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Libros sobre el tema "Iris (Musical group)"

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Publicado: 26 de julio de 2024

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1

Merrick, Joe. London Irish punk life & music...: Shane MacGowan. London: Omnibus Press,c2001., 2001.

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2

Huston, Jenny. In bloom: Irish bands now. Blackrock, County Dublin: Currach Press, 2009.

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3

Kirwan, Larry. Green suede shoes: An Irish odyssey. Dingle, Co. Kerry: Brandon, 2005.

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4

Kirwan, Larry. Green suede shoes: An Irish-American odyssey. New York: Thunder's Mouth Press, 2005.

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5

Lydon, John. Rotten: No Irish, no Blacks, no dogs. New York: Picador USA, 1995.

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6

Smyth, Gerry. Space and the Irish cultural imagination. Houndmills, Basingstoke, Hampshire: Palgrave, 2001.

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7

O'Donnell, Mary Louise. Ireland's harp: The shaping of Irish identity, c. 1770-1880. Dublin: University College Dublin Press, 2014.

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8

Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. London: Hodder & Stoughton, 1994.

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9

Lydon, John. Rotten: No Irish, no Blacks, no dogs : the authorized autobiography, Johnny Rotten of the Sex Pistols. New York: St. Martin's Press, 1994.

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10

Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. London: Hodder & Stoughton, 1994.

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11

Keith, Zimmerman y Zimmerman Kent, eds. Rotten: No Irish, no blacks, no dogs : the authorised autobiography [of] Johnny Rotten of the Sex Pistols. London: Hodder & Stoughton, 1995.

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12

Lydon, John. Rotten: No Irish, no Blacks, no dogs : the authorized autobiography : Johnny Rotten of the Sex Pistols. New York: Picador, 2008.

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13

U2: An Irish Phenomenon. Pegasus Books, 2008.

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14

Rum, sodomy, and the lash. New York: Continuum, 2008.

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15

Cogan, Visnja. U2: An Irish Phenomenon. Collins Press, 2006.

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16

Kirwan, Larry. Green Suede Shoes: An Irish-American Odyssey. Hachette Books, 2009.

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17

Zimmerman, Kent y John Lydon. Rotten No Irish No Blacks No Dogs. St Martins Pr, 1994.

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18

Lydon, John. Rotten: No Irish, No Blacks, No Dogs. Picador, 1995.

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19

Lydon, John. Rotten : No Irish, No Blacks, No Dogs. World Pubns, 1994.

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20

Lydon, John. Rotten: No Irish, No Blacks, No Dogs. Hodder & Stoughton Ltd, 1994.

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21

Lydon, John. Rotten: No Irish, No Blacks, No Dogs. New Eng. Lib., 1994.

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22

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2001.

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23

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2001.

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24

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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25

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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26

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2002.

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27

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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28

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2002.

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29

Contemporary musicians: Profiles of the people in music. Detroit, MI: Gale Group :Thomson Gale, 2004.

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30

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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31

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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32

Phelan, Helen. Singing Hospitality in Community-Based Ritual. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190672225.003.0006.

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Chapter 5 examines three community-based rituals. The discussion of a community music festival focuses on a choir called Comhcheol, the Irish-language word for “harmony.” Comhcheol was formed by a group of women from the asylum-seeking and traveller communities. World Carnival is an annual event based in the most multicultural primary school in Limerick city. Anáil Dé/The Breath of God is a festival of world sacred music. The essentially relational and communicative nature of singing in these events is highlighted through a discussion of tacitness. The kinesthetic and emotive properties of singing are shown to increase opportunities for self-definition, as well as social integration through tacit communication.
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33

Sweethearts. Oberon Books, Limited, 2016.

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34

Rodgers, Mark. Hairy tales. Peterborough, 1997.

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35

Cohen, Norm, Carson Cohen y Anne Dhu McLucas, eds. An American Singing Heritage. A-R Editions, 2021. http://dx.doi.org/10.31022/a089.

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This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud's Folk Song Index, catalogues of commercial early country (or “hillbilly”) recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of “hillbilly” musicians, and (2) field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song's history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.
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