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Author: John O'Keeffe
Publisher:
ISBN: 9781782052357
Category : Chants
Languages : en
Pages : 297
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Book Description
It presents an investigation into the liturgical music of Sean and Peadar O Riada through an examination of three Roman-Rite mass settings composed in the Irish vernacular from within the cultural context of the West-Cork Gaeltacht of Muscrai. The main part of the work, running from Chapters Three to Six, consists of a detailed analysis of the contents of the mass settings, a body of material which is considered from the following perspectives: as emanating from a living culture of native traditional song; as part of a historical continuum of monophonic liturgical composition for the Roman Rite, having at its origins the compositional traditions of plainchant; as part of a broader aesthetic context of text-music relationships found in the repertoires of plainchant, medieval song and folksong; and finally, as part of the new liturgical reality existing since the Second Vatican Council which requires viable and sustainable musical approaches to the setting of vernacular texts.
Author: John O'Keeffe
Publisher:
ISBN: 9781782052357
Category : Chants
Languages : en
Pages : 297
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Book Description
It presents an investigation into the liturgical music of Sean and Peadar O Riada through an examination of three Roman-Rite mass settings composed in the Irish vernacular from within the cultural context of the West-Cork Gaeltacht of Muscrai. The main part of the work, running from Chapters Three to Six, consists of a detailed analysis of the contents of the mass settings, a body of material which is considered from the following perspectives: as emanating from a living culture of native traditional song; as part of a historical continuum of monophonic liturgical composition for the Roman Rite, having at its origins the compositional traditions of plainchant; as part of a broader aesthetic context of text-music relationships found in the repertoires of plainchant, medieval song and folksong; and finally, as part of the new liturgical reality existing since the Second Vatican Council which requires viable and sustainable musical approaches to the setting of vernacular texts.
Author: Ita Beausang
Publisher:
ISBN: 9781782052647
Category : Biography & Autobiography
Languages : en
Pages : 0
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Book Description
The Irish composer, Ina Boyle (1889-1967), was born in Enniskerry, Co. Wicklow, where she enjoyed a sheltered childhood as a member of an Anglo-Irish family with roots in the medical, military and diplomatic professions. Her first music teacher was her clergyman father, who made violins for a hobby. She started to compose from an early age and soon found a passion for music that lasted a lifetime, spanning two world wars, the 1916 rebellion, the war of independence, the civil war and the economic war.0Ina Boyle studied privately in Dublin with C.H. Kitson and Percy Buck, she had her first success in 1919 when her orchestral rhapsody, 'The magic harp', which was selected for publication by the prestigious Carnegie United Kingdom Trust and was performed by the London Symphony Orchestra, conducted by Adrian Boult. From 1923, realising the need to expand her musical horizons, she visited London for composition lessons with Ralph Vaughan Williams whenever family duties allowed, until her travels were curtailed by the outbreak of the Second World War. Vaughan Williams thought highly of her works but, despite her best efforts to promote them, few were performed in public. During the 1940s some of her orchestral music was broadcast on Radio Eireann in a series of programmes on Irish composers. After the death of her father in 1951, she was again free to travel to London while devoting the rest of her life to composition. As one of twentieth-century Ireland's most prolific composers and the first Irishwoman to undertake a symphony, a concerto and a ballet, this first book on the life and music of Ina Boyle is long overdue.
