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Artículos de revistas sobre el tema "Music and literature – Ireland"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Erraught, Stan. "The country and Irish problem." Popular Music 39, no. 3-4 (2020): 568–84. http://dx.doi.org/10.1017/s0261143020000550.

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AbstractCountry music has been popular in Ireland since the 1960s, most notably in the work of homegrown performers. Despite the durability of this appeal in the face of huge changes in Ireland and in the Irish music industry over a half-century, it remains curiously underexamined in the literature on Irish popular music. In this paper, I wish to argue the following: (1)Country music did not simply arise ‘naturally’ in Ireland as a reflection of musical or national characteristics: it was promoted as such.(2)Both popular and academic literature on the subject have tended to unreflectively echo

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2

Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.

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Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nat

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3

Asztalos, Andrea. "The Spread of Zoltán Kodály’s Music Education Principles in the World." Studia Universitatis Babeş-Bolyai Musica 68, no. 1 (2023): 11–27. http://dx.doi.org/10.24193/subbmusica.2023.1.01.

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"The purpose of this study is to summarize the essence of Zoltán Kodály’s music education philosophy and concept and to shed light on the presence of this music education concept in domestic and foreign music education in the 21st century. In the study, I present how music education based on Kodály’s principles has been adapted in the USA, Great Britain, Ireland, Scotland, Greece, Netherlands, Australia, Japan, and China and how it flourishes even in the 21st century. Keywords: Kodály Concept, music education, singing, music literature, adaptation of Kodály Concept"

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4

Bateson, Catherine. "Music and identity in Ireland and beyond." Irish Studies Review 24, no. 2 (2016): 238–40. http://dx.doi.org/10.1080/09670882.2016.1149142.

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5

Ferguson, Frank, and Grainne Milner-McLoone. "The Songs of a People: Steinbeck and Transatlantic Song." Steinbeck Review 19, no. 2 (2022): 156–71. http://dx.doi.org/10.5325/steinbeckreview.19.2.0156.

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Abstract In this article we will examine the significance of place and music within Steinbeck’s work. In particular, we will explore how Steinbeck’s conception of place in his ancestral County Derry has figured as part of a wider transatlantic discourse in which writers have looked to this area in the north of Ireland to explore their sense of their personal and familial identity. As part of this process, the idealization of space and memory through the literature, history, and heritage “of the people” has been invoked. In contrast, we will compare Steinbeck’s approach with that of two writers

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6

McLaughlin, Noel. "Bodies swayed to music: dance culture in Ireland." Irish Studies Review 12, no. 1 (2004): 77–85. http://dx.doi.org/10.1080/0967088042000192130.

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7

FitzPatrick Dean, Joan. "Irish Stage Censorship in the 1950s." Theatre Survey 42, no. 2 (2001): 137–64. http://dx.doi.org/10.1017/s0040557401000072.

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At the end of the 1940s, individuals and groups, as well as the government in Ireland, recognized the need for and benefits of arts enterprises. The Inter-Party coalition, which came to power in early 1948 (under John Costello), recognized the importance of tourism as an industry and the potential of theatre to attract foreign visitors to Ireland. In 1949, the Cultural Relations Committee of Ireland, operating under the auspices of the Minister for External Affairs, undertook production of a series of pamphlets designed “to give a broad, vivid, and informed survey of Irish life and culture.”1

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8

Erraught, Stan. "‘I was listening … but did not succeed in hearing you’: Flann O’Brien, Ralph Cusack, and the Absurdities of Silent Musical Experience." Irish University Review 51, no. 2 (2021): 360–74. http://dx.doi.org/10.3366/iur.2021.0524.

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The notion of soundless music seems contradictory, even absurd: the concept of soundless musical experience less so. In this article, I explore two quite different descriptions of this kind of experience as set out in two mid-twentieth-century Irish novels. In one, Flann O'Brien's The Third Policeman, the narrator watches one of the titular sergeants enjoy music that he – the narrator – cannot hear. In the second, Ralph Cusack's Cadenza, the narrator watches as a village priest mimes playing the piano on a café table, a performance he ‘hears’ and appreciates. Speculatively combining and extend

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9

Smyth, Gerry. "The Isle is full of noises: music in contemporary Ireland." Irish Studies Review 12, no. 1 (2004): 3–10. http://dx.doi.org/10.1080/0967088042000192077.

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10

Magennis, Caroline. "Rock and popular music in Ireland: before and after U2." Irish Studies Review 22, no. 1 (2014): 113–15. http://dx.doi.org/10.1080/09670882.2013.872375.

