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Journal articles on the topic 'Irish music tradition'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Desmarais, Jane. "Late-Victorian Decadent Song Literature." Victorian Literature and Culture 49, no. 4 (2021): 689–710. http://dx.doi.org/10.1017/s1060150320000224.

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This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond.

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12

Carboni, Fabio, and Agostino Ziino. "POLYPHONIC LAUDE AND HYMNS IN A FRANCISCAN CODEX FROM THE END OF THE FIFTEENTH CENTURY." Early Music History 31 (2012): 87–151. http://dx.doi.org/10.1017/s0261127912000071.

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St Isidore's College in Rome, belonging to the Irish Franciscan Province, preserves a manuscript from the end of the fifteenth century, MS I/88, which in addition to various Latin theological and liturgical texts contains many Italian laude and Latin hymns, nine of which have music. The two laude are Vergene madre pia and O Jesù dolce, o infinit'amore, for two voices; of the seven Latin hymns, three are for three voices, two for two, and one is monodic. All these pieces are also found in other sources except for the two-voice hymn Hic est Christus, which appears to be an unicum. This new source, in conjunction with those already known, not only permits us to understand the history of the manuscript tradition of these texts and their music, but also is very interesting in that it provides a new witness for the diffusion of the lauda in Franciscan circles and the particular ways in which it was transmitted – not in official liturgical books but within miscellaneous volumes of texts and prayers of various kinds, uses, and provenance. Finally, from a musical point of view the Franciscan manuscript confirms the use of so-called ‘simple polyphony’ throughout the fifteenth century side by side with more complex polyphony in the Franco-Flemish tradition.

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13

Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.

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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.

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14

Chonghaile, Deirdre Ní. "‘listening to this rude and beautiful poetry’: John Millington Synge as Song Collector in the Aran Islands." Irish University Review 46, no. 2 (November 2016): 243–59. http://dx.doi.org/10.3366/iur.2016.0225.

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To date, little attention has been given to the songs in Synge's The Aran Islands, items that Tim Robinson imagines are not ‘fully thought into the texture of the work’. They come from a collection of songs in Irish and in English that was created by Synge in Inis Oírr in 1901 in the company of the local poet Mícheál Ó Meachair. This essay investigates Synge's song collection and the local singers and poets whom he met, including Seághan Seoige of Baile an Fhormna, Inis Oírr and Marcuisín Mhichil Siúinéara Ó Flaithbheartaigh of Cill Rónáin, Árainn. It examines how the music of Aran impacted on Synge during his four visits between 1898 and 1901, what his collection tells us about the song tradition of Aran, and what inspired him to collect songs there. Did Douglas Hyde's Love Songs of Connacht prompt him to create his own collection? What parts did Lady Gregory and W.B. Yeats play? Considering Synge was a trained musician and composer, why did he not collect the airs that accompanied the songs? Recognising the influence of sean-nós song on Synge's dramatic oeuvre, this essay questions whether or not the songs of Aran affected his work.

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15

Vallely, Fintan. "Focus: Irish traditional music." Irish Studies Review 19, no. 2 (May 2011): 238–40. http://dx.doi.org/10.1080/09670882.2011.565957.

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16

Belibou, Alexandra. "Features of Irish Dance Music." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 30, 2021): 89–98. http://dx.doi.org/10.24193/subbmusica.2021.2.07.

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"The focus of this paper is to bring into light the traditional categories of Irish dance music, emphasizing the musical characteristics that differentiate them. Energetic and effervescent, Irish dance music is rarely analyzed, with Irish folklore lacking a school of dedicated musicologists. The topic of this article is important in the context of the tensions related to globalization, commodification, and transformations in Irish Traditional Music, that scholars are examining. The paper includes musical examples of the traditional Irish dance music categories, for a better view of the phenomenon. Keywords: Irish music, dance music, ethnomusicology. "

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17

Kabkova, Olha. "W. TREVOR’S APPLICATION OF J. JOYCE’S INSPIRATION." Слово і Час, no. 3 (May 26, 2021): 37–47. http://dx.doi.org/10.33608/0236-1477.2021.03.37-47.

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While finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.

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18

Falc’her-Poyroux, Erick. "Traditional Music and Irish Society." Études irlandaises, no. 40-2 (December 15, 2015): 166–67. http://dx.doi.org/10.4000/etudesirlandaises.4764.