Author: Fintan O'Toole
Publisher: Liveright Publishing
ISBN: 1631496549
Category : History
Languages : en
Pages : 788
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Book Description
NEW YORK TIMES BESTSELLER NEW YORK TIMES • 10 BEST BOOKS OF THE YEAR NATIONAL BESTSELLER The Atlantic: 10 Best Books of 2022 Best Books of the Year: Washington Post, New Yorker, Salon, Foreign Affairs, New Statesman, Chicago Public Library, Vroman's “[L]ike reading a great tragicomic Irish novel.” —James Wood, The New Yorker “Masterful . . . astonishing.” —Cullen Murphy, The Atlantic "A landmark history . . . Leavened by the brilliance of O'Toole's insights and wit.” —Claire Messud, Harper’s Winner • 2021 An Post Irish Book Award — Nonfiction Book of the Year • from the judges: “The most remarkable Irish nonfiction book I’ve read in the last 10 years”; “[A] book for the ages.” A celebrated Irish writer’s magisterial, brilliantly insightful chronicle of the wrenching transformations that dragged his homeland into the modern world. Fintan O’Toole was born in the year the revolution began. It was 1958, and the Irish government—in despair, because all the young people were leaving—opened the country to foreign investment and popular culture. So began a decades-long, ongoing experiment with Irish national identity. In We Don’t Know Ourselves, O’Toole, one of the Anglophone world’s most consummate stylists, weaves his own experiences into Irish social, cultural, and economic change, showing how Ireland, in just one lifetime, has gone from a reactionary “backwater” to an almost totally open society—perhaps the most astonishing national transformation in modern history. Born to a working-class family in the Dublin suburbs, O’Toole served as an altar boy and attended a Christian Brothers school, much as his forebears did. He was enthralled by American Westerns suddenly appearing on Irish television, which were not that far from his own experience, given that Ireland’s main export was beef and it was still not unknown for herds of cattle to clatter down Dublin’s streets. Yet the Westerns were a sign of what was to come. O’Toole narrates the once unthinkable collapse of the all-powerful Catholic Church, brought down by scandal and by the activism of ordinary Irish, women in particular. He relates the horrific violence of the Troubles in Northern Ireland, which led most Irish to reject violent nationalism. In O’Toole’s telling, America became a lodestar, from John F. Kennedy’s 1963 visit, when the soon-to-be martyred American president was welcomed as a native son, to the emergence of the Irish technology sector in the late 1990s, driven by American corporations, which set Ireland on the path toward particular disaster during the 2008 financial crisis. A remarkably compassionate yet exacting observer, O’Toole in coruscating prose captures the peculiar Irish habit of “deliberate unknowing,” which allowed myths of national greatness to persist even as the foundations were crumbling. Forty years in the making, We Don’t Know Ourselves is a landmark work, a memoir and a national history that ultimately reveals how the two modes are entwined for all of us.
Author: Michael Christoforidis
Publisher: Routledge
ISBN: 1351392581
Category : Music
Languages : en
Pages : 503
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Book Description
Michael Christoforidis is widely recognized as a leading expert on one of Spain's most important composers, Manuel de Falla. This volume brings together both new chapters and revised versions of previously published work, some of which is made available here in English for the first time. The introductory chapter provides a biographical outline of the composer and characterisations of both Falla and his music during his lifetime. The sections that follow explore different facets of Falla’s mature works and musical identity. Part II traces the evolution of his flamenco-inspired Spanish style through contacts with Claude Debussy, Maurice Ravel and Igor Stravinsky, while Part III explores the impact of post-World War I modernities on Falla’s musical nationalism. The final part reflects on aspects of Falla’s music and the politics of Spain in the 1930s and 1940s. Situating his discussion of these aspects of Falla's music within a broader context, including currents in literature and the visual arts, Christoforidis provides a distinctive and original contribution to the study of Falla as well as to the wider fields of musical modernism, exoticism, and music and politics.
