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IRTRAD-L  January 1994

IRTRAD-L January 1994

Subject:

Re: History of Irish Music

From:

Naka Ishii <[log in to unmask]>

Reply-To:

Irish Traditional Music List <[log in to unmask]>

Date:

Fri, 28 Jan 1994 13:18:22 -0500

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (206 lines)

Here's a search I did recently when I got curious about dissertations on
Irish music.  This was done on Dialog.  You can purchase copies of most from
UMI, I believe.  If anyone needs details, I can look them up.
 
Naka Ishii
[log in to unmask]
 
 
From DISSERTATION ABSTRACTS File 35.
 
1/5/1
01238461  ORDER NO: AAD92-27728
IRISH MUSIC IN AMERICA: CONTINUITY AND CHANGE (ETHNOMUSICOLOGY IMMIGRANTS)
  Author:  MOLONEY, MICHAEL
  Degree:  PH.D.
  Year:    1992
  Corporate Source/Institution:  UNIVERSITY OF PENNSYLVANIA (0175)
  Supervisor: KENNETH S. GOLDSTEIN
  Source:  VOLUME 53/05-A OF DISSERTATION ABSTRACTS INTERNATIONAL.
           PAGE 1627.  637 PAGES
  Descriptors:  FOLKLORE; SOCIOLOGY, ETHNIC AND RACIAL STUDIES; MUSIC
  Descriptor Codes:  0358; 0631; 0413
 
     Though Irish music acts as a powerful symbolic force in Irish-American
community life, very little is known about the factors that influence
continuity and change in the many genres of Irish music in America. Some of
these genres have cross-fertilized, some have exhibited varying degrees of
acculturation, some have become marginalized or have disappeared, and some
have been remarkable resistant to acculturative influences. This study set
out to investigate continuity and change in all aspects of Irish music in
America, to examine the music in its various forms and to obtain an
understanding of how the various forms evolve, thrive, cross-fertilize,
decline and sometimes disappear. The study demonstrates that it is only
possible to reach an understanding of the dynamic relationship of the
forces that interplay to promote continuity and change in a particular
ethnic culture in America by using an ethnographic approach to investigate
the multiple social and individual meanings of the music in a complex
multicultural setting. In the course of every ten years of ethnographic
research in Irish-American communities it was ascertained that the factors
promoting the continuity of Irish musical culture in America include: the
extensive, unbroken, ongoing Irish emigration to America, the ease of
communication and the lack of political and ideological boundaries between
Ireland and America, the nature of the musical learning, transmission and
enculturation processes, the constant composition of new material in
traditional idioms, the influence of technology, publications and sound and
video recordings, the multiplicity of social contexts in which Irish music
is performed in the United States, increased economic benefits to
musicians, a resurgence in Irish-American ethnic identity and pride,
support and participation from non-Irish-Americans, and cultural
revitalization initiatives of various kinds. Factors promoting musical
innovation, change, disappearance and hybridization include culture
contact, changing tastes, disappearance of traditional performing contexts
and modernization. It was discovered that modernization encourages both
continuity and change in Irish music as many genres now enjoy an
unprecedented level of visibility and affirmation in the western media.
 
  1/5/2
632485  ORDER NO: AAD78-17270
IRISH MUSIC IN CHICAGO:  AN ETHNOMUSICOLOGICAL STUDY.
  Author:  MCCULLOUGH, LAWRENCE ERVIN
  Degree:  PH.D.
  Year:    1978
  Corporate Source/Institution:  UNIVERSITY OF PITTSBURGH (0178)
  Source:  VOLUME 39/04-A OF DISSERTATION ABSTRACTS INTERNATIONAL.
           PAGE 1919.  449 PAGES
  Descriptors:  MUSIC
  Descriptor Codes:  0413
 
 4/5/3
01171869  ORDER NO: AAD91-23871
PERCEPTIONS OF CHANGE AND STABILITY IN THE TRANSMISSION OF IRISH
TRADITIONAL MUSIC: AN EXAMINATION OF THE MUSIC TEACHER'S ROLE
(ETHNOMUSICOLOGY)
  Author:  VEBLEN, KARI KRISTIN
  Degree:  PH.D.
  Year:    1991
  Corporate Source/Institution:  THE UNIVERSITY OF WISCONSIN - MADISON (
           0262)
  Supervisor: GERALD B. OLSON
  Source:  VOLUME 52/04-A OF DISSERTATION ABSTRACTS INTERNATIONAL.
           PAGE 1250.  322 PAGES
  Descriptors:  EDUCATION, MUSIC; MUSIC; ANTHROPOLOGY, CULTURAL
  Descriptor Codes:  0522; 0413; 0326
 
