CD Track List
1. Invitation to a Session
What is Traditional Irish Music?
2. Historical Continuities: Music, Dance, and the Making of a Nation
Colonialism in Ireland
Edward Bunting and Thomas Moore
Dancing and Dance Music
Music, Religion, and Political Struggle
"The Green Fields of Canada"
Home Rule and the Gaelic League
Constructing an Irish Ireland
3. Passing on the Tradition
Learning by Osmosis: Mary MacNamara and Kevin Crawford
The Willie Clancy Summer School
4. The Dance Tune Tradition
Tune Aesthetics: Variation and Ornamentation
Tune Names and Tune Types
Polka and Waltz
A Tune in Performance: Garrett Barry's Jig
Fiddles and Fiddle Styles
Piano, Synthesizers, and Electric Instruments
Solo versus Ensemble Playing: Sessions, Céilí Bands, and Small Groups
5. Singers, Sessions, and Songs
The Góilín Singers' Club and the Folk Revival
6. The Sean-nós in the New Ireland: Irish Singing Traditions
The Lyrics of Sean-nós
The Sound of Sean-nós
A Singer's Mission
A Linguistic Meeting-Ground: Irish Traditional Songs in English
A Floating Repertoire of Tunes and Verses
Len Graham: "A Compulsive Singer"
7. Irish Music in the Global Marketplace
Music in Ireland: Experiencing Music, Expressing Culture / Edition 1by Dorothea E. Hast, Stanley Scott, Patricia Shehan Campbell
Pub. Date: 06/24/2004
Publisher: Oxford University Press
Music in Ireland is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which
Music in Ireland is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study.
Music in Ireland provides an engaging and focused introduction to Irish traditional musictypes of singing, instrumental music, and dance that reflect the social values and political messages central to Irish identity. This music thrives today not only in Ireland but also in areas throughout North America, Europe, Australia, and Asia.
Vividly evoking Irish sounds, instruments, and dance steps, Music in Ireland provides a springboard for the discussion of cultural and historical issues of identity, community, nationalism, emigration, transmission, and gender. Using the informal instrumental and singing session as a focal point, Dorothea E. Hast and Stanley Scott take readers into contemporary performance environments and explore many facets of the tradition, from the "craic" (good-natured fun) to performance style, repertoire, and instrumentation. Incorporating first-person accounts of performances and interviews with performers and folklorists, the authors emphasize the significant roles that people play in music-making and illuminate national and international musical trends. They also address commercialism, globalization, and cross-cultural collaboration, issues that have become increasingly important as more Irish artists enter the global marketplace through recordings, tours, and large-scale productions like Riverdance.
Packaged with a 70-minute CD containing examples of the music discussed in the book, Music in Ireland features guided listening and hands-on activities that allow readers to gain experience in Irish culture by becoming active participants in the music.
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