Author: Susan O'Regan
Publisher:
ISBN: 9781782052203
Category : History
Languages : en
Pages : 0
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Book Description
This book presents, for the first time, an in-depth and wide-ranging study of public musical life in Cork from the early eighteenth century to the end of the nineteenth century. The city's strategic location facilitated rapid economic growth during the eighteenth century, and urban social patterns consolidated within its mercantile communities. Local professionals collaborated with touring performers in sustaining a vibrant concert life, to which military and yeomanry bands frequently contributed. Visiting theatre companies from Dublin brought professional musicians and singers, giving local audiences a taste of current metropolitan repertoire. The cathedral of St Fin Barre maintained a core of professionals who were influential teachers and performers in the city. In the politically charged environment following the Act of Union, a growing sense of Irish identity through awareness of Ireland's past was evident in the proliferation of songs by Thomas Moore and the appearance of the Irish harp in concerts. These featured alongside excerpts from Italian opera, English glees, and the virtuosic offerings of touring composer-performers, notably Paganini and Liszt. Local press writing emerged as an important element of concert promotion. From the 1840s onwards, wider movements promoting temperance and social reform were reflected in dedicated local organisations that sponsored music education, and temperance bands and singing classes proliferated. Despite political and sectarian tensions, choral societies emerged as a key element of middle-class sociability during the late nineteenth century. Musical structures in the city's new Catholic churches, a municipal school of music, and a new opera house were amongst the late nineteenth century developments that marked music as a vital strand in Cork's expanding social and civic life.
Author: Nancy Scheper-Hughes
Publisher: Univ of California Press
ISBN: 0520224809
Category : Psychology
Languages : en
Pages : 418
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Book Description
"Saints, Scholars, and Schizophrenics, in its original form--now integrally reproduced in the new edition--is a most important seminal study of an Irish community."—Conor Cruise O'Brien
Author: W. M. MacKenzie
Publisher:
ISBN:
Category : Arran
Languages : en
Pages : 442
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Book Description
Author: Séamas De Barra
Publisher: Field Day Publications
ISBN: 0946755329
Category : Composers
Languages : en
Pages : 212
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Book Description
Author: Tomás Ó Canainn
Publisher: Collins Press
ISBN:
Category : Art
Languages : en
Pages : 236
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Book Description
Sean O Riada (1931-1971) was a major factor in the rise of Irish traditional music in the second half of the twentieth century. He is one of Ireland's most fascinating and significant characters--composer, musician (jazz, classical, and traditional), director of music for the Abbey Theatre, raconteur, film-maker, and academic--and the man most influential in changing the direction, and popularity, of traditional music that set the stage for the success of bands like The Chieftains and Planxty. In this wide-ranging account of his life and work a friend and colleague looks behind the mask O Riada held up to the world and reveals the complex personality of a unique individual, the first composer of modern Ireland.
Author: Harris M. Berger
Publisher: Univ. Press of Mississippi
ISBN: 9781578065363
Category : Language Arts & Disciplines
Languages : en
Pages : 388
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Book Description
Cultural Studies -- Ethnomusicology Why would a punk band popular only in Indonesia cut songs in no other language than English? If you're rapping in Tanzania and Malawi, where hip hop has a growing audience, what do you rhyme in? Swahili? Chichewa? English? Some combination of these? Global Pop, Local Language examines how performers and audiences from a wide range of cultures deal with the issue of language choice and dialect in popular music. Related issues confront performers of Latin music in the U.S., drum and bass MCs in Toronto, and rappers, rockers, and traditional folk singers from England and Ireland to France, Germany, Belarus, Nepal, China, New Zealand, Hawaii, and beyond. For pop musicians, this issue brings up a number of complex questions. Which languages or dialects will best express my ideas? Which will get me a record contract or a bigger audience? What does it mean to sing or listen to music in a colonial language? A foreign language? A regional dialect? A "native" language? Examining popular music from a range of world cultures, the authors explore these questions and use them to address a number of broader issues, including the globalization of the music industry, the problem of authenticity in popular culture, the politics of identity, multiculturalism, and the emergence of English as a dominant world language. The chapters are written in a highly accessible style by scholars from a variety of fields, including ethnomusicology, popular music studies, anthropology, culture studies, literary studies, folklore, and linguistics. Harris M. Berger is associate professor of music at Texas A&M University. He is the author of Metal, Rock and Jazz: Perception and the Phenomenology of Musical Experience (1999). Michael Thomas Carroll is professor of English at New Mexico Highlands University. He is the author of Popular Modernity in America: Experience, Technology, Mythohistory (2000) and co-editor, with Eddie Tafoya, of Phenomenological Approaches to Popular Culture (2000).
