Relevant bibliographies by topics / Irish music tradition

Academic literature on the topic 'Irish music tradition'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Irish music tradition"

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SPENCER, SCOTT. "Wheels of the World: How Recordings of Irish Traditional Music Bridged the Gap between Homeland and Diaspora." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 437–49. http://dx.doi.org/10.1017/s1752196310000374.

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AbstractAt the dawn of the twentieth century and the height of the Recording Age, Irish American musicians began to record Irish traditional music on both commercial and subcommercial recordings. Circulated within the diaspora during a changing sense of Irish identity and sent home to a nationalist revival, these recordings had a profound impact on both traditional performance practices and modes of transmission. Quickly accepted by many at the heart of the tradition, these recordings were used by practitioners to bridge vast geographic distances and solidify vital lines of communication, allowing the diaspora to engage actively with the larger tradition.
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McDonagh, Luke. "Exploring “ownership” of Irish traditional dance music: Heritage or property?" International Journal of Cultural Property 29, no. 2 (May 2022): 183–200. http://dx.doi.org/10.1017/s094073912200011x.

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AbstractDance has rarely been accepted as the subject of copyright protection because works of dance and choreography have lacked commodified property-object status in intellectual property law. If dance is “haunted by its own ephemerality” and, thus, rarely embodied as property, then what of dance music? Music composed, performed, and recorded with a dance audience in mind has formed, on many occasions, the subject matter of intellectual property law claims, as the rancorous recent litigation over the nightclub (and online-streaming) hit “Blurred Lines” demonstrates. In this article, I utilize the case study of traditional Irish dance music to explore how traditional music occupies a space somewhat outside the formal legal system, defined by informal social norms such as reciprocity, sharing, and acknowledgment (attribution). I consider how Irish traditional music can be represented as heritage and as property, reflecting on the type of ownership at play in the Irish traditional music community. I observe that Irish traditional dance music provides an example of “heritage as resistance” – a mode of cultural and social practice that continues to thrive as a living tradition, even in the contemporary market-oriented world of the global North.
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Ward, Francis. "Technology and the transmission of tradition: An exploration of the virtual pedagogies in the Online Academy of Irish Music." Journal of Music, Technology and Education 12, no. 1 (August 1, 2019): 5–23. http://dx.doi.org/10.1386/jmte.12.1.5_1.

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The Internet is now a central resource in the transmission of Irish traditional music (ITM), with over 80 per cent of Irish traditional musicians citing that they use online resources. The Online Academy of Irish Music (OAIM) is a website that offers online tuition, and employs innovative virtual pedagogies including Virtual Classrooms, Virtual Sessions, Jam Sessions and Virtual Reality Sessions. Through ethnographic means and focusing on the OAIM as a case study, this article highlights the connection between music and social learning in the ITM tradition. Informed by the work of ethnomusicologists Turino, Rice and Merriam, it documents how the virtual world is attempting to mimic social experiences for the learner of ITM. Documenting this process of mimicking reveals the challenges of holistic online learning, which could prove informative for all stakeholders in the pedagogic process as OAIM endeavours to address the shortcomings and inform the broader investigations into online music education.
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Dennehy, Donnacha. "OWNING OVERTONES: GRÁ AGUS BÁS AND SPECTRAL TRADITIONS." Tempo 69, no. 271 (January 2015): 24–35. http://dx.doi.org/10.1017/s0040298214000904.

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AbstractIn this article the Irish composer Donnacha Dennehy reflects upon the research and composition process of his 2006–07 composition Grá agus Bás, written for the Irish sean nós singer Iarla Ó Lionáird. The piece is the first to bring together this traditional Irish singing style (literally, ‘old tradition’) with techniques derived from spectral music. In the second part of the article Dennehy reflects on his own relationship with spectralism, his points of inspiration and points of departure from what have come to seem spectral orthodoxies.
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Kaul, Adam R. "On ‘Tradition’: Between the Local and the Global in a Traditional Irish Music." Folk Life 45, no. 1 (January 2006): 49–59. http://dx.doi.org/10.1179/flk.2006.45.1.49.

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Kaul, Adam R. "On ‘Tradition’: Between the Local and the Global in a Traditional Irish Music." Folk Life - Journal of Ethnological Studies 45, no. 1 (January 1, 2006): 49–59. http://dx.doi.org/10.1179/043087706798236569.

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Smyth, Gerry. "Shanty singing and the Irish Atlantic: Identity and hybridity in the musical imagination of Stan Hugill." International Journal of Maritime History 29, no. 2 (May 2017): 387–406. http://dx.doi.org/10.1177/0843871417694013.