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19

HITCHNER, EARLE. "No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 509–20. http://dx.doi.org/10.1017/s1752196310000416.

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AbstractThe emergence of the compact disc in 1979 was regarded as the likely sales salvation of recorded music, and for many years the CD reigned supreme, generating steady, often substantial, company profits. More recently, however, the music industry has painfully slipped a disc. The CD has been in sharp decline, propelled mainly by young consumer ire over price and format inflexibility and by Internet technology available to skirt or subvert both. Irish American traditional music has not been impervious to this downward trend in sales and to other challenging trends and paradigm shifts in recording and performing. Amid the tumult, Irish American traditional music has nevertheless shown a new resilience and fresh vitality through a greater do-it-yourself, do-more-with-less spirit of recording, even for established small labels. The five recent albums of Irish American traditional music reviewed here—three of which were released by the artists themselves—exemplify a trend of their own, preserving the best of the past without slavishly replicating it. If the new mantra of music making is adapt or disappear, then Irish American traditional music, in adapting to change free of any impulse to dumb down, is assured of robustly enduring.

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20

SOMMERS SMITH, SALLY K. "An Eventful Life Remembered: Recent Considerations of the Contributions and Legacy of Francis O'Neill." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 421–35. http://dx.doi.org/10.1017/s1752196310000362.

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AbstractFrancis O'Neill, one of the towering figures of Irish traditional music, was among the first to collect and publish Irish dance music. His compilations form the most complete glimpse into Irish musical practice at the turn of the twentieth century and are still regarded as the definitive source for traditional tunes. Three recent publications on O'Neill and his times throw light on his life, his passion for the music, and his legacy among today's traditional music community.

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SLOMINSKI, TES. "Policing Space and Defying the Mainstream: Gender and the Creation of a Traditional Music Public Sphere in Twentieth-Century Ireland." Yearbook for Traditional Music 51 (November 2019): 247–68. http://dx.doi.org/10.1017/ytm.2019.11.

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Whether in Ireland or elsewhere, most people first encounter Irish traditional music in public spaces such as pub sessions or concerts, or through the recorded traces of music-making produced for a listening public.1 For those who become more involved in the scene as players, dancers, or avid listeners, festivals, schools, non-profit organisations, archives, and other instruments of the public sphere of Irish traditional music shape perceptions of the genre’s style, history, and participants. But while public and semi-public music-making has been a vital part of the transnational Irish traditional music scene for at least a century, the genre’s self-understanding still relies on its associations with a domestic, private past. In this article, I locate the roots of this contradiction in the historiographical problems presented by the 1935 Public Dance Halls Act—a piece of legislation that has had profound effects on musical practice and discourse in Ireland.2 I examine the ways this law and the frequent retrospective overemphasis of its effects have contributed to the idealisation of Irish traditional music as rooted in a domestic, rural, and lower-class past. Combined with social and governmental restrictions on the activities of women during most of the twentieth century, this alignment of domesticity with imagined “authenticity” has shaped the reception of women’s public Irish traditional musical performance in the twentieth and twenty-first centuries.

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22

Moran, Angela. "Focus: Irish Traditional Music (Focus on World Music Series)." Ethnomusicology Forum 21, no. 1 (April 2012): 107–9. http://dx.doi.org/10.1080/17411912.2011.641903.

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23

Doherty, Liz, Iseult M. Wilson, and Laura McKeown. "Practicing Safe Trad: Why Existing Approaches to Playing-related Musculoskeletal Disorders May Not Help the Irish Traditional Music Community." Medical Problems of Performing Artists 28, no. 4 (December 1, 2013): 181–87. http://dx.doi.org/10.21091/mppa.2013.4037.

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Playing-related musculoskeletal disorders (PRMDs) as they affect the Irish traditional music community is a topic which, to date, has received scant attention. This paper draws on data generated through a series of four focus group interview studies conducted at the Universities of Ulster and Limerick and involving 22 musicians. Specifically, this paper looks at the wider issue of identity within the Irish traditional music community and at how the complexities inherent in this have, perhaps, affected musicians in recognizing, relating to, and dealing with PRMDs. Whether or not the injuries affecting Irish traditional musicians are similar to or different from what other musicians experience, what this study shows is that the sense of self and discrete identity among the Irish traditional music community is so very strong that merely a “one size fits all” approach to addressing these issues is not likely to yield positive results. Health professionals therefore need to be sensitive to such factors when considering their management of PRMDs and to develop approaches along with the traditional music community that are cognisant of their identity as well as their needs.

