Music and Identity in Ireland and Beyond represents the first
interdisciplinary volume of chapters on an intricate cultural field
that can be experienced and interpreted in manifold ways, whether
in Ireland (The Republic of Ireland and/or Northern Ireland), among
its diaspora(s), or further afield. While each contributor
addresses particular themes viewed from discrete perspectives,
collectively the book contemplates whether 'music in Ireland' can
be regarded as one interrelated plane of cultural and/or national
identity, given the various conceptions and contexts of both
Ireland (geographical, political, diasporic, mythical) and Music
(including a proliferation of practices and genres) that give rise
to multiple sites of identification. Arranged in the relatively
distinct yet interweaving parts of 'Historical Perspectives',
'Recent and Contemporary Production' and 'Cultural Explorations',
its various chapters act to juxtapose the socio-historical
distinctions between the major style categories most typically
associated with music in Ireland - traditional, classical and
popular - and to explore a range of dialectical relationships
between these musical styles in matters pertaining to national and
cultural identity. The book includes a number of chapters that
examine various movements (and 'moments') of traditional music
revival from the late eighteenth century to the present day, as
well as chapters that tease out various issues of national identity
pertaining to individual composers/performers (art music, popular
music) and their audiences. Many chapters in the volume consider
mediating influences (infrastructural, technological, political)
and/or social categories (class, gender, religion, ethnicity, race,
age) in the interpretation of music production and consumption.
Performers and composers discussed include U2, Raymond Deane,
Afro-Celt Sound System, E.J. Moeran, Seamus Ennis, Kevin O'Connell,
Stiff Little Fingers, Frederick May, Arnold
General
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