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In three major book-length contributions to the field during the 1960s and 1970s, leading folklorist Stan Hugill developed a peculiar understanding of the role of Ireland and Irish music in the international shanty tradition. Born on the Wirral peninsula, 15 miles from Liverpool, Hugill was deeply influenced by the port’s experience as a hub for the Irish diaspora. This article will examine Hugill’s characterisation of ‘Irish’ elements (lyrical, musical and performative) within selected examples, and will suggest that this representation of Irish music as central to the shanty repertoire engages with a range of insights emerging from Liverpool’s status as a key location within the spatial imagination of the Atlantic archipelago.
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Audley, Brian. "The Provenance of the Londonderry Air." Journal of the Royal Musical Association 125, no. 2 (2000): 205–47. http://dx.doi.org/10.1093/jrma/125.2.205.

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AbstractThe internationally known Londonderry Air carries the status of a cultural symbol of Ireland. Both its collector and its publisher claimed in 1855 that the music was very old, a belief which has passed into conventional wisdom. In 1934 and 1979 two writers cast doubts on the tune's age and suggested that its collector had more to do with the moulding of the tune than the process of tradition. Subsequently, doubts about the music have prevailed in academic circles but remained unexamined. This article queries the deductions of these writers and explores the musical origins and evolution of the Air. The methodology is historical and musicological. From an examination of collections of Irish traditional music evidence is presented in support of the tune's age and fashioning by tradition. The lost verses of a song known to have been accompanied by the tune in the nineteenth century are revealed as the likely original words to the music.
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CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.

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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morrison, who had gone to the United States many years before him. In Boston Paddy met and played with many of the great Sligo musicians, and also had the opportunity to hear music in other styles, including that of Canadian musicians, whose use of piano accompaniment he admired greatly. This article considers his music before and after he left Ireland, and compares him to Coleman and Morrison by considering their respective performances of the reel “Farewell to Ireland.”
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Cadhla, Seán Ó. "Ann Flood, Mairéad Farrell, and the Representation of Armed Femininity in Irish Republican Ballads." Ethnomusicology 65, no. 3 (October 1, 2021): 471–96. http://dx.doi.org/10.5406/ethnomusicology.65.3.0471.

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Abstract This article critically considers the representation of armed femininity within the attendant song tradition of Irish physical-force Republicanism, with specific focus on the personal and cultural consequences for two prominent female Republican activists, both of whom successfully traverse the gender demarcation lines of war. While noting the didactic, often misogynistic, trajectory of works narrating “transgressive” females within the broader ballad tradition, this article seeks to determine whether or not the interwoven essentialist tropes of death, martyrdom, and resurrection—all deeply embedded ideological constructs within the framework of Irish Republicanism—successfully supersede calcified patriarchal mores and, in so doing, facilitate an alternative narrative landscape for the cultural documentation of militant Irish Republican women via the popular ballad. Tugann an t-alt seo faoi anailís chriticiúil ar léiriú na bandachta armtha i dtraidisiún amhránaíocht Phoblachtach na hÉireann. Dírítear sa saothar seo ar dhá shampla ar leith de bheirt bhan Phoblachtacha agus ar na himpleachtaí cultúrtha agus sóisialta a éiríonn dóibh mar mhná a sháraíonn deighilt inscne na cogaíochta. Tugtar faoi deara san alt seo an t-ábhar teagascach, frithbhanda a shonraítear go rialta i leith mná sáraitheacha i gcorpas na hamhránaíochta traidisiúnta. Chuige seo, is í sprioc an tsaothair reatha ná deimhniú an sáraítear na gnásanna sioctha patrarcacha seo ag bunphrionsabail eisintiúlacha idé-eolaíochta an Phoblachtachais mhíleata agus más amhlaidh, an soláthraítear deiseanna reacaireachta éagsúla dá bharr, chun gníomhaíochtaí mná Poblachtacha míleata a thaifeadadh trí mheán an bhailéid traidisiúnta.
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Dissertations / Theses on the topic "Irish music tradition"

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Stankiewicz, Mariese Ribas. "Tradition and dialogic interactions between William Butler Yeats's poetry andf irish pop music." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101813.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente
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DeSilva, Dominique Carmen. "MUSIC LEARNING THROUGH TRADITION: COUNTY CLARE SINGING SESSIONS AND POTENTIAL BENEFITS OF CLASSROOM ADAPTATION." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/591453.

