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Libros sobre el tema "Iris (Musical group)"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Ghiu-Caia, Miron. Iris: Spectacolul abia începe. Humanitas, 2003.

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2

Merrick, Joe. London Irish punk life & music...: Shane MacGowan. Omnibus Press,c2001., 2001.

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3

Lydon, John. Rotten: No Irish, no Blacks, no dogs. Picador USA, 1995.

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4

group), Westlife (Musical, ed. Westlife: Our story. HarperCollins, 2008.

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5

Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. Hodder & Stoughton, 1994.

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6

Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. Hodder & Stoughton, 1994.

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7

Keith, Zimmerman, and Zimmerman Kent 1953-, eds. Rotten: No Irish, no Blacks, no dogs : the authorized autobiography, Johnny Rotten of the Sex Pistols. St. Martin's Press, 1994.

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8

Keith, Zimmerman, and Zimmerman Kent, eds. Rotten: No Irish, no blacks, no dogs : the authorised autobiography [of] Johnny Rotten of the Sex Pistols. Hodder & Stoughton, 1995.

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9

Ireland, Arts Council of, ed. Hairy tales. Basement Press, 1994.

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10

Kirwan, Larry. Green Suede Shoes: An Irish-American Odyssey. Hachette Books, 2009.

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11

Zimmerman, Kent, and John Lydon. Rotten No Irish No Blacks No Dogs. St Martins Pr, 1994.

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12

Lydon, John. Rotten: No Irish, No Blacks, No Dogs. Picador, 1995.

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13

Lydon, John. Rotten : No Irish, No Blacks, No Dogs. World Pubns, 1994.

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14

Lydon, John. Rotten: No Irish, No Blacks, No Dogs. New Eng. Lib., 1994.

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15

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2001.

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16

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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17

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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18

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2002.

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19

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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20

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2002.

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21

Contemporary musicians: Profiles of the people in music. Gale Group :Thomson Gale, 2004.

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22

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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23

Deremer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2003.

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24

Rotten: No Irish, No Blacks, No Dogs. Hodder & Stoughton Ltd, 1994.

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25

Space and the Irish cultural imagination. Palgrave, 2001.

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26

Ireland's harp: The shaping of Irish identity, c. 1770-1880. University College Dublin Press, 2014.

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27

Phelan, Helen. Singing Hospitality in Community-Based Ritual. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190672225.003.0006.

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Chapter 5 examines three community-based rituals. The discussion of a community music festival focuses on a choir called Comhcheol, the Irish-language word for “harmony.” Comhcheol was formed by a group of women from the asylum-seeking and traveller communities. World Carnival is an annual event based in the most multicultural primary school in Limerick city. Anáil Dé/The Breath of God is a festival of world sacred music. The essentially relational and communicative nature of singing in these events is highlighted through a discussion of tacitness. The kinesthetic and emotive properties of sin
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28

Sweethearts. Oberon Books, Limited, 2016.

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29

The Sweethearts. Samuel French Ltd, 2016.

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30

Rodgers, Mark. Hairy tales. 1997.

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31

Cohen, Norm, Carson Cohen, and Anne Dhu McLucas, eds. An American Singing Heritage. A-R Editions, 2021. http://dx.doi.org/10.31022/a089.

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This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud's Folk Song Index, catalogues of commercial early country (or “hillbilly”) recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the
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