An Eventful Life Remembered: Recent Considerations of the Contributions and Legacy of Francis O'Neill

2010 ◽  
Vol 4 (4) ◽  
pp. 421-435
Author(s):  
SALLY K. SOMMERS SMITH
Keyword(s):  
Twentieth Century ◽  
Traditional Music ◽  
Dance Music ◽  
Musical Practice ◽  
Music Community ◽  
Irish Traditional Music

AbstractFrancis O'Neill, one of the towering figures of Irish traditional music, was among the first to collect and publish Irish dance music. His compilations form the most complete glimpse into Irish musical practice at the turn of the twentieth century and are still regarded as the definitive source for traditional tunes. Three recent publications on O'Neill and his times throw light on his life, his passion for the music, and his legacy among today's traditional music community.

Practicing Safe Trad: Why Existing Approaches to Playing-related Musculoskeletal Disorders May Not Help the Irish Traditional Music Community

2013 ◽  
Vol 28 (4) ◽  
pp. 181-187 ◽  
Author(s):  
Liz Doherty ◽  
Iseult M Wilson ◽  
Laura McKeown
Keyword(s):  
Musculoskeletal Disorders ◽  
Health Professionals ◽  
Focus Group Interview ◽  
Sense Of Self ◽  
Traditional Music ◽  
Music Community ◽  
Scant Attention ◽  
Irish Traditional Music ◽  
Interview Studies ◽  
Positive Results

Playing-related musculoskeletal disorders (PRMDs) as they affect the Irish traditional music community is a topic which, to date, has received scant attention. This paper draws on data generated through a series of four focus group interview studies conducted at the Universities of Ulster and Limerick and involving 22 musicians. Specifically, this paper looks at the wider issue of identity within the Irish traditional music community and at how the complexities inherent in this have, perhaps, affected musicians in recognizing, relating to, and dealing with PRMDs. Whether or not the injuries affecting Irish traditional musicians are similar to or different from what other musicians experience, what this study shows is that the sense of self and discrete identity among the Irish traditional music community is so very strong that merely a “one size fits all” approach to addressing these issues is not likely to yield positive results. Health professionals therefore need to be sensitive to such factors when considering their management of PRMDs and to develop approaches along with the traditional music community that are cognisant of their identity as well as their needs.

Policing Space and Defying the Mainstream: Gender and the Creation of a Traditional Music Public Sphere in Twentieth-Century Ireland

2019 ◽  
Vol 51 ◽  
pp. 247-268
Author(s):  
TES SLOMINSKI
Keyword(s):  
Twentieth Century ◽  
Public Sphere ◽  
Lower Class ◽  
Traditional Music ◽  
Non Profit ◽  
The Public ◽  
Music Making ◽  
Irish Traditional Music ◽  
People First ◽  
The Public Sphere

Whether in Ireland or elsewhere, most people first encounter Irish traditional music in public spaces such as pub sessions or concerts, or through the recorded traces of music-making produced for a listening public.1 For those who become more involved in the scene as players, dancers, or avid listeners, festivals, schools, non-profit organisations, archives, and other instruments of the public sphere of Irish traditional music shape perceptions of the genre’s style, history, and participants. But while public and semi-public music-making has been a vital part of the transnational Irish traditional music scene for at least a century, the genre’s self-understanding still relies on its associations with a domestic, private past. In this article, I locate the roots of this contradiction in the historiographical problems presented by the 1935 Public Dance Halls Act—a piece of legislation that has had profound effects on musical practice and discourse in Ireland.2 I examine the ways this law and the frequent retrospective overemphasis of its effects have contributed to the idealisation of Irish traditional music as rooted in a domestic, rural, and lower-class past. Combined with social and governmental restrictions on the activities of women during most of the twentieth century, this alignment of domesticity with imagined “authenticity” has shaped the reception of women’s public Irish traditional musical performance in the twentieth and twenty-first centuries.

Features of Irish Dance Music

2021 ◽  
Vol 66 (2) ◽  
pp. 89-98
Author(s):  
Alexandra Belibou
Keyword(s):  
Traditional Music ◽  
Dance Music ◽  
Musical Characteristics ◽  
Irish Music ◽  
Irish Traditional Music ◽  
Irish Folklore

"The focus of this paper is to bring into light the traditional categories of Irish dance music, emphasizing the musical characteristics that differentiate them. Energetic and effervescent, Irish dance music is rarely analyzed, with Irish folklore lacking a school of dedicated musicologists. The topic of this article is important in the context of the tensions related to globalization, commodification, and transformations in Irish Traditional Music, that scholars are examining. The paper includes musical examples of the traditional Irish dance music categories, for a better view of the phenomenon. Keywords: Irish music, dance music, ethnomusicology. "

scholarly journals Extent of Playing-Related Musculoskeletal Problems in the Irish Traditional Music Community: A Survey

2018 ◽  
Vol 33 (1) ◽  
pp. 47-55 ◽  
Author(s):  
Mark Porter ◽  
Iseult M Wilson
Keyword(s):  
Higher Education ◽  
Musculoskeletal Disorders ◽  
Response Rate ◽  
Higher Education Institutions ◽  
Positive Association ◽  
Traditional Music ◽  
Previous Experience ◽  
Music Community ◽  
Musculoskeletal Problems ◽  
Irish Traditional Music

BACKGROUND: The literature related to playing-related musculoskeletal disorders (PRMDs) primarily includes classical musicians and instrument-specific studies. Previous work by our team identified that PRMDs are an issue for Irish traditional fiddle players; however, the extent of the problem was not known. OBJECTIVE: To identify the type and extent of PRMDs in the Irish traditional music population, specifically fiddle players. METHODS: A questionnaire was developed and administered to faculty and students related to all Irish traditional music courses in all higher education institutions in Ireland. RESULTS: Seven institutions were included. The response rate was 77.5% (n=79 of 102 possible respondents). A fifth of respondents never had a PRMD, 36.7% (n=29) currently had a PRMD, and 34.2% (n=27) had a previous experience of a PRMD. The main symptoms were pain (62%, n=49), stiffness (41.8%, n=33), and tingling (35.4%, n=28). There was a positive association between the development of PRMDs and increased hours of play (p=0.017). CONCLUSIONS: PRMDs are a problem for Irish traditional fiddle players, especially during times of intense playing such as festivals.