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McCann, Anthony. "Opportunities of Resistance: Irish Traditional Music and the Irish Music Rights Organisation 1995–2000." Popular Music and Society 35, no. 5 (December 2012): 651–81. http://dx.doi.org/10.1080/03007766.2012.709665.

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25

Fujie, Linda. "Fiddle Sticks: Irish Traditional Music from Donegal." Yearbook for Traditional Music 26 (1994): 192. http://dx.doi.org/10.2307/768273.

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26

Ahn, Eun Gee. "The Present Orientation of Irish Traditional Music." Journal of Society for Music and Reality 62 (October 15, 2021): 179–219. http://dx.doi.org/10.35441/mnk.62.1.6.179.

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27

Smyth, Gerry. "‘Amateurs and Textperts’: Studying Irish traditional music." Irish Studies Review 3, no. 12 (September 1995): 2–10. http://dx.doi.org/10.1080/09670889508455497.

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28

Adrian Scahill. "Riverdance: Representing Irish Traditional Music." New Hibernia Review 13, no. 2 (2009): 70–76. http://dx.doi.org/10.1353/nhr.0.0086.

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29

Sommers Smith, Sally K. "Irish Traditional Music in a Modern World." New Hibernia Review 5, no. 2 (2001): 111–25. http://dx.doi.org/10.1353/nhr.2001.0036.

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30

Kaul, Adam. "Music on the edge: Busking at the Cliffs of Moher and the commodification of a musical landscape." Tourist Studies 14, no. 1 (December 29, 2013): 30–47. http://dx.doi.org/10.1177/1468797613511684.

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The Cliffs of Moher is one of the most popular tourist sites in all of Ireland, and buskers have been playing traditional music there for generations. The site and traditional music have each become powerful metonyms for Irish identity. In this article, I explore the complex and changing relationship between Irish identity, music, and tourism at the cliffs. In particular, I analyze recent conflicts that have erupted between musicians and the local tourism authorities which opened a €32 million award-winning interpretive center there in 2007.

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O'Hagan, Lauren Alex. "'Rory Gallagher's Leprechaun Boogie': Irish Stereotyping in the International Music Press." Review of Irish Studies in Europe 5, no. 2 (January 6, 2023): 38–72. http://dx.doi.org/10.32803/rise.v5i2.3099.

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This paper seeks to explore the presence of Irish stereotyping in the international music press using a case study of the Irish blues rock musician Rory Gallagher. Using a dataset of 600 articles about Gallagher published between 1968 and 1998, it draws upon a combination of corpus and thematic analysis to identify frequently occurring Irish stereotypes and how they were used to describe him, embedding arguments in postcolonial theory, particularly the work of Homi K. Bhabha. The analysis identifies five major themes—the Irish as violent troublemakers; the Irish as heavy drinkers; the ‘Irish’ way of talking; the Irish as ‘dumb Paddys’; Irish folklore and traditional ways of life—highlighting the different roles into which Gallagher was unwillingly cast by the music press. These references often wrapped Irish prejudice in a cloak of fun and frivolity, which made it seem harmless and trivial. However, such disparagement humour fostered discrimination by moulding (negative) public opinion of what it meant to be Irish at a time when Anglo-Irish tensions were already high and ignored the deeply emotional impact of the Northern Irish conflict on Gallagher. It also took attention away from Gallagher’s music and, in doing so, downplayed the important contribution he made to the world of blues and rock. Keywords: Rory Gallagher; music press; Irish; Ireland; stereotypes; disparagement humour; postcolonialism

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WELLS, PAUL F. "Elias Howe, William Bradbury Ryan, and Irish Music in Nineteenth-Century Boston." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 401–20. http://dx.doi.org/10.1017/s1752196310000350.

