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Готові списки джерел за темами / Irish folk and traditional music

Добірка наукової літератури з теми "Irish folk and traditional music"

Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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Статті в журналах з теми "Irish folk and traditional music"

1

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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2

Scahill, Adrian. "The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70." Éire-Ireland 54, no. 1-2 (2019): 17–45. http://dx.doi.org/10.1353/eir.2019.0005.

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3

Gibson, R. "The Globalization of Irish Traditional Song Performance. By Susan H. Motherway. Ashgate Popular and Folk Music Series." Music and Letters 95, no. 1 (February 1, 2014): 143–45. http://dx.doi.org/10.1093/ml/gct151.

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4

FitzPatrick Dean, Joan. "Irish Stage Censorship in the 1950s." Theatre Survey 42, no. 2 (November 2001): 137–64. http://dx.doi.org/10.1017/s0040557401000072.

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At the end of the 1940s, individuals and groups, as well as the government in Ireland, recognized the need for and benefits of arts enterprises. The Inter-Party coalition, which came to power in early 1948 (under John Costello), recognized the importance of tourism as an industry and the potential of theatre to attract foreign visitors to Ireland. In 1949, the Cultural Relations Committee of Ireland, operating under the auspices of the Minister for External Affairs, undertook production of a series of pamphlets designed “to give a broad, vivid, and informed survey of Irish life and culture.”1 In 1951, the Republic of Ireland established the Arts Council; the first National Fleadh (Festival) for traditional music was held in Mullingar; Liam Miller founded the Dolmen Press; and Comhaltas Ceoltoiri Eireann (Traditional Irish Music Advisory) was established. Even after the 1951 election returned de Valera and Fianna Fáil to power, organizational infrastructures to support the arts continued to appear: the Irish tourist board (Bord Failte) and Gael-Linn (an organization to promote Irish language, literature, and culture) both debuted in 1952. Cork held its first International Choral and Folk Dance Festival and its first International Film Festival in 1953. Some of these developments may have anticipated the imminent inauguration of regular air passenger service to North America, but all responded to cultural opportunities precluded during what Ireland knows as the Emergency and other nations as World War II. These agencies and events all sought to project a positive, progressive image of Ireland. Most important, they all mark a departure from the isolationism that prevailed in Ireland before and during the Emergency and that characterized de Valera's tenure as Taoiseach in the 1930s and 1940s.

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5

Ramsey, Gordon. "Vaughan Williams Memorial Library Online Indexes. Produced by the English Folk Dance and Song Society. URL: http://library.efdss.org/cgi-bin/home.cgi?access=off - Cecil Sharp's Appalachian Diaries 1915–1918. Produced by the English Folk Dance and Song Society. URL: http://library.efdss.org/exhibitions/sharpdiaries/index.html - Irish Traditional Music Archive. Produced by the Irish Traditional Music Archive, 73 Merrion Square, Dublin. URL: http://www.itma.ie/index.html." Yearbook for Traditional Music 42 (2010): 245–47. http://dx.doi.org/10.1017/s0740155800013084.

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6

Jones, Stephen, and Deborah L. Schaeffer. "Irish Folk Music: A Selected Discography." Canadian Journal of Irish Studies 16, no. 1 (1990): 83. http://dx.doi.org/10.2307/25512815.

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7

LORNELL, KIP. "Folk and Traditional Music." Journal of the Society for American Music 9, no. 4 (November 2015): 485–90. http://dx.doi.org/10.1017/s1752196315000413.

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In May 2014, then book review editor John Koegel asked if I wanted to be part of the team of eight scholars with varied interests and specialties to review the second edition of The Grove Dictionary of American Music (hereafter AmeriGrove II), edited by Charles H. Garrett (what a Herculean task!) and published by Oxford University Press in 2013. Specifically, John wondered if I would be “willing to review the coverage of American traditional music.” As one who has used and appreciated the first edition of this monumentally ambitious work, I was curious to see the updated edition, so the next day I naively wrote back, “This sounds interesting, and I'll take on the assignment.”

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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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9

C., P. M. "Éigse Cheol Tíre/Irish Folk Music Studies 4." Comhar 44, no. 12 (1985): 37. http://dx.doi.org/10.2307/20555868.

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10

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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Дисертації з теми "Irish folk and traditional music"

1

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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2

Aiken, Katie J. "Navigating hybrid identities performing "Irishness" in an urban soundscape /." Diss., Access online, 2008.

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3

Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.

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4

Neilands, C. W. "Irish broadside ballads in their social and historical contexts." Thesis, Queen's University Belfast, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383792.

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5

McLaughlin, Noel. "Pop and the periphery : nationality, culture and Irish popular music." Thesis, Ulster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326322.

