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The Musical Traditions of Northern Ireland and its Diaspora - Community and Conflict (Paperback, New Ed)
Loot Price: R1,550
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The Musical Traditions of Northern Ireland and its Diaspora - Community and Conflict (Paperback, New Ed)
Series: Ashgate Popular and Folk Music Series
Expected to ship within 12 - 17 working days
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For at least two centuries, and arguably much longer, Ireland has
exerted an important influence on the development of the
traditional, popular and art musics of other regions, and in
particular those of Britain and the United States. During the past
decade or so, the traditional musics of the so-called Celtic
regions have become a focus of international interest. The
phenomenal success of shows such as Riverdance (which appeared in
1995, spawned from a 1994 Eurovision Song Contest interval act)
brought Irish music and dance to a global audience and played a
part in the further commoditization of Irish culture, including
traditional music. However, there has been until now, relatively
little serious musicological study of the traditional music of
Northern Ireland. Northern Ireland remains a divided community in
which traditional culture, in all its manifestations, is widely
understood as a marker of religious affiliation and ethnic
identity. Since the outbreak of the most recent 'troubles' around
1968, the borders between the communities have often been marked by
music. For example, many in the Catholic, nationalist community,
regard the music of Orange flute bands and Lambeg drums as a source
of intimidation. Equally, many in the Protestant community have
distanced themselves from Irish music as coming from a different
ethnic tradition, and some have rejected tunes, styles and even
instruments because of their association with the Catholic
community and the Irish Republic. Of course, during the same period
many other Protestants and Catholics have continued to perform in
an apolitical context and often together, what in earlier times
would simply have been regarded as folk or country music. With the
increasing espousal of a discrete Ulster Scots tradition since the
signing of the Belfast (or 'Good Friday') Agreement in 1998, the
characteristics of the traditional music performed in Northern
Ireland, and the place of Protestant musicians within popular Irish
culture, clearly require a more thoroughgoing analysis. David
Cooper's book provides such analysis, as well as ethnographic and
ethnomusicological studies of a group of traditional musicians from
County Antrim. In particular, this book offers a consideration of
the cultural dynamics of Northern Ireland with respect to
traditional music.
General
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