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11

Kirkwood, Jenny, Lisa Graham-Wisener, Tracey McConnell, et al. "The MusiQual treatment manual for music therapy in a palliative care inpatient setting." British Journal of Music Therapy 33, no. 1 (2019): 5–15. http://dx.doi.org/10.1177/1359457519834533.

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This article presents the treatment manual developed during the MusiQual feasibility study carried out in Belfast by Queen’s University Belfast, Every Day Harmony Music Therapy, and Marie Curie Northern Ireland. The MusiQual study considered the feasibility of a multicentre randomised trial to evaluate the effectiveness of music therapy in improving the quality of life of hospice inpatients (protocol: McConnell et al. results: Porter et al.). The procedures in the manual are based fully on those implemented by the Music Therapists during the feasibility study, and it also incorporates the theo

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12

MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publicat

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13

Phelan, Helen. "“Let Us Say Yes…” Music, the Stranger and Hospitality." Public Voices 9, no. 1 (2017): 113. http://dx.doi.org/10.22140/pv.206.

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The stranger, or the foreigner, is a familiar figure in Western literature, philosophy, and theology. The turn of the millennium from the 20th to the 21st century has re-cast the concept of the stranger against a backdrop of global migration, unprecedented in its scope and character. Philosophy, psychoanalysis and literary criticism have all re-engaged in what is increasingly acknowledged as one of the seminal challenges to contemporary political, social and ethical human organization. One of the concepts rehabilitated in this most recent engagement is the concept of hospitality, including abs

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14

Zurcher, Andrew. "Plantation, Contagion, and Containment in Spenser and Bryskett." Explorations in Renaissance Culture 47, no. 1 (2021): 115–45. http://dx.doi.org/10.1163/23526963-47010008.

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Abstract Early modern Ireland was notoriously, or reputedly, a place of disease: the plague, the ague, the country fever, the looseness, the bloody flux, and an assortment of coughs, chills, sweats, and other illnesses—Ireland’s endemii morbi or “reigning diseases”—regularly figure in surviving letters and historical accounts from the period. This essay explores not only the reports of disease issuing from Ireland at this time, but the way in which the experience and rhetoric of contagion help to shape ideas about space, security, and civility in the colonial theory of the period. In Spenser’s

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15

McLoone, Martin. "Punk music in Northern Ireland: the political power of ‘what might have been’." Irish Studies Review 12, no. 1 (2004): 29–38. http://dx.doi.org/10.1080/0967088042000192095.

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16

Porter, Mark, and Iseult M. Wilson. "Extent of Playing-Related Musculoskeletal Problems in the Irish Traditional Music Community: A Survey." Medical Problems of Performing Artists 33, no. 1 (2018): 47–55. http://dx.doi.org/10.21091/mppa.2018.1008.

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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

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17

Freer, Patrick K. "Perspectives of European boys about their voice change and school choral singing: developing the possible selves of adolescent male singers." British Journal of Music Education 32, no. 1 (2014): 87–106. http://dx.doi.org/10.1017/s026505171400031x.

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This article reports analysis of interviews with 85 boys from England, Greece, Ireland and Spain about the voice change, school singing and choral music instruction. Consistent, former and self-described non-singers were included. Data suggest consistency with much of the existing narrative literature about the experience of voice change. Unique topics included a sense of identity loss during voice change. Issues related to gender and sexuality-based bullying were explored. Boys offered numerous recommendations for teachers, including that teachers focus on vocal technique specific to male cha

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18

Hayatuddiniyah, Hayatuddiniyah. "KEBIJAKAN PENGEMBANGAN KOLEKSI: AKUISISI KOLEKSI DI PERPUSTAKAAN PERGURUAN TINGGI TRINITY DUBLIN." Fihris: Jurnal Ilmu Perpustakaan dan Informasi 16, no. 2 (2022): 200. http://dx.doi.org/10.14421/fhrs.2021.162.200-213.

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This article aims to investigate the collection activities carried out by the Dublin Trinity College Library as part of the collections development process. The method used in this article is a qualitative method, and the data collection technique uses literature studies. Dublin Trinity College Library is one of the higher education libraries in Ireland which has a collection of more than 6 million printed volumes with a collection of journals, manuscripts, maps and music. The collection's acquisition as a collection development undertaken by the Dublin Trinity College Library was a purchase a

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19

Boehm-Schnitker, Nadine. "Neo-Victorian Re-Imaginations of the Famine: Negotiating Bare Life through Transnational Memory." Neo-Victorian Studies 12, no. 1 (2019): 80–118. https://doi.org/10.5281/zenodo.3471028.