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AbstractRyan's Mammoth Collection is a compendium of fiddle tunes assembled by William Bradbury Ryan. Originally published in Boston in 1883 by Elias Howe, Jr., it has remained in print in one form or another ever since. It has been used as a source of tunes by many generations of fiddlers in different stylistic traditions, but its value as a descriptive document of the repertoire of late-nineteenth-century Boston, particularly the Irish community in that city, has largely been overlooked. Ryan, rather than Capt. Francis O'Neill of Chicago, should be regarded as the first great documentarian of Irish traditional music in the United States.

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COLLINS, TIM. "'Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty's Diaspora." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 491–507. http://dx.doi.org/10.1017/s1752196310000404.

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AbstractThis article, which builds on research in the fields of Irish traditional music, place, and diaspora, focuses on a community of diasporic musicians from Sliabh Aughty, an upland region of approximately 250 square miles that encompasses the musical storehouses of east Clare and southeast Galway in the West of Ireland. It examines the importance of home for these musicians, who have been resident in the United States for many decades. Their personal music geographies are explored to ascertain how traditional Irish music plays a critical role in transcending their sense of dislocation and reconnecting them with “home.”

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Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (February 7, 2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.

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Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nationalist activities throughout the nineteenth century added a distinctly political twist to Ireland’s print–oral relationship. Songbooks, a tool for many nineteenth-century nationalist movements, often embodied the confluence of print and oral song traditions. Lacking musical notation, many songbooks were dependent on oral traditions such as communal singing to transmit their contents; success also depended on the large-scale distribution networks of booksellers and ballad hawkers. This article seeks to explore further the print–oral interface within the context of Irish nationalism. Specifically, I will examine how one particular movement, Young Ireland, manifested this interface within their songbook, Spirit of the Nation. By examining the production, contents, and ideology of this songbook, the complex connections between literature, orality and nationalism emerge.

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Porter, Mark, and Iseult M. Wilson. "Extent of Playing-Related Musculoskeletal Problems in the Irish Traditional Music Community: A Survey." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 47–55. http://dx.doi.org/10.21091/mppa.2018.1008.

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BACKGROUND: The literature related to playing-related musculoskeletal disorders (PRMDs) primarily includes classical musicians and instrument-specific studies. Previous work by our team identified that PRMDs are an issue for Irish traditional fiddle players; however, the extent of the problem was not known. OBJECTIVE: To identify the type and extent of PRMDs in the Irish traditional music population, specifically fiddle players. METHODS: A questionnaire was developed and administered to faculty and students related to all Irish traditional music courses in all higher education institutions in Ireland. RESULTS: Seven institutions were included. The response rate was 77.5% (n=79 of 102 possible respondents). A fifth of respondents never had a PRMD, 36.7% (n=29) currently had a PRMD, and 34.2% (n=27) had a previous experience of a PRMD. The main symptoms were pain (62%, n=49), stiffness (41.8%, n=33), and tingling (35.4%, n=28). There was a positive association between the development of PRMDs and increased hours of play (p=0.017). CONCLUSIONS: PRMDs are a problem for Irish traditional fiddle players, especially during times of intense playing such as festivals.

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Commins, Verena. "From Milan to Kilbaha: Bronzing Irish Traditional Music." Éire-Ireland 54, no. 1-2 (2019): 275–96. http://dx.doi.org/10.1353/eir.2019.0011.

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Carrico, Alexandria. "From Craic to Communitas: Furthering disability activism through traditional Irish song." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 257–63. http://dx.doi.org/10.1386/jivs_00009_1.

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Abstract This piece offers an ethnographic account of work undertaken to bridge neurotypical and neurodivergent communities in Limerick, Ireland, through music-making workshops. By harnessing a common musical heritage in traditional Irish folk music, specifically its participatory dynamics, and its emphasis on story-telling, dialogue and inclusion, participants were able to musicalize their identities in ways that resonated with the integrative spirit of neurodiversity, against the logics of neurotypical, able-bodied assimilation.

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Kaul, Adam R. "The limits of commodification in traditional Irish music sessions." Journal of the Royal Anthropological Institute 13, no. 3 (September 2007): 703–19. http://dx.doi.org/10.1111/j.1467-9655.2007.00451.x.

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Veblen, Kari. "The Teacher's Role in Transmission of Irish Traditional Music." International Journal of Music Education os-24, no. 1 (November 1994): 21–30. http://dx.doi.org/10.1177/025576149402400103.