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Music Education
M.M.
The Irish singing session has provided a safe community where singers of all abilities are welcome to share with and learn from one another. Through British occupation and into independence, the Irish session has transformed tremendously from its original form. Still, the session carries on the Irish tradition of music learning and enculturation through oral transmission. Singing sessions provide a unique opportunity for the many songs of Irish history to be sung and learned; passed down from generation to generation! Singers learn new songs through listening to and watching other singers, imitating material, experimenting with new ideas, and discussing musical performances with others. Session leaders may attempt to create an encouraging and accepting environment where singers feel secure, resulting in the unbridled sharing of singers’ deep connections with a song. Such methods, including personal choice and a safe environment, have been observed through field research and have shown to positively affect singers and communities related to singing sessions in County Clare, Ireland. In this study, I pose that the methods used in singing sessions may also be beneficial when adapted for use in the music classroom.
Temple University--Theses
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Fairbairn, Hazel. "Group playing in traditional Irish music." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282816.

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Kaul, Adam Robert. "An ethnography of tourism and traditional Irish music in Doolin, Ireland." Thesis, Durham University, 2004. http://etheses.dur.ac.uk/3106/.

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This thesis is an ethnographic study of the complex interplay between tourism and traditional Irish music based on fourteen months of fieldwork in Doolin, County Clare, Ireland between June 2002 and August 2003. The historical development of traditional Irish music and the localised tourist industry have become conjoined during the last three decades, and as a result the music and the idea of Doolin as a 'place' have become institutionalised and consolidated. This has further led to the development of a complex socioeconomic structure surrounding the music, its performance, and its commercialisation and consumption. The local social structure has also become complicated and internationalised. Specifically, the locale has seen a significant growth in the 'incomer' population, called 'blow-ins'. Blow-ins in this case have in fact become the inheritors and propagators of the local music scene, but this causes surprisingly little cognitive dissonance or tension between locals and incomers. This is despite the fact that the music is the raison d'etre of the local tourism industry. I propose that those incomers who successfully inherit and propagate the local music become assets to the cultural capital of the village, not a drain on it. Moreover, I suggest that the 'authenticity' of the music is not an ascribed quality but interdependently related to social status, seasonality, one’s relationship with the music, context, and phenomenologically inter subjective relations. By means of holistic anthropological research, this thesis attempts to refine our understanding of complex social relations in touristed destinations, the appropriation of musical 'traditions', and sharpen current anthropological theories surrounding the issues of 'authenticity' and globalisation.
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Schiller, R. M. "Traditional Irish music in Berlin : musical exchange in a European context." Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419427.

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Molloy, Ryan Dominic James. "The traditional-contemporary dichotomy in Irish art music : a new compositional approach." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602590.

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The issue of Irish art music has been the subject of much discussion in this past decade and beyond. Since Sean 0 Riada's exploits into the usage of Irish traditional music in an art music medium, there is thought to have been a fundamental division in Irish art music. Between composers who work mainly in the European styles of the twentieth century with perhaps only a nodding glance to Irish traditional music and those composers who use Irish music with a retrospective eye to the techniques of the nineteenth century, there has been no perfect marriage of the two. In this work, the current dichotomy between traditional Irish music and contemporary music is studied through the context of twelve new compositions and accompanying commentaries, each addressing individual issues within this dichotomy. Drawing on recent summative work by Dave Flynn, the current problems in the incorporation of traditional Irish music in contemporary classical musical language are discussed and new approaches to this crossover considered. The innate expressive gestures of traditional performers are dissected 'and efficient means of communicating these to a contemporary musician developed. Fundamental aspects of traditional Irish music including melodic frameworks (modes), rhythm, ornamentation, aural transmission and improvisation are analysed and implemented systematically in new compositions for varying forces. One of the main areas which remains largely unexplored in traditional music is the possibility of microinterval modality. Old performances of traditional music contain many inflections in tuning, some but not all of which are slides. This work presents a preliminary empirical examination into precise and recurring pitch entities in old recordings and relatively modern performances of Irish traditional music which have been hitherto undocumented. The results of this are used in combination with other aspects of traditional language to create four new works comprising the Seamsur series .
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Monaghan, Úna McAlister. "New technologies and experimental practices in contemporary Irish traditional music : a performer-composer's perspective." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678210.