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Taking its cue from transcultural memory studies and the notion of travelling memory, this article analyses neo-Victorian famine novels, film and music with regard to these texts’ orientations towards the hungry body. The Great Famine in Ireland caused mass migration and resulted in both geographical and cultural re-orientations across a range of intertextual and intermedial products published in Ireland and in the diaspora, including Joseph O’Connor’s <em>Star of the Sea </em>(2002), which looks back to Emily Brontë’s <em>Wuthering Heights </em>(1847), and Paul Ly

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20

Lecky, Katarzyna. "Wetnurse Politics in Spenser’s View and Jones’ Arte and Science." Explorations in Renaissance Culture 47, no. 1 (2021): 56–72. http://dx.doi.org/10.1163/23526963-47010005.

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Abstract This essay places Edmund Spenser’s View of the Present State of Ireland (1596) into conversation with John Jones’ 1579 nursing manual Arte and Science in order to contextualize Spenser’s medical solution to Irish rebellion. For both, the Irish wetnurse, who controlled the political system of fosterage undermining England’s agenda in Ireland, is central to the corporate identity of a conjoined Anglo-Irish kingdom. A View’s relationship to Jones’ text reveals the vexed ontological landscape of England’s early imperial self-fashioning, which linked the re-engineering of the genetic natur

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21

Iammarino, Denna. "Dressed in Sheep’s Clothing: Pastoral and Reform in Spenser’s A View of the Present State of Ireland." Explorations in Renaissance Culture 47, no. 1 (2021): 92–114. http://dx.doi.org/10.1163/23526963-47010007.

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Abstract This study investigates the presence of pastoral themes in Spenser’s prose dialogue, A View of the Present State of Ireland (c. 1596). Tracing the traditional pastoral themes of generational conflict, degeneration, and regeneration in Spenser’s late pastorals, this study considers how Spenser’s inclusion of these pastoral themes shape paradigms of reform in the View. It argues that generational conflict is exacerbated in the colonial space where degeneration is pervasive threatening both the self and the social structure of the English colonial project in Ireland. These connections to

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22

Lim, Walter S. H. "Figuring Justice: Imperial Ideology and the Discourse of Colonialism in Book V of The Faerie Queene and A View of the Present State of Ireland." Renaissance and Reformation 31, no. 1 (2009): 45–70. http://dx.doi.org/10.33137/rr.v31i1.11566.

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Edmund Spenser is a vocal spokesman for the colonization of Ireland. In A View of the Present State of Ireland, he provides one of the most sustained imperialist articulations in Elizabethan England. And in Book V of The Faerie Queene, he promulgates a vision of justice that is necessary for containing individual and social dissent, as well as for consolidating monarchical authority. Spenser wants a similar form of relentless justice applied to controlling the recalcitrant Irish, but discovers that his implacable imperialist policy stands in direct opposition to Queen Elizabeth’s own.

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23

Ryan, Bartholomew. "A History and Experience of Bloomsday in Lisbon 2012-2022." ABEI Journal 25, no. 1 (2023): 69–98. http://dx.doi.org/10.11606/issn.2595-8127.v25i1p69-98.

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This text is an account of “Bloomsday”(a celebration of the day in which James Joyce’s Ulysses is set) in Lisbon in the years 2012-2022, from the perspective of the director of the event. I have always tried to interweave Ireland, Portugal and Brazil in the encounter with Joyce with ourselves and our sounds in language and music, with our diverse locations, and with the different translations of Ulysses. The vision has always been to combine entertainment and a subversive joy via music, performative readings and remarks on Ulysses, together with diving deep into the philosophical panorama and

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24

Brink, Jean R. "Constructing the Text of the View of the Present State of Ireland before the New Bibliography." Explorations in Renaissance Culture 47, no. 1 (2021): 10–26. http://dx.doi.org/10.1163/23526963-47010002.

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Abstract This paper begins with an account of the history of modern editions of Spenser’s View, analyzes textual scholarship, and concludes with a skeptical reexamination of Spenser’s rhetorical objectives. As this paper will demonstrate, a critical bibliography is needed to clarify the dates, scribes, and provenance of the twenty-one complete manuscripts of the View of the Present State of Ireland.

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25

McIlfatrick-Ksenofontov, Miriam. "Eccentric Sonnets: Ciaran Carson’s poetics in The Twelfth of Never." Interlitteraria 23, no. 2 (2019): 383–98. http://dx.doi.org/10.12697/il.2018.23.2.13.