     The subject of this study was the process of transmission of
traditional music and the nature of both stability and change as seen
through the role of the traditional music teacher. While the setting was
that of contemporary Ireland, the time frame of this research embraced both
the verifiable present and the remembered past.
     Using ethnographic inspired techniques, this qualitative study
documented perceptions of participants in the process of transmission.
Questions focused on the teacher role, effects of organizations, media and
technology and Irish music traditions as fading or thriving. Two master
teachers were interviewed and observed teaching their music classes in
Ireland over a nine month period. Interviews of thirteen other music
teachers, twenty-three organization members and three other informants
provided additional insights.
     Findings indicate that the role of the teacher in transmission of
Irish traditional music has remained constant over time. The teacher
continues to be a community resource, tradition bearer and facilitator. The
teacher knows how to play the music and, responding to requests of the
learner, imparts tunes.
     Aspects of traditional teaching seem stable. Tunes are the vehicle for
both repertoire and technique. Teaching is characterized by emphasis on
aural learning, with notation used as a mnemonic device. Memory development
and inner hearing are stressed, and tunes are taught in an incremental and
sequential fashion, with much repetition.
     Although the teacher role has remained stable, significant adaptations
in setting and context have been introduced with the formation of
organizations in the past fifty years. Students are now frequently taught
in groups rather than by the informal one-on-one approach of the past.
Other significant changes have been introduced with the advent of media and
technology.
     Informants agreed that large numbers of Irish people are learning and
playing music, that standards of technical proficiency are high and that
there is much interest in Irish music in Ireland. However, informants
interpreted these perceptions in a variety of ways.
 
 4/5/4
1001393  ORDER NO: AAD77-26589
THE MUSICAL CONTRIBUTIONS AND HISTORICAL SIGNIFICANCE OF EDWARD BUNTING
(1773-1843), A PIONEER IN THE PRESERVATION OF THE HERITAGE OF IRISH MUSIC.
  Author:  DOLAN, EILEEN M.
  Degree:  D.M.
  Year:    1977
  Corporate Source/Institution:  THE CATHOLIC UNIVERSITY OF AMERICA (0043)
  Source:  VOLUME 38/06-A OF DISSERTATION ABSTRACTS INTERNATIONAL.
           PAGE 3126.  254 PAGES
  Descriptors:  MUSIC; BIOGRAPHY
  Descriptor Codes:  0413; 0304
 
 4/5/5
0996955  ORDER NO: NOT AVAILABLE FROM UNIVERSITY MICROFILMS INT'L.
INNOVATION AND TRADITION IN THE MUSIC OF TOMMIE POTTS (IRISH, FIDDLE)
  Author:  O SUILLEABHAIN, MICHEAL
  Degree:  PH.D
  Year:    1987
  Corporate Source/Institution:  QUEEN'S UNIVERSITY OF BELFAST (NORTHERN
           IRELAND) (0725)
  Source:  VOLUME 49/01-C OF DISSERTATION ABSTRACTS INTERNATIONAL.
           PAGE 4.  451 PAGES
  Descriptors:  MUSIC
  Descriptor Codes:  0413
  Location of Reference Copy:  THE LIBRARY, THE QUEEN'S UNIVERSITY OF
                BELFAST, NORTHERN IRELAND, U.K.
 
     Tommie Potts is an Irish traditional fiddler who was born in Dublin in
1912. Even though his style contains many traditional ingredients he has
throughout his life developed an innovatory approach to the performance of
traditional music which goes at times far beyond the traditional norms.
     The creative process in Irish traditional dance-music is investigated
under the headings of phrasing, rhythm, pitch, and structure. The
interaction of perception and analysis is discussed in the context of the
research methodology used, and a new analytical system using the concepts
of concordance, variation and deviation is introduced. Five pieces are then
selected for particular analysis within this system and two points emerge
from this: firstly, the inherent logic which informs even the most
innovatory aspects of Potts' music; and secondly, the degree to which this
innovation has been based on tradition. Additional elements discussed
include emotive meaning, chromaticism, nomenclature, eclecticism, and the
influence of harmonic thought on Potts' musical process.
     While it is the nature of Potts' musical achievement that he has
created a new musical style which is artistically valid while remaining
true to his inherited tradition, the fact remains that to date there is no
indication of any assimilation of his style into the mainstream tradition.
In addressing the question, therefore, as to whether his music is
peripheral or prophetic, some comparisons are drawn between the music of
Potts, Carolan and O Riada. While it is suggested that changing patterns of
audience perception may in the future bring Potts' music more into line
with the expected norms, the essential validity of the music as a
self-contained expression of Potts' deepest nature remains as the important
point.
 
 
 3/6/1
01293484  ORDER NO: AAD93-14921
THE IRISH PARTSONGS OF CHARLES VILLIERS STANFORD (STANFORD CHARLES
VILLIERS)
 
 3/6/2
01242742  ORDER NO: AAD92-33263
"HOW SHALL WE SING IN A FOREIGN LAND?" MUSIC OF CATHOLIC IMMIGRANTS IN THE
ANTEBELLUM UNITED STATES
 
 3/6/6
01201631  ORDER NO: NOT AVAILABLE FROM UNIVERSITY MICROFILMS INT'L.
THE CONCERTINA IN THE TRADITIONAL MUSIC OF CLARE (IRELAND, MUSIC)
 
 3/6/7
01176507  ORDER NO: AAD91-30433
A SURVEY AND ANALYSIS OF THE PUBLISHED FRENCH AND IRISH SONGS FOR PIANO AND
VOICE OF SIR ARNOLD BAX (BAX ARNOLD, VOCAL MUSIC)
 
 3/6/10
01118183  ORDER NO: AAD90-23598
MUSIC EDUCATION AND THE QUEST FOR CULTURAL IDENTITY IN IRELAND, 1831-1989
 
 3/6/13
1043158  ORDER NO: AADDX-84758
IRISH BROADSIDE BALLADS IN THEIR SOCIAL AND HISTORICAL CONTEXTS. (VOLUMES I
AND II)
 
 3/6/14
1024806  ORDER NO: AAD88-22972
GAMES OF LAMENTATION: THE IRISH WAKE PERFORMANCE TRADITION

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