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. "

'Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty's Diaspora

2010 ◽  
Vol 4 (4) ◽  
pp. 491-507
Author(s):  
TIM COLLINS
Keyword(s):  
United States ◽  
Critical Role ◽  
Traditional Music ◽  
The United States ◽  
The West ◽  
Irish Music ◽  
Irish Traditional Music ◽  
West Of Ireland

AbstractThis article, which builds on research in the fields of Irish traditional music, place, and diaspora, focuses on a community of diasporic musicians from Sliabh Aughty, an upland region of approximately 250 square miles that encompasses the musical storehouses of east Clare and southeast Galway in the West of Ireland. It examines the importance of home for these musicians, who have been resident in the United States for many decades. Their personal music geographies are explored to ascertain how traditional Irish music plays a critical role in transcending their sense of dislocation and reconnecting them with “home.”

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.

Elias Howe, William Bradbury Ryan, and Irish Music in Nineteenth-Century Boston

2010 ◽  
Vol 4 (4) ◽  
pp. 401-420 ◽  
Author(s):  
PAUL F. WELLS
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Traditional Music ◽  
The United States ◽  
Late Nineteenth Century ◽  
Irish Music ◽  
Late Nineteenth ◽  
Irish Traditional Music ◽  
Fiddle Tunes

AbstractRyan's Mammoth Collection is a compendium of fiddle tunes assembled by William Bradbury Ryan. Originally published in Boston in 1883 by Elias Howe, Jr., it has remained in print in one form or another ever since. It has been used as a source of tunes by many generations of fiddlers in different stylistic traditions, but its value as a descriptive document of the repertoire of late-nineteenth-century Boston, particularly the Irish community in that city, has largely been overlooked. Ryan, rather than Capt. Francis O'Neill of Chicago, should be regarded as the first great documentarian of Irish traditional music in the United States.

scholarly journals Crossing the River: Exploring the Geography of Irish Traditional Music

2008 ◽  
pp. 127-139
Author(s):  
Daithí Kearney
Keyword(s):  
National Identity ◽  
Local Government ◽  
Traditional Music ◽  
Irish Context ◽  
Irish Music ◽  
Irish Traditional Music ◽  
The Relationship

Geographical interest in music has developed dramatically in the last decade. Musicology, and ethnomusicology in particular, is already intensely geographical. The two subjects can inform each other to create a better understanding of the role of music in society. In this article, the relationship between politics in the performance of music, particularly in consideration of national identity, is examined in an Irish context. Just as Irishness has become a global entity, Irish traditional music has become a global commodity. Attempts at constructing the narrative of Irish traditional music as an essentially Irish music is bound up in the institutionalization of Irish traditional music through local government, universities and organisations such as Comhaltas Ceoltóirí Éireann. Irish traditional music has rarely been independent of politics in the last two decades. It is a connection that has intensely geographical implications for the performance of Irish traditional music.

scholarly journals Music Therapy Through Irish Eyes: A Student Therapist’s Experience of Irish Traditional Music

2008 ◽  
Vol 8 (2) ◽  
Author(s):  
Ruth Armstrong
Keyword(s):  
Music Therapy ◽  
Group Work ◽  
Personal Experience ◽  
Traditional Music ◽  
Social Aspects ◽  
Music Therapists ◽  
Irish Music ◽  
Physical Response ◽  
Irish Traditional Music ◽  
Movement Activities

This article outlines my personal experience of Irish traditional music and considers how it can inform music therapy practice. The use of Irish music may be particularly meaningful for some clients and help them connect with their culture and identity. Music therapy can also draw on specific features; including the melodic, rhythmic and social aspects of the music. The melody is prominent in Irish traditional music, and its expression is very important. The word draíoght (meaning "spell" or "enchantment") is used to describe this expressivity. Music therapists can aspire to capture this quality in the music they create with their clients. Often the rhythm of dance tunes elicits a physical response, so these tunes could be used in movement activities. The relaxed and informal style of playing in sessions provides an atmosphere where the music can grow out of the interactions between players. An attempt to create a similar atmosphere may facilitate creativity and spontaneity in group work. While this article only presents a few ways in which Irish traditional music can influence music therapy practice, it is hoped that readers will be inspired to seek their own ways of relating Irish music to music therapy.

Focus: Irish traditional music

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