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Narrative Singing in Ireland is a definitive account of Irish traditions of singing as a storytelling art. Of interest to scholars and general readers, this book examines the varied associations of song and story in Ireland and why people sing as they do. It ranges from ballads in English, through Irish Heroic songs - of Fionn mac Cumhaill, Deirdre, the Big Fool and others, sung from earliest times to the present - to ballads of European tradition with the lyric songs of Irish. Written in a lively and entertaining style, it includes chapters on: Irish narrative singing in general, Lays, Ballads - old and new, the lyric songs of Irish and their stories, Singers and songmakers, Traditional singing and the media and Narrative singing today.
Narrative Singing in Ireland is a definitive account of Irish traditions of singing as a storytelling art. Of interest to scholars and general readers, this book examines the varied associations of song and story in Ireland and why people sing as they do. It ranges from ballads in English, through Irish Heroic songs - of Fionn mac Cumhaill, Deirdre, the Big Fool and others, sung from earliest times to the present - to ballads of European tradition with the lyric songs of Irish. Written in a lively and entertaining style, it includes chapters on: Irish narrative singing in general, lays, ballads - old and new, the lyric songs of Irish and their stories, singers and songmakers, traditional singing and the media, and narrative singing today.
1. Social Change and the Storytelling Tradition. Modernization and Economic Change. Factors Effecting the Decline of Traditional Storytelling. Technological Innovations. Dance Halls and Public Houses. The Introduction of the Automobile. The Modernization of Homes. Education, Literacy, and the Decline of the Language. The "Death" of the Tradition 2. Folklore Collectors and the Irish Storytelling Tradition. The Pivotal Role of the Collectors. Collecting in the Past. Folklore Collecting Today. Self-Consciousness and the Storytelling Tradition. County Clare: A Symbiosis of Music and Storytelling.The Influence of Eamon Kelly. Limitations in the Documentation of the Tradition 3. The Current Status of the Two Language Traditions. Developments in the Study of Traditional Narrative. Aesthetic Considerations in Traditional Storytelling. The Preeminence of the Irish Language Tradition. The English Language Tradition: Narrating and Narrators of Scealaiocht. The English Language Tradition: Narrating and Narrators of Seanchas. Final Considerations and Portents of Change App. I: QuestionnaireApp. II: Ar Cuairt and Related TermsApp. III: Glossary of Gaelic TermsApp. IV: Selected Tales The Quarryman's SonThe Mac a hAon FionnAbove and Beyond the End of the EarthThe Gentlemen's Agreement.
Focus: Irish Traditional Music is an introduction to the instrumental and vocal traditions of the Republic of Ireland and Northern Ireland, as well as Irish music in the context of the Irish diaspora. Ireland's size relative to Britain or to the mainland of Europe is small, yet its impact on musical traditions beyond its shores has been significant, from the performance of jigs and reels in pub sessions as far-flung as Japan and Cape Town, to the worldwide phenomenon of Riverdance. Focus: Irish Traditional Music interweaves dance, film, language, history, and other interdisciplinary features of Ireland and its diaspora. The accompanying CD presents both traditional and contemporary sounds of Irish music at home and abroad.
Written from the perspective of a scholar and performer, Traditional Music and Irish Society investigates the relation of traditional music to Irish modernity. The opening chapter integrates a thorough survey of the early sources of Irish music with recent work on Irish social history in the eighteenth century to explore the question of the antiquity of the tradition and the class locations of its origins. Dowling argues in the second chapter that the formation of what is today called Irish traditional music occurred alongside the economic and political modernization of European society in the late eighteenth and early nineteenth centuries. Dowling goes on to illustrate the public discourse on music during the Irish revival in newspapers and journals from the 1880s to the First World War, also drawing on the works of Pierre Bourdieu and Jacques Lacan to place the field of music within the public sphere of nationalist politics and cultural revival in these decades. The situation of music and song in the Irish literary revival is then reflected and interpreted in the life and work of James Joyce, and Dowling includes treatment of Joyce’s short stories A Mother and The Dead and the 'Sirens' chapter of Ulysses. Dowling conducted field work with Northern Irish musicians during 2004 and 2005, and also reflects directly on his own experience performing and working with musicians and arts organizations in order to conclude with an assessment of the current state of traditional music and cultural negotiation in Northern Ireland in the second decade of the twenty-first century.
The history of Irish traditional music, song and dance from the mythological harp of the Dagda right up to Riverdance and beyond. Exploring an abundant spectrum of historical sources, music and folklore, this guide uncovers the contribution of the Normans to Irish dancing, the role of the music maker in Penal Ireland, as well as the popularity of dance tunes and set dancing from the end of the 18th century. It also follows the music of the Irish diaspora from as far apart as Newfoundland and the music halls of vaudeville to the musical tapestry of Irish America today.
This history of folk music looks at musicians, collectors and other figures from around the world. The book presents an overview of international folk roots and shows the contributions of the artists and the evolution of folk music as a force for political and social change. Profiles of Pete Seeger, Burl Ives, Woody Guthrie and others show how the stage was set for the American folk revival of the 1960s.
"The Companion to Irish Traditional Music is not just the ideal reference for the interested enthusiast and session player, it also provides a unique resource for every library, school and home with an interest in the distinctive rituals, qualities and history of Irish traditional music and song."--BOOK JACKET.
Focusing on several distinct genres of eighteenth-century Irish song, Henigan demonstrates in each case that the interaction between the elite and vernacular, the written and oral, is pervasive and characteristic of the Irish song tradition to the present day.
Studies of the Irish presence in America have tended to look to the main corridors of emigration, and hence outside the American South. Yet the Irish constituted a significant minority in the region. Indeed, the Irish fascination expresses itself in southern context in powerful, but disparate, registers: music, literature, and often, a sense of shared heritage. Rethinking the Irish in the American South aims to create a readable, thorough introduction to the subject, establishing new ground for areas of inquiry. These essays offer a revisionist critique of the Irish in the South, calling into question widely held understandings of how Irish culture was transmitted. The discussion ranges from Appalachian ballads, to Gone with the Wind, to the Irish rock band U2, to Atlantic-spanning literary friendships. Rather than seeing the Irish presence as “natural” or something completed in the past, these essays posit a shifting, evolving, and unstable influence. Taken collectively, they offer a new framework for interpreting the Irish in the region. The implications extend to the interpretation of migration patterns, to the understanding of Irish diaspora, and the assimilation of immigrants and their ideas.