinéad O'Connor, Bob Geldof and the Pogues have often taken an outspoken stand on matters of global politics, while always maintaining a direct connection back to Ireland. Featuring pictures by legendary music photographer Andrew Catlin that include many taken very early in the careers of the artists, often while at their creative peak, with photographs that span more than thirty years. The book explores the connection between the traditions of Irish music, the history of Ireland, and the extraordinary power and intensity of some of the greatest songwriters and performers of the last 50 years.