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SLOTTOW, STEPHEN P. "Ornamentation in Irish Fiddling: Eileen Ivers as a Case Study." Journal of the Society for American Music 1, no. 4 (November 2007): 485–510. http://dx.doi.org/10.1017/s1752196307070435.

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AbstractThis article is a study of ornamentation in the fiddling of Eileen Ivers. Ivers grew up in the Bronx, studied with Limerick-born fiddler Martin Mulvihill, and has since become one of the most well-known of contemporary Irish fiddlers. Although Ivers is known primarily for her Irish fusion playing style, her more traditional core style is reflected in this article, which is based on a series of interview-lessons. The types of ornaments and their placement, combination, function, and effect in Ivers's performance of Irish dance music are discussed.

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hAllmhuráin, Gearóid Ó. "Soundscape of the Wintermen: Irish Traditional Music in Newfoundland Revisited." Canadian Journal of Irish Studies 34, no. 2 (2008): 33. http://dx.doi.org/10.2307/25515718.

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Fanning. "Eleanor Kane Neary and the Piano in Irish Traditional Music." American Music 30, no. 4 (2012): 453. http://dx.doi.org/10.5406/americanmusic.30.4.0453.

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Smith, Sally Sommers. "The Origin of Style: The Famine and Irish Traditional Music." Éire-Ireland 32, no. 1 (1997): 121–35. http://dx.doi.org/10.1353/eir.1997.0007.

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White, Harry. "Traditional Music and Irish Society: Historical Perspectives. By Martin Dowling." Music and Letters 97, no. 1 (February 2016): 182–85. http://dx.doi.org/10.1093/ml/gcw012.

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O'Callaghan, Katherine. "Traditional Music and Irish Society: Historical Perspectives by Martin Dowling." James Joyce Quarterly 52, no. 2 (2015): 456–59. http://dx.doi.org/10.1353/jjq.2015.0020.

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Michael D. Nicholsen. "Identity, Nationalism, and Irish Traditional Music in Chicago, 1867–1900." New Hibernia Review 13, no. 4 (2009): 111–26. http://dx.doi.org/10.1353/nhr.0.0112.

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Williams, Sean. "Traditional Music and Irish Society: Historical Perspectives by Martin Dowling." New Hibernia Review 18, no. 4 (2014): 154–57. http://dx.doi.org/10.1353/nhr.2014.0057.

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Morton, Frances. "Performing ethnography: Irish traditional music sessions and new methodological spaces." Social & Cultural Geography 6, no. 5 (October 2005): 661–76. http://dx.doi.org/10.1080/14649360500258294.

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Fox, Christopher. "‘THE BRIGHT PLACES OF LIFE AS CLEARLY AS THE DARK’: THE MUSIC OF LINDA BUCKLEY." Tempo 72, no. 284 (March 20, 2018): 22–34. http://dx.doi.org/10.1017/s0040298217001218.

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AbstractLinda Buckley is one of the leading figures in the thriving Irish new music scene, a composer whose work draws together many different elements, from spectralism, to ambient electronica, to minimalism and Irish traditional music. This article uses five works created in the last decade as lenses through which to examine a creative practice in which these apparently disparate elements have become increasingly integrated. From the 2008 string trio, Fiol, to the orchestral work Chiyo (2011), to Torann for large ensemble and electronics (2015), and finally to two works with string quartet, ó íochtar mara (2015) and Haza (2016), these works represent stages within the evolution of a highly distinctive musical language.

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Pietrzak, Wit. "Shibboleths of Grief: Paul Muldoon’s “The Triumph”." Text Matters: A Journal of Literature, Theory and Culture, no. 11 (November 22, 2021): 51–63. http://dx.doi.org/10.18778/2083-2931.11.04.

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The essay explores Paul Muldoon’s elegy for the fellow Northern Irish poet Ciaran Carson with a view to showing that “The Triumph” seeks to evoke a ground where political, cultural and religious polarities are destabilized. As the various intertextual allusions in the poem are traced, it is argued that Muldoon seeks to revise the notion of the Irish shibboleths that, as the poem puts it, “are meant to trip you up.” In lieu of this linguistic and political slipperiness, “The Triumph” situates Carson’s protean invocations of Belfast and traditional Irish music as the new shibboleths of collectivity.

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