We’re uncommonly gifted in the realms of music, sport and literature.
Listening Question For the listening question you will be asked questions on three excerpts.
You should be familiar with Irish dances, instruments, sean nós singing, categories of Irish songs, features of Irish music, features of the peformance of Irish music and different types of ensembles. If you run out of questions you can: start again at the beginning and redo them (you won't remember all the answers), ask your teacher for more or play random recordings of Irish music on youtube or itunes and list all the features you can hear (type of dance/song, instruments/ensemble, features of the music and the performance). Written Question You must write a very short essay and have a choice of four questions.
In fairness, it would take a Bible-sized volume to cover such terrain.
And it is to the contributors’ and editor’s credit that most of these essays avoid footnote neuroses and the kind of windbag waffle that blights so much academic discourse.
The contributors to this volume are friends, colleagues or former students of Professor Gillen's (many are all three), and the topics they engage reflect the breadth of his own interest in the vast domain of European church music and beyond. Dolan (UCD), David Adams (Royal Irish Academy of Music), Lorraine Byrne Bodley (MU), Paul Collins (Mary I, U Limerick), R. Kerry Houston is head of academic studies at the DIT Conservatory of Music and Drama, and director of the Research Foundation for Music in Ireland.
The prominence afforded in this book to composers such as Jehan Alain, J. Bach, Anton Bruckner, Allesandro Cellini, Antonín Dvořák, André Fleury, Jean Langlais, Gaston Litaize, Seán Ó Riada and Franz Schubert is richly contextualized in a host of different settings. Harry White is professor of historical musicology at UCD, where he holds the chair of music.One national myth that has been lately punctured is that the Irish don’t protest.Back in 2008 the Dundalk troubadour Jinx Lennon could still classify the Irish as a race who would stand up only for a football result.We’re the best little country in the world: tough, resilient, convivial.We’re a race of drunken clowns who, on the brink of success, can always be relied on to blow it.No wonder Irish studies are an international industry., a collection of essays by prominent academics and sociologists, edited by Tom Inglis, a professor at University College Dublin, suggests not that we don’t talk enough about our collective identity but that we’re often found discussing the wrong subjects.And although the editor may have justifiably skimmed over Irish literature, given the sheer volume of studies written about the old guard of Joyce, Yeats, Beckett and so on, there’s surely cause to investigate how the boom-and-bust era heralded a mini literary renaissance, spawning a generation of younger stars, among them Kevin Barry, Donal Ryan and Eimear Mc Bride.Elsewhere there’s a scholarly summation of the history of Irish traditional music by Martin Dowling, but little thought is given to modern Irish musicians’ ability to translate natural aptitude into commercial and critical success, from Van Morrison and U2 to Glen Hansard and Hozier.And that also means that the myth of the passive Irish, who do not protest, may also be broken.” Allen’s conclusion has of course been borne out in recent months, as ordinary Irish people have instigated unprecedented revolt against seven years of “austerity” – a Beckettian word co-opted for political capital, as if poverty were an aesthetic choice – and Irish Water.This may prove a watershed in the progress towards a long-overdue process of psychological decolonisation.