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Анотація:

This thesis seeks to consider the relationship between 'rock' and 'Irishness' • between transnational pop and the nation-state • challenging the 'orthodox' view that Irish rock embodies uniquely Irish characteristics. It is about Irish popular music and identity and is primarily concerned with the relationship between culture and meaning. It argues that the study of popular music as 'text' is important to the more general study of culture (even though the notion of text in popular music is problematic). The thesis seeks to explore how meaning is made in popular music culture across a shifting and unstable textual matrix. Authenticity is a central concept here and I examine discourses of Irish authenticity and essentialism and their relationship to authenticity in rock. The study of Irish rock is, I argue, important to wider debates about identity and globalisation, especially in debates about the relationship between national music cultures and an increasingly globalised market. I undertake an exploration of the concept of cultural hybridity and assess both its strengths and its limitations to tbe study of popular music and debates about national identity. Hybridity, I argue, is important in that it helps break down the essentialising force of both the main discourses of authenticity outlined, becoming useful in moving beyond discourses of cultural purity. Howeve~ hybridity discourse also has problems and frequently there is a Jack of discrimination between different types of hybrid text which may result ina simple celebration of hybrids and hybridity. Thus, the complex relationship between popular music, the articulation of identity in pop songs (and across pop's mobile textuality) and in discourse about pop is overlooked. In this way, the thesis argues that the study of popular music culture in specific contexts may reveal the limitations of existing cultural studies work on hybridity, textuality and meaning. This is part of a broader project of arguing for more detailed consideration of music, meaning and pleasure in regional and peripheral national contexts.

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6

Douglas, Gavin Duncan. "State patronage of Burmese traditional music /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/10621.

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7

Moran, Angela Claire. "Sites of diaspora : the Irish music of Birmingham." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609655.

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8

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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10

Cheung, Kwok-hung Stephen. "Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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Книги з теми "Irish folk and traditional music"

1

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

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2

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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3

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

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4

Grae, Paul De. Traditional Irish guitar. Tralee, Co. Kerry, Ireland: Paul de Grae, 1989.

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5

Harrison, Frank Ll. Irish traditional music: Fossil or resource? [Cork]: Irish Traditional Music Society, U.C.C., 1988.

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6

Music, London College of. Irish traditional music examination syllabus. London: London College of Music, 1998.

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7

A pocket history of Irish traditional music. Dublin: The O'Brien Press, 1998.

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8

hAllmhuráin, Gearóid Ó. A pocket history of Irish traditional music. Dublin: The OB̓rien Press, 1998.

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9

The companion to Irish traditional music. 2nd ed. Cork: Cork University Press, 2011.

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10

O'Shea, Helen. The making of Irish traditional music. Cork: Cork University Press, 2008.

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Частини книг з теми "Irish folk and traditional music"

1

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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2

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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3

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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4

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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5

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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6

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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Тези доповідей конференцій з теми "Irish folk and traditional music"

1

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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2

Bashirovna, Abdullaeva Elmira. "MODERN PRODUCTION PRACTICES TRADITIONAL MUSIC INSTRUMENTS IN DAGESTAN." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-77-83.

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3

Liumei, Zhang, Jiang Fanzhi, Li Jiao, Ma Gang, and Liu Tianshi. "K-means clustering analysis of Chinese traditional folk music based on midi music textualization." In 2021 6th International Conference on Intelligent Computing and Signal Processing (ICSP). IEEE, 2021. http://dx.doi.org/10.1109/icsp51882.2021.9408762.

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4

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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5

"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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6

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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Анотація:

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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7

"Research on the Influence of Network Media on the Spread of Traditional Folk Music Culture." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.28.

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8

Pintong, Sarawuth. "Revitalizing The National Folk Play: The Tiger Hunting Folk Play." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002046.

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“Kratua Thaeng Suea” is a story of hunting the tigers that trespass into town. It is a Thai traditional folk play which has been passed down from generation to generation for more than 200 years. However, this folk play is rapidly fading away from the Thai society due to the change of aesthetic preference which caused its unpopularity. Nowadays, there are only two troupes left in Bangkok which recently one of them decided to discontinue their show because of COVID-19 situation. How to preserve this intangible cultural heritage and combine it with modern aesthetics for transmission is an urgent issue. This study combines literature research and field trip methods in order to identify some of the problems faced in the dissemination of it. The research results show that, in order to renew this folk play that complement the new aesthetic preference, all related elements of this play such as its story, costumes, music, and performance need to be modernized. The new play will combine “Street Culture” such as street art, street fashion, street music, and street performance into the play with a new storyline which is twisted from the story of a tiger hunter to be rescuing the tigers instead. All of this could draw some attention from the society and thus achieve the goal of sustainable inheritance and preservation of this folk play. The new concept of “Kratua Thaeng Suea” is the combination between the old and the new which does not only reflect the beauty of cultural dynamic or build up the sense of ecological awareness in the form of “Soft Power”, but also provides a “Cultural Revitalizing model” which could be an alternative model to inherit the culture.

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Luo, Jie. "Discussion on the Inheritance, Integration and Promotion of Chinese Traditional Folk Music Culture in College Piano Education." In 2018 International Conference on Education Science and Social Development (ESSD 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/essd-18.2018.35.

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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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