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This light-hearted look at what happens when Irish folk musicians get together and play describes the musicians' preferred instruments for different musical forms, the difference between a music session and a jam session, and the low-down on session etiquette.
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.
Grey Larsen, in the 150 Gems collections, has given us a most welcome follow-up to his encyclopedic volume, The Essential Guide to Irish Flute and Tin Whistle (Mel Bay Publications, 2003) and The Essential Tin Whistle Toolbox (Mel Bay Publications, 2004). The Gems feature not only meticulously-selected tunes, but represent the first major offerings that use Larsen's innovative system of notating Irish ornamentation. These books and online audio will help players gain a deeper understanding of the Irish musical tradition as well as provide new material to enhance the experience of the solo player and Irish session participant alike. Includes access to online audio.
"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.
From Medieval Wexford to Midtown Manhattan Larry Kirwan tells the story of Irish music to a backdrop of war, social upheaval and revolution. From Viking invader to Sean O'Riada, Oliver Cromwell to Rory Gallagher, James Connolly to Van Morrison in a clash of uilleann pipes, armalites and electric guitars. The story moves with the Diaspora to The Pogues' London, Dropkick Murphys' Boston and Black 47's New York City. Pulsing, passionate, occasionally tragic - through the eyes of an insider.
The last century has seen radical social changes in Ireland, which have impacted all aspects of local life but none more so than traditional Irish music, an increasingly important identity marker both in Ireland and abroad. The author focuses on a small village in County Clare, which became a kind of pilgrimage site for those interested in experiencing traditional music. He begins by tracing its historical development from the days prior to the influx of visitors, through a period called "the Revival," in which traditional Irish music was revitalized and transformed, to the modern period, which is dominated by tourism. A large number of incomers, locally known as "blow-ins," have moved to the area, and the traditional Irish music is now largely performed and passed on by them. This fine-grained ethnographic study explores the commercialization of music and culture, the touristic consolidation and consumption of "place," and offers a critique of the trope of "authenticity," all in a setting of dramatic social change in which the movement of people is constant.
Volume I of Playing Outside the Lines is the first of a comprehensive four-part method book series offering beginning to advanced Irish traditional flute instruction for Boehm and simple system flutists in graduated books, chapters, and exercises. Volume I provides foundations for playing within the framework of Irish traditional music and the basis for the remaining three volumes of the series. This four-part series is the first of its kind, containing more than 600 technical exercises, rich and nuanced discussions of Irish flute style and cultural context, previously undocumented techniques, side-by-side explanations for Boehm and simple system flutists (as well as information for musicians transitioning between the two instruments), audio excerpts, simple system flute care and purchasing information, and resources for further study. By the end of the four-part series, Boehm and simple system flutists of any background will have the tools necessary to play Irish music with a deep understanding of the tradition as well as with individual creativity. Brook Ferguson, Principal Flutist of the Colorado Symphony Orchestra, calls Playing Outside the Lines "an invaluable resource for any flutist." Renowned performer and author Robert Dick says, "Leslie Anne Harrison’s Playing Outside the Lines is a marvelous gift to all interested in Irish music. Her clear and detailed writing is a huge boon to those embracing the traditional Irish flute and is truly enlightening to those (like me) who want to delve into this music while playing the Boehm flute. From tiniest detail to largest form, Leslie Anne Harrison is there every step of the way. Playing Outside the Lines is a major contribution to flute pedagogy." Includes access to online audio.
Coupling the narratives of twenty-two Irish traditional musicians alongside intensive field research, Becoming an Irish Traditional Musician explores the rich and diverse ways traditional musicians hone their craft. It details the educational benefits and challenges associated with each learning practice, outlining the motivations and obstacles learners experience during musical development. By exploring learning from the point of view of the learners themselves, the author provides new insights into modern Irish traditional music culture and how people begin to embody a musical tradition. This book charts the journey of becoming an Irish traditional musician and explores how musicality is learned, developed, and embodied.
The Music of Multicultural America explores the intersection of performance, identity, and community in a wide range of musical expressions. Fifteen essays explore traditions that range from the Klezmer revival in New York, to Arab music in Detroit, to West Indian steel bands in Brooklyn, to Kathak music and dance in California, to Irish music in Boston, to powwows in the midwestern plains, to Hispanic and Native musics of the Southwest borderlands. Many chapters demonstrate the processes involved in supporting, promoting, and reviving community music. Others highlight the ways in which such American institutions as city festivals or state and national folklife agencies come into play. Thirteen themes and processes outlined in the introduction unify the collection's fifteen case studies and suggest organizing frameworks for student projects. Due to the diversity of music profiled in the book—Mexican mariachi, African American gospel, Asian West Coast jazz, women's punk, French-American Cajun, and Anglo-American sacred harp—and to the methodology of fieldwork, ethnography, and academic activism described by the authors, the book is perfect for courses in ethnomusicology, world music, anthropology, folklore, and American studies. Audio and visual materials that support each chapter are freely available on the ATMuse website, supported by the Archives of Traditional Music at Indiana University.
The book challenges the notion that Irish Traditional music expresses an essential Irish identity, arguing that it was an ideological construction of cultural nationalists in the nineteenth century, later commodified by the music and tourism industries. As a social process, musical performance is complicated by the varying experiences of musicians and listeners. The question of an Irish identity expressed musically is further explored through the experiences of both 'local' and 'foreign' musicians, including the author. The conclusion that a radicalised ideal of national culture and an assimilative model of cultural contact are compatible has important implications for Irish society today. Irish traditional music is now performed and consumed world-wide. The Making of Irish Traditional Music considers the implications of this for the way we understand music's relationship to individual and collective identities such as ethnicity and nationality. The core of this book is its analysis of the experiences of 'foreigners' playing Irish music, both in Australia and in the heart of Ireland's traditional music empire, County Clare, as 'pilgrims' to summer schools.