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Through evocative photography and meaningful text, this celebration of Irish music will stir people's hearts and memories -- Tells the story of Irish music and its place in the hearts of Irish people, from the 1920s to the 1990s, with references to the Famine, emigration, and early traditions and superstitions -- Portrays notable Irish musicians living in the U.S., including the hugely popular Martin Hayes and legendary Chicago Police Chief Francis O'Neill, whose collection of traditional tunes is a bible for Irish musiciansIrish music is rooted in its people, ordinary working folk who lived off the land and whose lives it enriched and sustained. This is the story of that music: how it was passed down, collected, and added to; how it lived on through immigrations, changes, and technologies. Told in compelling fictional style through several generations of one family, it is a lively tale that conveys both the deep spirit of the music itself, and the rich and troubled history of Ireland's people.Marvelous photography and lyrical text recall images of old folks dancing in the kitchen, musicians at a wake, of hurling matches and pub sessions -- beautifully re-creating the rhythms of life in Ireland from the '20s to the '90s, and imparting a vivid experience of this rich musical legacy.There was music before me and after me -- on both sides of my family they could play. There was music in nearly every house where we came from, up in the humps and hollows, wet, bad land, all bog and lake. Music was all people had ... it was within you and you could take it with you wherever you went. -- from the book
A blend of text and photographs which aims to convey the spirit of traditional Irish music. Moving through several generations, the text describes in fictional form how the tradition was maintained and passed on.
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.
"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.
An overview of Celtic spirituality and its implications for us today.
This book brings together important material from a range of sources and highlights how government organizations, musicians, academics and commercial companies are concerned with, and seek to use, a particular notion of Irish musical identity. Rooting the study in the context of the recent history of popular, traditional and classical music in Ireland, as well as providing an overview of aspects of the national field of music production and consumption, O'Flynn goes on to argue that the relationship between Irish identity and Irish music emerges as a contested site of meaning. His analysis exposes the negotiation and articulation of civic, ethnic and economic ideas within a shifting hegemony of national musical culture, and finds inconsistencies between and among symbolic constructions of Irish music and observed patterns in the domestic field. More specifically, O'Flynn illustrates how settings, genres, social groups and values can influence individual identifications or negations of Irishness in music. While the apprehension of intra-musical elements leads to perceptions of music that sounds Irish, style and authenticity emerge as critical articulatory principles in the identification of music that feels Irish. The celebratory and homogenizing discourse associated with the international success of some Irish musical forms is not reflected in the opinions of the people interviewed by O'Flynn; at the same time, an insider/outsider dialectic of national identity is found in various forms of discourse about Irish music. Performers and composers discussed include Bill Whelan (Riverdance), Sinead O'Connor, The Corrs, Altan, U2, Martin Hayes, Dolores Keane and Gerald Barry.
Over the past decade or so, Irishness has emerged as an idealized ethnicity, one with which large numbers of people around the world, and particularly in the United States, choose to identify. Seeking to explain the widespread appeal of all things Irish, the contributors to this collection show that for Americans, Irishness is rapidly becoming the white ethnicity of choice, a means of claiming an ethnic identity while maintaining the benefits of whiteness. At the same time, the essayists challenge essentialized representations of Irishness, bringing attention to the complexities of Irish history and culture that are glossed over in Irish-themed weddings and shamrock tattoos. Examining how Irishness is performed and commodified in the contemporary transnational environment, the contributors explore topics including Van Morrison’s music, Frank McCourt’s writing, the explosion of Irish-themed merchandising, the practices of heritage seekers, the movie The Crying Game, and the significance of red hair. Whether considering the implications of Garth Brooks’s claim of Irishness and his enormous popularity in Ireland, representations of Irish masculinity in the TV series Buffy the Vampire Slayer and Angel, or Americans’ recourse to a consoling Irishness amid the racial and nationalist tensions triggered by the events of September 11, the contributors delve into complex questions of ethnicity, consumerism, and globalization. Ultimately, they call for an increased awareness of the exclusionary effects of claims of Irishness and for the cultivation of flexible, inclusive ways of affiliating with Ireland and the Irish. Contributors. Natasha Casey, Maeve Connolly, Catherine M. Eagan, Sean Griffin, Michael Malouf, Mary McGlynn, Gerardine Meaney, Diane Negra, Lauren Onkey, Maria Pramaggiore, Stephanie Rains, Amanda Third
Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.
A lush tapestry of dreams, myth, and magic—perfect for fans of Holly Black, Roshani Chokshi, and Margaret Rogerson. Seven years ago, Tanvi was spirited away to the subterranean realm of Nagalok, where she joined the ranks of the dream runners: human children freed of all memory and emotion, who collect mortal dreams for the entertainment of the serpentine, immortal naga court. But when one of Tanvi’s dream harvests goes awry, she begins to remember her life on earth. Panicked and confused, she turns to the one mortal in Nagalok who might be able to help: Venkat, the dreamsmith responsible for collecting the dream runners’ wares and shaping them into the kingdom’s most tantalizing commodity. And as they search for answers, a terrifying truth begins to take shape—one that could turn the nagas’ realm of dreams into a land of waking nightmare. From the author of the Indie Next selection and Andre Norton Award finalist Star Daughter, this stand-alone contemporary fantasy, inspired by the nagas and garudas of Hindu mythology, is full of slow-burning romance, haunting intrigue, and shimmering magic.
The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.