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Music, the Moving Image and Ireland, 1897-2017 constitutes the
first comprehensive study of music for screen productions from or
relating to the island. It identifies and interprets tendencies
over the first 120 years of a field comprising the relatively
distinct yet often overlapping areas of Irish-themed and
Irish-produced film. Dividing into three parts, the book first
explores accompaniments and scores for 20th-century Irish-themed
narrative features that resulted in significant contributions by
many Hollywood, British, continental European and, to a lesser
extent, Irish composers; along with the input of many orchestras
and other musicians. Its second part is framed by a consideration
of various cultural, political and economic developments in both
the Republic of Ireland and Northern Ireland from the 1920s
(including the Troubles of 1968-1998).
The teaching of young children has long been dominated by women.
This global phenomenon is firmly rooted in issues related to
economic development, urbanization, the position of women in
society, cultural definitions of masculinity and the values of
children and childcare. Yet, amongst the media scare stories and
moral panics about underachieving boys, there are surprisingly few
empirically supported answers to vital questions such as: - Does
the feminization of the profession really give rise to other social
problems in boys? - Will more male role-models in schools create a
down-turn in youth crime? - Has the level of family breakdowns
created a more urgent need for male teachers than ever before? -
How is the relationship of gender and teaching considered within a
framework of feminist theory? - Why are male teachers, especially
in early years settings, treated with such deep suspicion? The
authors of this groundbreaking book have undertaken the largest,
most in-depth study ever carried out on this topic, in order to
assess both teachers and students' views across primary education.
proportion of men entering the primary teaching profession, but
many short-term and more achievable strategies are also suggested
here which could be implemented by policy-makers and senior
managers quickly and effectively. Academics, students and
researchers will also find a long overdue expose of one of the most
critical issues facing the teaching profession today.
Music, the Moving Image and Ireland, 1897-2017 constitutes the
first comprehensive study of music for screen productions from or
relating to the island. It identifies and interprets tendencies
over the first 120 years of a field comprising the relatively
distinct yet often overlapping areas of Irish-themed and
Irish-produced film. Dividing into three parts, the book first
explores accompaniments and scores for 20th-century Irish-themed
narrative features that resulted in significant contributions by
many Hollywood, British, continental European and, to a lesser
extent, Irish composers; along with the input of many orchestras
and other musicians. Its second part is framed by a consideration
of various cultural, political and economic developments in both
the Republic of Ireland and Northern Ireland from the 1920s
(including the Troubles of 1968-1998).
Made in Ireland: Studies in Popular Music serves as a comprehensive
and thorough introduction to the history, sociology and musicology
of 20th- and 21st-century Irish popular music. The volume consists
of essays by leading scholars in the field and covers the major
figures, styles and social contexts of popular music in Ireland.
Each essay provides adequate context so readers understand why the
figure or genre under discussion is of lasting significance to
Irish popular music. The book is organized into three thematic
sections: Music Industries and Historiographies, Roots and Routes
and Scenes and Networks. The volume also includes a coda by Gerry
Smyth, one of the most published authors on Irish popular music.
The series, and inaugural volume, uniquely celebrates what is by
now a substantial corpus of academic work on a field of practice
that has been thriving for several decades -- in spite of the many
challenges that music educators in Ireland continue to face. Its
various chapters engage with arts and education policies, with
international developments and comparative educational systems and,
crucially, with the concerns of teachers, students, musicians,
schools, higher education institutions, music development agencies
and broader communities of practice.
This book brings together important material from a range of
sources and highlights how government organizations, musicians,
academics and commercial companies are concerned with, and seek to
use, a particular notion of Irish musical identity. Rooting the
study in the context of the recent history of popular, traditional
and classical music in Ireland, as well as providing an overview of
aspects of the national field of music production and consumption,
O'Flynn goes on to argue that the relationship between Irish
identity and Irish music emerges as a contested site of meaning.
His analysis exposes the negotiation and articulation of civic,
ethnic and economic ideas within a shifting hegemony of national
musical culture, and finds inconsistencies between and among
symbolic constructions of Irish music and observed patterns in the
domestic field. More specifically, O'Flynn illustrates how
settings, genres, social groups and values can influence individual
identifications or negations of Irishness in music. While the
apprehension of intra-musical elements leads to perceptions of
music that sounds Irish, style and authenticity emerge as critical
articulatory principles in the identification of music that feels
Irish. The celebratory and homogenizing discourse associated with
the international success of some Irish musical forms is not
reflected in the opinions of the people interviewed by O'Flynn; at
the same time, an insider/outsider dialectic of national identity
is found in various forms of discourse about Irish music.
Performers and composers discussed include Bill Whelan
(Riverdance), Sinead O'Connor, The Corrs, Altan, U2, Martin Hayes,
Dolores Keane and Gerald Barry.
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
Made in Ireland: Studies in Popular Music serves as a comprehensive
and thorough introduction to the history, sociology and musicology
of 20th- and 21st-century Irish popular music. The volume consists
of essays by leading scholars in the field and covers the major
figures, styles and social contexts of popular music in Ireland.
Each essay provides adequate context so readers understand why the
figure or genre under discussion is of lasting significance to
Irish popular music. The book is organized into three thematic
sections: Music Industries and Historiographies, Roots and Routes
and Scenes and Networks. The volume also includes a coda by Gerry
Smyth, one of the most published authors on Irish popular music.
