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The Musical Traditions of Northern Ireland and Its Diaspora
Northern Ireland remains a divided community in which traditional culture is widely understood as a marker of religious affiliation and ethnic identity. David Cooper provides an analysis of the characteristics of traditional music performed in Northern Ireland, as well as an ethnographic and ethnomusicological study of a group of traditional musicians from County Antrim. In particular, he offers a consideration of the cultural dynamics of Northern Ireland with respect to traditional music.
The Beat Cop
"Francis O'Neill was Chicago's larger-than-life police chief, starting in 1901- and he was an Irish immigrant with an intense interest in his home country's music. In documenting and publishing his understanding of Irish musical folkways, O'Neill became the foremost shaper of what "Irish music" meant. He favored specific rural forms and styles, and as Michael O'Malley shows, he was the "beat cop" -actively using his police powers and skills to acquire knowledge about Irish music and to enforce a nostalgic vision of it"--
Essential Guide to Irish Flute and Tin Whistle
For the beginner to the highly advanced player of Irish flute, tin whistle, or Boehm-system flute. Features a simple and penetrating new approach to understanding and notating ornamentation that goes beyond any previous method, exploring ornamentation techniques never described in print before. Also includes adaptations for Boehm-system flute players, guidance on breathing and phrasing, 49 ornamentation exercises, history and theory of traditional Irish flute and whistle music, and 27 meticulous transcriptions of recordings by these important Irish flute and tin whistle players: John McKenna,Tom Morrison, William Cummins, Séamus Ennis, Willie Clancy, Paddy Taylor, Paddy Carty, Grey Larsen, ...
Donegal
None
The Essential Tin Whistle Toolbox
All the tools the beginner, novice, and intermediate tin whistle player needs in order to progress to a high level of competence in Irish music. Includes an Orientation to Traditional Irish Music, which puts the music in context, with information on scales and modes, dance tune types, the historical roots of whistle playing, and advice for learning by ear. the book is full of thorough instruction, exercises, and musical examples: from holding, fingering, breathing, and blowing, on up to advanced ornamentation, phrasing, and variations. Features a simple and penetrating new approach to understanding and notating ornamentation that goes beyond any previous method. Also includes history and theory of traditional Irish tin whistle music. for those who don't read music, almost all the exercises and examples appear on the companion CD.
The Companion to Irish Traditional Music
Fintan Vallely''s survey of Irish traditional music examines a wide range of topics relating to the histo ry of the genre, the characters, past and present who engage with the music and an analysis of the way the media represe nts it. '
Everything You Wanted to Know About Clawhammer Banjo
One of the world's top players addresses nearly every aspect of the popular 5-string banjo style known as clawhammer or frailing. Chapter themes include fundamentals; advanced and experimental techniques; arranging and backup; how to play reels, hornpipes, jigs and other fiddle tunes; how to approach such genres as ragtime, bluegrass, klezmer, blues, calypso, and a wide variety of national and regional music; alternative tunings; setup and accessories; and historical background. Features 120 tunes along with numerous exercises and musical examples in crystal clear tablature; all tunes illustrated by author on two accompanying CDs.
Blas
None
Rites of Spontaneity
A room in a pub. Some musicians facing each other. They play well-known traditional Irish tunes on flutes, tin whistles, and fiddles. Every musician plays the melodic line adding her own variations and grace notes. Some musicians are just listening; others are cracking jokes. The crowd nearby is composed of friends, occasional patrons, a regular audience, and curious tourists. Some seem not to care; some come closer to listen or perhaps even participate. This is called a “session”. From an anthropological point of view, sessions are not just a musical environment. They are a combination of social interactions, suggesting specific dynamics between community, subjects and cultural items. A scene like that can be found the world over, from Dublin to Boston and Rome. During the last forty years the practices and the appreciation of this particular music, and of this particular setting, have moved decisively from local arenas into the global marketplace. A transnational perspective is, therefore, necessary. As such, this book will appeal to a very wide range of readers, from musicians and aficionados to scholars and students.