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This thesis and supporting portfolio examine the intersections between Irish traditional music, experimental music practices, improvisation and interactive technologies. The author is a traditional musician (harper and concertina player), composer and sound engineer. These practices are reflected in a layered methodology that combines ethnography, composition, historical and musicological research, software and interface design, and performance. A portfolio of compositions, improvisations, experiments and demonstrative videos supports the thesis. The second half of the twentieth century marked a revival in Irish traditional music, as well as a flourishing of experimental music activity. John Cage linked Irish traditional music and experimental music composition in Roaratorio, an Irish Circus on Finnegan's Wake. The thesis discusses the creation and performance of a new, multimedia realisation of Cage's score: Owenvarragh, a Belfast Circus on The Star Factory. It discusses improvisation, unconventional notation, human-computer interaction, chance and indeterminacy in Irish traditional music, and the role of the audience. The thesis further describes new systems for improvisation with and without electronic technology, comparing existing variation with free improvisation from th~ point of view of the traditional musician. The work embraces the presentation of Irish traditional dance music without dancers, and exploits the consequences of this for previously rigid rhythmic structures. _ The idea of the traditional musician as a solo performer shapes the work, and drives the creation of several interactive systems for solo performance of Irish harp with computer. Key issues discussed include the capture of rhythm in live electronics, flexibility in control, and the inclusion of spontaneity in performance. A new piece for harp and live electronics is presented, in which the computer sound is controlled by wireless motion sensor. The intersection of Irish traditional and experimental music is shown to be a productive route to explore a wide range of artistic, social and cultural ideas
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Phillips, Olivia H. "Marine Melodies: Traditional Scottish and Irish Mermaid and Selkie Songs as Performed by Top Female Vocalists in Contemporary Celtic Music." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/622.

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Mermaids and human-seal hybrids, called selkies, are a vibrant part of Celtic folklore, including ballad and song traditions. Though some of these songs have been studied in-depth, there is a lack of research comparing them to each other or to their contemporary renditions. This research compares traditional melodies and texts of the songs “The Mermaid,” “The Grey Selchie of Sule Skerry,” and “Hó i Hó i” to contemporary recordings by top female vocalists in Scottish and Irish music. The texts and melodies I have identified as “source” material are those most thoroughly examined by early ballad and folklore scholars. The source material for “The Grey Selchie of Sule Skerry” is a 1938 transcription by Otto Andersson. The source of notation and text for “The Mermaid” is the ballad’s A version from the Greig-Duncan Collection. The melody of “Hó i Hó i,” collected by folklorist David Thomson and published in 1954, serves as the third source version. Modern recordings included in the study are “The Mermaid” by Kate Rusby, “The Grey Selchie” by Karan Casey with Irish-American band Solas, and “Òran an Ròin,” a variant of “Hó i Hó i,” by Julie Fowlis. This study compares the forms, melodic contours, and texts of these variants, examining ways that contemporary recordings have maintained the integrity of traditional songs and ballads from which they are derived while adapting them to draw in a contemporary audience. The thesis illustrates the continued and evolving presence of mermaids and selkies in Scottish and Irish song.
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Bömer-Schulte, Solveig. "Irländsk musik med rätt teknik : En studie i lärandet av irländsk traditionell musik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-73429.

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Syftet med denna studie är att observera mitt lärande i studerande av irländsk musik. Studiens metod är att genom en mästare, lära repertoar som förmedlar stiltypiska drag. Som teoretisk utgångspunkt för studien har det sociokulturella perspektivet med fokus på mästarläran valts. Frågeställningarna som ligger till grund för studien undersöker vilka redskap som används för att appropriera den irländska musiken och vilka insikter och framsteg som gjorts i den irländska spelstilen under studiens gång. Efter analys av det under processen inhämtade material framkommer i resultatet användning av både materiella och teoretiska redskap som ofta samverkar. Vidare visar resultatet tecken på lärande inom områdena tempo, stråk och förståelse kring musiken. I diskussionen tas några av de slutsatser som framkommit i resultatet upp och kopplas till den litteratur och forskning som presenteras i arbetets bakgrundskapitel. Några av de punkter som tas upp i diskussionen är hur min musikaliska identitet utvecklas, lärande i sessions, vilken stil jag utvecklar under detta arbete och vad redskapen har för betydelse.
This study’s purpose is to observe the learning process of studying Irish traditional music. The method used in the study, is to learn repertoire mediating the Irish style from a master in the tradition. As a theoretical basis for the study a socio-cultural perspective with a focus on master-learning is used.  The study is based on research questions investigating how tools are used to learn the Irish style and how learning becomes visible and changes during the process. After analysing the material, collected during the process, the results show the use of both material and theoretical tools which often cooperate. Furthermore, the results show, how learning is achieved in the categories: tempo, bowing and understanding of the music. In the discussion some of the conclusions, appearing in the result, are brought up and connected to literature and research presented in the studies background chapter. Some of the topics discussed are how my musical identity develops, how learning takes place in sessions, how my style is affected during the study and what impact the tools have on learning.
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McDonagh, Luke Thomas. "Does the law on copyright in the UK and Ireland conflict with the creative practices of Irish tradional musicians? : a study of the impact of law on a traditional music network." Thesis, Queen Mary, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535764.