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The dialogic nature of language use and the impossibility of an uninfluenced work of literature complicate the notion of poet-as-originator. Yet originality persists as a sought-after quality in literature for both writers and readers. The article focuses on the Northern Irish poet, writer, and translator Ciaran Carson, known for his fascination with language as a medium and his linguistic experimentalism. In 1998, Carson published two collections of poetry: The Alexandrine Plan, translations of sonnets by Mallarmé, Baudelaire and Rimbaud, and The Twelfth of Never, a sequence of his own sonnet

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26

Klein (book author), Bernhard, and Lesley B. Cormack (review author). "Maps and the Writing of Space in Early Modern England and Ireland." Renaissance and Reformation 38, no. 1 (2002): 83–85. http://dx.doi.org/10.33137/rr.v38i1.8759.

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27

Kane, Brendan. "Ó Siochrú, Mícheál, principal investigator. The Down Survey of Ireland Project. Other." Renaissance and Reformation 44, no. 3 (2022): 205–10. http://dx.doi.org/10.33137/rr.v44i3.37996.

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28

Gintsburg, Sarali, Luis Galván Moreno, and Ruth Finnegan. "Voice in a narrative: A trialogue with Ruth Finnegan." Frontiers of Narrative Studies 7, no. 1 (2021): 1–20. http://dx.doi.org/10.1515/fns-2021-0001.

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Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society a

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29

Lockey, Brian C. "Edmund Spenser’s View of Christendom: New Legal and Theological Contexts for A View of the Present State of Ireland." Explorations in Renaissance Culture 47, no. 1 (2021): 39–55. http://dx.doi.org/10.1163/23526963-47010004.

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Abstract This paper considers how Spenser’s conception of conscience and universal law and justice in A View of the Present State of Ireland can be understood within the context of jurist Christopher St. German’s early sixteenth-century tract on equity and the common law and his subsequent tracts on the reformation of Church corruption. The paper attempts to re-situate Spenser’s engagement with legal and political theory within the context of English legal education as it had developed throughout the fifteenth and sixteenth centuries. Ultimately, it shows that Spenser’s engagement with law, th

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30

Berry, Craig A. "Prosaic Diction: Finding Patterns in the Words of Spenser’s View." Explorations in Renaissance Culture 47, no. 1 (2021): 27–38. http://dx.doi.org/10.1163/23526963-47010003.

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Abstract Scholars have long noted the eccentric vocabulary of Spenser’s A View of the Present State of Ireland, primarily with an eye toward glossing words unfamiliar outside of a contemporary Irish context. This essay steps back from consideration of individual words to ponder what can be learned from word frequencies, primarily focusing on what the tools of corpus linguistics can tell us about the View and especially the View in relation to Spenser’s poetry. What words are most common in the View? What words in the View are most likely (or least likely) to occur in Spenser’s poetry? Is the v

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31

Sullivan, Kelly. "Yeats's Birds: Recognising the Animal." Modernist Cultures 16, no. 1 (2021): 114–37. http://dx.doi.org/10.3366/mod.2021.0322.

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Yeats's use of avian imagery forms part of his turn toward a modernist poetics, particularly in volumes written in response to social and political upheavals, world war, and revolution in Ireland. Yeats's birds vacillate between symbolic presences and literal creatures, but in his most experimental work, he uses the avian to explore the limits of human consciousness and of empathy, epistemological queries central to modernism. Considering Yeats's post-1914 poetry through a less anthropocentric view, this article interprets his engagement with politics and revolutionary action from an ecologica

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32

Murray (book author), James, and J. R. D. Falconer (review author). "Enforcing the English Reformation in Ireland: Clerical Resistance and Political Conflict in the Diocese of Dublin, 1534–1590." Renaissance and Reformation 36, no. 1 (2013): 187–88. http://dx.doi.org/10.33137/rr.v36i1.20036.

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Campangne, Hervé-Thomas. "« Si je ne suis pas sans reproches, du moins suis-je sans peur »: la passion dévorante de Pierre de Boscosel de Chastelard." Renaissance and Reformation 38, no. 3 (2015): 103–18. http://dx.doi.org/10.33137/rr.v38i3.26150.

