Download Free Irish Scene And Sound Book in PDF and EPUB Free Download. You can read online Irish Scene And Sound and write the review.

This volume explores Irish rock's relationship to the wider world of international popular music through detailed analysis of the island's most prominent artists and bands such as U2, Van Morrison, Sinéad O'Connor, The Boomtown Rats, and Horslips - and key musical movements including the beat scene and the folk revival.
The signing of the Good Friday Agreement on April 10, 1998, marked the beginning of a new era of peace and stability in Northern Ireland. As the public has overwhelmingly rejected a return to the violence of the Troubles (1968–1998), loyalist and republican groups have sought other outlets to continue their struggle. Music has long been used to celebrate cultural identity in the North of Ireland: from street parades to football chants, and from folk festivals to YouTube videos, music facilitates the continuation of pre-Agreement identity narratives in a “post-conflict” era. Sounding Dissent draws on original in-depth interviews with Irish republican musicians, contemporary audiences, and former paramilitaries, as well as diverse historical and archival material, including songbooks, prison records, and newspaper articles, to understand the history of political violence in Ireland. The book examines the hagiographic potential of rebel songs to memorialize a pantheon of republican martyrs, and demonstrates how musical performance and political song not only articulate experiences and memories of oppression and violence, but play a central role in the reproduction of conflict and exclusion in times of peace.
Just how "Irish" is traditional Irish music? Trad Nation combines ethnography, oral history, and archival research to challenge the longstanding practice of using ethnic nationalism as a framework for understanding vernacular music traditions. Tes Slominski argues that ethnic nationalism hinders this music's development today in an increasingly multiethnic Ireland and in the transnational Irish traditional music scene. She discusses early 21st century women whose musical lives were shaped by Ireland's struggles to become a nation; follows the career of Julia Clifford, a fiddler who lived much of her life in England, and explores the experiences of women, LGBTQ+ musicians, and musicians of color in the early 21st century.
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.
"Sounds Irish, Acts Global critically examines both the history of Ireland's popular music industry as well as the current music scene in the country. This book is of interest to business students as well as popular music scholars in addition to non-academic readers"--
Irish music enjoyed popularity across Europe and North America in the second half of the twentieth century. Regional circumstances created a unique reception for such music in the English Midlands. This book is a musical ethnography of Birmingham, 1950–2010. Initially establishing geographical and chronological parameters, the book cites Birmingham’s location at the hub of a road and communications network as key to the development of Irish music across a series of increasingly visible, public sites: Birmingham’s branch of Comhaltas Ceoltóirí Éireann was established in the domestic space of an amateur musician; Birmingham’s folk clubs encouraged a blend of Irish music with socialist politics, from which the Dublin singer Luke Kelly honed his trade; Irish solidarity was fostered in Birmingham’s churches. Each of these examples begins with a performance at Birmingham Town Hall in order to show how a single venue also provides musical representations that are mutable over time. The culmination is Birmingham’s St Patrick’s Parade. This, the largest Irish procession outside Dublin and New York, manifests an incoherent blend of sounds. The audio montage, nevertheless, creates a coherent metanarrative: one in which the local community has conquered a number of challenges (most especially that of the IRA bombings of the area) and has moved Irish music from private arenas to the centre of this large civic event.
"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.
"Noisy Island: A Short History of Irish Popular Music is the first extended scholarly engagement with Irish popular music, a phenomenon which has provided the world with some of its most enduringly influential and spectacularly successful artists. Combining expertise in Irish Cultural History and Popular Music Studies, Gerry Smyth offers an authoritative and enjoyable introduction to this important (although invariably overlooked or misunderstood) aspect of modern Irish experience." "Beginning in the early 1960s, the book traces the emergence of a distinctive Irish response to international rock music, from the early beat groups through the varieties of blues-influenced styles of the late 1960s, and on to punk and its new wave aftermath."--BOOK JACKET.