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Books on the topic "Irish music tradition"

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Crossroads Conference (1996 Dublin, Ireland). Tradition and change in Irish traditional music. Dublin, Ireland: Whinstone Music for Crosbhealach an Cheoil-The Crossroads Conference 1996, 1999.

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Quinn, Bernadette M. Tradition, creativity and change in Irish traditional music. Dublin: Service Industries Research Centre, 1997.

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The otherworld: Music & song from Irish tradition. Dublin: Folklore of Ireland Council, 2012.

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Crossroads Conference (1996 Dublin, Ireland). Crosbhealach an cheoil =: The Crossroads Conference : 1996 : tradition and change in Irish traditional music. Dublin, Ireland: Whinstone Music, 1999.

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Hastings, Gary. With fife & drum: Music, memories and customs of an Irish tradition. Belfast: Blackstaff, 2003.

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Terry, Moylan, ed. The age of revolution: 1776-1815 in the Irish song tradition. Dublin: Lilliput Press, 2000.

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Cowdery, James R. The melodic tradition of Ireland. Kent, Ohio: Kent State University Press, 1990.

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Carson, Ciaran. Irish traditional music. Belfast: Appletree Press, 1986.

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Williams, Sean. Focus: Irish Traditional Music. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256.

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Focus: Irish traditional music. New York: Routledge, 2009.

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Book chapters on the topic "Irish music tradition"

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Williams, Sean. "Irish Instrumental Music." In Focus: Irish Traditional Music, 144–70. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-8.

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Williams, Sean. "Vocal Music in Irish-Gaelic." In Focus: Irish Traditional Music, 173–202. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-10.

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Williams, Sean. "Vocal Music in English." In Focus: Irish Traditional Music, 203–29. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-11.

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Williams, Sean. "New Contexts for Music and Dance." In Focus: Irish Traditional Music, 230–58. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-12.

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Williams, Sean. "Looking In from the Outside." In Focus: Irish Traditional Music, 3–29. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-2.

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Williams, Sean. "Roots and Branches of Gaelic Ireland." In Focus: Irish Traditional Music, 30–57. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-3.

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Williams, Sean. "“Hang All Harpers Where Found”." In Focus: Irish Traditional Music, 58–88. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-4.

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Williams, Sean. "Musics of the “Celtic” Nations." In Focus: Irish Traditional Music, 91–113. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-6.

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Williams, Sean. "The Green Fields of America." In Focus: Irish Traditional Music, 114–43. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-7.

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Ó Nualláin, Seán. "On tonality in Irish traditional music." In Advances in Consciousness Research, 303–12. Amsterdam: John Benjamins Publishing Company, 2002. http://dx.doi.org/10.1075/aicr.35.28onu.

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Conference papers on the topic "Irish music tradition"

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Casini, Luca, and Bob L. T. Sturm. "Tradformer: A Transformer Model of Traditional Music Transcriptions." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/681.

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We explore the transformer neural network architecture for modeling music, specifically Irish and Swedish traditional dance music. Given the repetitive structures of these kinds of music, the transformer should be as successful with fewer parameters and complexity as the hitherto most successful model, a vanilla long short-term memory network. We find that achieving good performance with the transformer is not straightforward, and careful consideration is needed for the sampling strategy, evaluating intermediate outputs in relation to engineering choices, and finally analyzing what the model learns. We discuss these points with several illustrations, providing reusable insights for engineering other music generation systems. We also report the high performance of our final transformer model in a competition of music generation systems focused on a type of Swedish dance.
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Kelly, C., M. Gainza, D. Dorran, and E. Coyle. "Audio thumbnail generation of Irish traditional music." In IET Irish Signals and Systems Conference (ISSC 2010). IET, 2010. http://dx.doi.org/10.1049/cp.2010.0504.

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Duggan, Bryan, Brendan O'Shea, and Padraig Cunningham. "A system for automatically annotating traditional Irish music field recordings." In 2008 International Workshop on Content-Based Multimedia Indexing (CBMI). IEEE, 2008. http://dx.doi.org/10.1109/cbmi.2008.4564923.

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4

"When "Everything" is Information: Irish Traditional Music and Information Retrieval." In iConference 2014 Proceedings: Breaking Down Walls. Culture - Context - Computing. iSchools, 2014. http://dx.doi.org/10.9776/14131.

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Köküer, Münevver, Daithí Kearney, Islah Ali-MacLachlan, Peter Jančovič, and Cham Athwal. "Towards the creation of digital library content to study aspects of style in Irish traditional music." In the 1st International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2660168.2660188.

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