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Descendant du chevalier Bayard, Pierre de Boscosel de Chastelard faisait partie de la compagnie de gentilshommes qui accompagnèrent Marie Stuart en Écosse après la mort de François II. Épris de la reine, il se cacha sous son lit en espérant peut-être séduire sa bien-aimée ; la souveraine lui pardonna cette audace, mais le jeune homme ne put s’empêcher d’oser une seconde tentative. Surpris par une servante de Marie, l’amant éperdu fut livré aux tribunaux et décapité. À partir des récits de John Knox et de Brantôme, je propose d’étudier les enjeux et les modalités de la repré

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34

Nagle, John. "Music in Ireland." Ethnomusicology 51, no. 1 (2007): 153–55. http://dx.doi.org/10.2307/20174510.

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Dawson (book author), Jane E. A., and Lisa Hopkins (review author). "The Politics of Religion in the Age of Mary, Queen of Scots: The Earl of Argyll and the Struggle for Britain and Ireland." Renaissance and Reformation 38, no. 3 (2002): 12–14. http://dx.doi.org/10.33137/rr.v38i3.8792.

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DOWNEY, PETER. "Early music of Ireland." Early Music XXVIII, no. 3 (2000): 510—a—510. http://dx.doi.org/10.1093/earlyj/xxviii.3.510-a.

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Klein, Axel. "Review: Music in Ireland—Experiencing Music, Expressing Culture." Music and Letters 86, no. 2 (2005): 274–75. http://dx.doi.org/10.1093/ml/gci037.

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Commins, Verena, and Méabh Ní Fhuartháin. "Nótaí/Notes: Music and Ireland." Éire-Ireland 54, no. 1-2 (2019): 10–16. http://dx.doi.org/10.1353/eir.2019.0000.

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39

Yancey, James W., and Ying-Shu Liu. "Book Review: Music in Ireland." Journal of Historical Research in Music Education 24, no. 1 (2002): 103–8. http://dx.doi.org/10.1177/153660060202400106.

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40

Bracefield, Hilary, Michael Kirk-Smith, Eamonn Slevin, Julie Sutton, and Kate Thompson. "Music Therapy in Northern Ireland." Journal of Learning Disabilities 4, no. 1 (2000): 63–76. http://dx.doi.org/10.1177/146900470000400105.

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41

Rollefson, J. Griffith, and Stephen (‘DJ Stevie G’) Grainger. "Ireland (Éire)." Global Hip Hop Studies 3, no. 1 (2022): 81–88. http://dx.doi.org/10.1386/ghhs_00070_1.

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42

Johnson, Henry. "The Encyclopaedia of Music in Ireland." Ethnomusicology Forum 23, no. 3 (2014): 445–51. http://dx.doi.org/10.1080/17411912.2014.959540.

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43

Flynn, Patricia. "Review: Music and Broadcasting in Ireland." Irish Economic and Social History 33, no. 1 (2006): 148–49. http://dx.doi.org/10.1177/033248930603300150.

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Cowgill, Rachel. "‘The cradle of music in Ireland’." Early Music 33, no. 3 (2005): 514–15. http://dx.doi.org/10.1093/em/cah113.

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45

CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States." Journal of the Society for American Music 4, no. 4 (2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.

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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morri

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46

Thompson, Daniel N., and Rionach Ui Ogain. "Ireland: Traditional Musics of Today." Yearbook for Traditional Music 30 (1998): 212. http://dx.doi.org/10.2307/768624.

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47

Dodd, David, James Porter, and Deborah L. Schaeffer. "The Traditional Music of Britain and Ireland." Notes 47, no. 2 (1990): 391. http://dx.doi.org/10.2307/941979.

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48

White, Harry. "A Canadian Model for Music in Ireland." Canadian Journal of Irish Studies 16, no. 2 (1990): 1. http://dx.doi.org/10.2307/25512822.

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Pruitt, Lesley J. "Music, youth, and peacebuilding in Northern Ireland." Global Change, Peace & Security 23, no. 2 (2011): 207–22. http://dx.doi.org/10.1080/14781158.2011.580961.

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Barclay, Katie. "The Sound of Politics in Early Nineteenth-Century Ireland." Journal of British Studies 60, no. 2 (2021): 389–402. http://dx.doi.org/10.1017/jbr.2020.248.

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AbstractIn the early 1800s, Jonah Barrington, an Irish judge, bemoaned that the air chosen as the march for the Irish Volunteer Movement had “no merit whatever, being neither grand, nor martial, nor animating,” contrasting it with the zeal of French revolutionary music. The emotional impact of music might be a matter of taste, but such a statement is suggestive of an aesthetics, where political music, or music used for political purposes, should have specific qualities that could be identified and judged by listeners. This article explores how people in late eighteenth- and early nineteenth-ce

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