Dissertations / Theses on the topic 'Irish music tradition'
To see the other types of publications on this topic, follow the link: Irish music tradition.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 16 dissertations / theses for your research on the topic 'Irish music tradition.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura CorrespondenteMade available in DSpace on 2013-07-15T23:16:30Z (GMT). No. of bitstreams: 1 214313.pdf: 578066 bytes, checksum: 7bcccd7388db44692884396bc087294b (MD5)
2
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.
Full textAbstract:
Music EducationM.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
3
Fairbairn, Hazel. "Group playing in traditional Irish music." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282816.
Full text
4
Kaul, Adam Robert. "An ethnography of tourism and traditional Irish music in Doolin, Ireland." Thesis, Durham University, 2004. http://etheses.dur.ac.uk/3106/.
Full textAbstract:
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.
5
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.
Full text
6
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.
Full textAbstract:
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 .
7
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.
Full textAbstract:
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
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full text
11
Hillhouse, Andrew Neil. "Tradition and innovation in Irish instrumental folk music." Thesis, 2005. http://hdl.handle.net/2429/16572.
Full textAbstract:
In the late twentieth century, many new melodies were composed in the genre of traditional Irish instrumental music. In the oral tradition of this music, these new tunes go through a selection process, ultimately decided on by a large, transnational, and loosely connected community of musicians, before entering the common-practice repertoire. This thesis examines a representative group of tunes that are being accepted into the commonpractice repertoire, and through analysis of motivic structure, harmony, mode and other elements, identifies the shifting boundaries of traditional music. Through an identification of these boundaries, observations can be made on the changing tastes of the people playing Irish music today. Chapter One both establishes the historical and contemporary context for the study of Irish traditional music, and reviews literature on the melodic analysis of Irish traditional music, particularly regarding the concept of "tune-families". Chapter Two offers an analysis of traditional tunes in the common-practice repertoire, in order to establish an analytical means for identifying traditional tune structure. Chapter Three is an analysis of five tunes that have entered the common-practice repertoire since 1980. This analysis utilizes the techniques introduced in Chapter Two, and discusses the idea of the melodic "hook", the memorable element that is necessary for a tune to become popular. Through structural analysis, observations are made on the boundaries of tradition and innovation.Arts, Faculty of
Music, School of
Graduate
12
Jacks, Ellen Barksdale. "The session experience Irish traditional instrumental music in Madison, Wisconsin /." 2005. http://catalog.hathitrust.org/api/volumes/oclc/62170569.html.
Full textAbstract:
Thesis (M.A.)--University of Wisconsin--Madison, 2005.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 199-218).
13
Coulter, William David. "Traditional Irish folk music, the Ó Domhnaill family, and contemporary song accompaniments." Diss., 1994. http://catalog.hathitrust.org/api/volumes/oclc/31274086.html.
Full text
14
O'Shea, Helen. "Foreign bodies in the river of sound : seeking identity and Irish traditional music." 2005. http://eprints.vu.edu.au/1954/2/Helen_Oshea_appendix.pdf.
Full textAbstract:
This thesis investigates how musicians who play Irish traditional music, but do not identify themselves as Irish, understand their relationship to Irishness. The research was designed to interrogate frameworks for theorizing the articulation of music, identity and nation, emphasizing the need to understand both music and identity as socially constitutive processes. Writing from the viewpoint that knowledge is embedded in discourse, it argues that certain repertories and styles have been regards as symbolically representing and expressing essentially Irish characteristics mythologized within colonial discourse and inverted within nationalist discourse. These understandings have been extended into the present and reinforced through the commodification of Irish culture. Analyses of participant-observation data in Melbourne, Australia, indicate that young Australian musicians understand Irishness as a citational ethnicity, depoliticized and commodified, while older Australians value more highly the embodied musical performance of musicians from Ireland. Australian musicians who had made 'pilgrimage' to Ireland were relatively confined within a world of summer schools and pub sessions linked to the tourism industry's mythologizing of an 'Ireland of the Welcomes'. Extended fieldwork among Australians and other foreign musicians who had re-located to Ireland found current theorizations of musical community inadequate to account for difference and disharmony in group performances. Foreign musicians' failure to assimilate musically ans socially was attributed to their status as strangers, their tactics and their perception by Irish musicians. While there is no material barrier to foreigners playing Irish traditional music, an exploration of the relationship between music and place in the construction of Irish traditional music concluded that, even where musicians attempt to draw outsiders into this bounded area of Irish culture, the authenticating discourses that define it as essentially Irish impede their success.
15
O'Shea, Helen F. "Foreign bodies in the river of sound : seeking identity and Irish traditional music." Thesis, 2005. https://vuir.vu.edu.au/1954/.
Full textAbstract:
This thesis investigates how musicians who play Irish traditional music, but do not identify themselves as Irish, understand their relationship to Irishness. The research was designed to interrogate frameworks for theorizing the articulation of music, identity and nation, emphasizing the need to understand both music and identity as socially constitutive processes. Writing from the viewpoint that knowledge is embedded in discourse, it argues that certain repertories and styles have been regards as symbolically representing and expressing essentially Irish characteristics mythologized within colonial discourse and inverted within nationalist discourse. These understandings have been extended into the present and reinforced through the commodification of Irish culture.
Analyses of participant-observation data in Melbourne, Australia, indicate that young Australian musicians understand Irishness as a citational ethnicity, depoliticized and commodified, while older Australians value more highly the embodied musical performance of musicians from Ireland. Australian musicians who had made 'pilgrimage' to Ireland were relatively confined within a world of summer schools and pub sessions linked to the tourism industry's mythologizing of an 'Ireland of the Welcomes'. Extended fieldwork among Australians and other foreign musicians who had re-located to Ireland found current theorizations of musical community inadequate to account for difference and disharmony in group performances. Foreign musicians' failure to assimilate musically ans socially was attributed to their status as strangers, their tactics and their perception by Irish musicians.
While there is no material barrier to foreigners playing Irish traditional music, an exploration of the relationship between music and place in the construction of Irish traditional music concluded that, even where musicians attempt to draw outsiders into this bounded area of Irish culture, the authenticating discourses that define it as essentially Irish impede their success.
16
Stapleton-Corcoran, Erin L. ""Come back to Erin" the revival of Irish traditional music and dance in Milwaukee /." 1998. http://catalog.hathitrust.org/api/volumes/oclc/40116745.html.
Full textAbstract:
Thesis (M.M.)--University of Wisconsin--Madison, 1998.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 135-147).