This book brings together important material from a range of
sources and highlights how government organizations, musicians,
academics and commercial companies are concerned with, and seek to
use, a particular notion of Irish musical identity. Rooting the
study in the context of the recent history of popular, traditional
and classical music in Ireland, as well as providing an overview of
aspects of the national field of music production and consumption,
O'Flynn goes on to argue that the relationship between Irish
identity and Irish music emerges as a contested site of meaning.
His analysis exposes the negotiation and articulation of civic,
ethnic and economic ideas within a shifting hegemony of national
musical culture, and finds inconsistencies between and among
symbolic constructions of Irish music and observed patterns in the
domestic field. More specifically, O'Flynn illustrates how
settings, genres, social groups and values can influence individual
identifications or negations of Irishness in music. While the
apprehension of intra-musical elements leads to perceptions of
music that sounds Irish, style and authenticity emerge as critical
articulatory principles in the identification of music that feels
Irish. The celebratory and homogenizing discourse associated with
the international success of some Irish musical forms is not
reflected in the opinions of the people interviewed by O'Flynn; at
the same time, an insider/outsider dialectic of national identity
is found in various forms of discourse about Irish music.
Performers and composers discussed include Bill Whelan
(Riverdance), Sinead O'Connor, The Corrs, Altan, U2, Martin Hayes,
Dolores Keane and Gerald Barry.
The teaching of young children has long been dominated by women.
This global phenomenon is firmly rooted in issues related to
economic development, urbanization, the position of women in
society, cultural definitions of masculinity and the values of
children and childcare. Yet, amongst the media scare stories and
moral panics about underachieving boys, there are surprisingly few
empirically supported answers to vital questions such as: - Does
the feminization of the profession really give rise to other social
problems in boys? - Will more male role-models in schools create a
down-turn in youth crime? - Has the level of family breakdowns
created a more urgent need for male teachers than ever before? -
How is the relationship of gender and teaching considered within a
framework of feminist theory? - Why are male teachers, especially
in early years settings, treated with such deep suspicion? The
authors of this groundbreaking book have undertaken the largest,
most in-depth study ever carried out on this topic, in order to
assess both teachers and students' views across primary education.
proportion of men entering the primary teaching profession, but
many short-term and more achievable strategies are also suggested
here which could be implemented by policy-makers and senior
managers quickly and effectively. Academics, students and
researchers will also find a long overdue expose of one of the most
critical issues facing the teaching profession today.
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
The history of Gaelic games in Canada, before the founding of the
Gaelic Athletic Association in Ireland in 1884 and in the years
since, proves a determination by Irish immigrants who have arrived
in numerous provinces of Canada. Through their dedication the flag
of Irish sports has flown strong, and will continue to fly in the
years to come.
The sporting traditions include the oldest European field game of
hurling-a masterful art and the fastest game in the world-in which
players use an ash wood stick and a hard ball. Many argue with some
conviction, and no small amount of fact to support their case, that
Canada's national sport, ice hockey, has its origins in hurling.
The word puck is derived from the Irish word poc, which is the
action of striking the ball with a hurley.
In 1845, the civic fathers of Quebec City banned the playing of
hurling in their narrow streets, while in St. John's, Newfoundland,
hurling was being played as early as 1788 at the "Barrens" of the
city. The ladies' version of hurling, Camogie, has had its presence
on occasion in some Canadian communities. The skilful play of
Gaelic Football, which has dominated the sporting scene across the
country in many Canadian cities, continues to be the greatest
strength in modern times. Along with two other Irish sports of
handball and rounders, many wonderful memories for the
Canadian-Irish community are celebrated in this book that captures
an exciting facet of Irish culture.
Since its foundation in 1875, the activities of St Patrick's
College Drumcondra and its graduates have been closely woven into
the educational and cultural fabric of Irish society. This volume
charts how music and music education have fulfilled a major role
throughout the history of the Dublin-based establishment that began
as a teacher training college and later evolved into a college of
education and liberal arts. Graduates of St Patrick's College have
taught hundreds of thousands, if not millions of pupils across the
country, have made significant contributions to various facets of
professional and amateur music activity, and have had an invaluable
influence on the wellbeing of individuals, the development of
communities and the advancement of the nation as a whole. The book
records and interprets key musical developments, appraises the work
of major contributors, and captures the activities of students,
staff and visiting musicians at St Patrick's College up to its
incorporation into Dublin City University in 2016. It represents a
major scholarly work that details the progress of music at a
university college in Ireland, and it is envisaged that its varied
chapters and themes will evoke further memories and discussions
among graduates of the College and others.
Since its foundation in 1875, the activities of St Patrick's
College Drumcondra and its graduates have been closely woven into
the educational and cultural fabric of Irish society. This volume
charts how music and music education have fulfilled a major role
throughout the history of the Dublin-based establishment that began
as a teacher training college and later evolved into a college of
education and liberal arts. Graduates of St Patrick's College have
taught hundreds of thousands, if not millions of pupils across the
country, have made significant contributions to various facets of
professional and amateur music activity, and have had an invaluable
influence on the wellbeing of individuals, the development of
communities and the advancement of the nation as a whole. The book
records and interprets key musical developments, appraises the work
of major contributors, and captures the activities of students,
staff and visiting musicians at St Patrick's College up to its
incorporation into Dublin City University in 2016. It represents a
major scholarly work that details the progress of music at a
university college in Ireland, and it is envisaged that its varied
chapters and themes will evoke further memories and discussions
among graduates of the College and others.
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