Wheels of the World: How Recordings of Irish Traditional Music Bridged the Gap between Homeland and Diaspora

2010 ◽  
Vol 4 (4) ◽  
pp. 437-449 ◽  
Author(s):  
SCOTT SPENCER
Keyword(s):  
Twentieth Century ◽  
Traditional Music ◽  
Performance Practices ◽  
Profound Impact ◽  
Modes Of Transmission ◽  
Irish Identity ◽  
The World ◽  
Irish Traditional Music ◽  
Traditional Performance

AbstractAt the dawn of the twentieth century and the height of the Recording Age, Irish American musicians began to record Irish traditional music on both commercial and subcommercial recordings. Circulated within the diaspora during a changing sense of Irish identity and sent home to a nationalist revival, these recordings had a profound impact on both traditional performance practices and modes of transmission. Quickly accepted by many at the heart of the tradition, these recordings were used by practitioners to bridge vast geographic distances and solidify vital lines of communication, allowing the diaspora to engage actively with the larger tradition.

Focus: Irish traditional music

2011 ◽  
Vol 19 (2) ◽  
pp. 238-240 ◽  
Author(s):  
Fintan Vallely
Keyword(s):  
Traditional Music ◽  
Irish Traditional Music

‘A magic science’: rock music as a recording art

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 195-213 ◽  
Author(s):  
Paul Clarke
Keyword(s):  
Twentieth Century ◽  
Rock Music ◽  
Sound Recording ◽  
Musical Practice ◽  
Order And Disorder ◽  
Twentieth Century Music ◽  
Late Twentieth ◽  
And Control ◽  
Jimi Hendrix ◽  
Late Twentieth Century

Jimi Hendrix once claimed ‘I'm working on music to be completely, utterly a magic science’ (Henderson 1981, p. 337). It is a description that fits not just the best of Hendrix's own music, but the best of all that late twentieth-century music in which the ability to capture and control sounds (on tape or disc) has become a means of extending old musical forms and traditions, and establishing new possibilities for them. Throughout his career, Hendrix drew nourishment from his musical roots in black traditions, but it was not until the summer of 1967 that he plugged himself fully into the new possibilities opened up by the technology of sound recording. Hendrix had already proved himself something of a musical ‘magician’ in the ancient sense in that he attempted, through music, to mediate between order and disorder, using his guitar as an expressive extension of himself to flirt with the danger and power of musical disintegration (for the parallel with non-Western musical practice see Shepherd 1977, p. 72; Mellers 1973, pp. 24–6; Clarke 1982, pp. 227–9).

scholarly journals Typical bridge tunes in jazz music 1920–1960s

2021 ◽  
pp. 145-150
Author(s):  
Ekaterina A. Mylnikova ◽  
Keyword(s):  
Twentieth Century ◽  
Professional Competence ◽  
Music Performance ◽  
Musical Language ◽  
Musical Practice ◽  
Creative Methods ◽  
Jazz Music ◽  
Stylistic Elements

One of the most important components that determine the level of professional competence of a modern musician specializing in jazz music performance is mastering the basic laws of the art of improvisation, based on knowledge and understanding of the laws of traditional harmonic structures and stylistic features of jazz music of the 20–60s of the XX century. A qualified performer and teacher must have knowledge of the skills and abilities of this type of musical practice, which are aimed not so much at improving various techniques of playing the instrument, as at the competent use of stylistic elements of the musical language, its means of expression and forms. The typology and systematization of the main types of harmonic schemes of jazz works of the middle of the twentieth century helps the optimal practical and theoretical assimilation of technological principles and various creative methods aimed at further developing the harmonious thinking of the performer. Within the framework of this research, an analysis of the basic structures of the middle parts in jazz music of the 20–60s of the XX century is undertaken. Methods for studying this issue based on the works of David Baker, Jerry Cooker, Mark Levine and Richard Scott are presented.

‘Nashīd’ Between Islamic Chanting And Jihadi Hymns: Continuities and Transformations

2020 ◽  
pp. 249-272
Author(s):  
Ines Weinrich
Keyword(s):  
Twentieth Century ◽  
The Internet ◽  
Traditional Practices ◽  
Technical Term ◽  
Musical Practice ◽  
Early Twentieth Century ◽  
Different Types ◽  
Musical Characteristics ◽  
English Spelling

Nashīd in its English spelling nasheed and mediatised on the internet is a relatively new phenomenon. Nashīd as a musical practice, by contrast, is old. This chapter analyses nashīd as both a technical term and as a vocal genre. Today, the term nashīd may denote quite different sonic manifestations, ranging from traditional praise songs to the prophet Muḥammad and prayers to religious pop songs and military marches. The chapter focuses on the developments since the early twentieth century and examines the musical roots and styles of the different types of nashīd that are known today. It offers a brief glimpse into traditional practices of nashīd (i.e. inshād) and suggests a categorisation for the different manifestations of modern nashīd, based on musical characteristics and functions. These are (1) political hymns, (2) traditional inshād, (3) popularised nasheed and, finally, (4) the Jihadi anāshīd (sg. nashīd), which musically draw from all three preceding categories.

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