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The City of Chicago – Christy Moore – Notes (1)
The City of Chicago – Christy Moore – Notes (1) Activity types: Discussion; gap fill; Pronunciation focus on “ch” / ʃ/, /tʃ/ and /k/; Internet search Level: Intermediate/Upper-Intermediate (Song only: Pre-Intermediate) Language: summarising and reporting historical events and geographical details; comparing; making a tourist leaflet Grammar: Past Simple (regular and irregular verbs); Note: Christy Moore, one of the best-known Irish folk singers, has made a major contribution to the development of Irish music since the 1970s. He has both re-arranged old songs and written new songs about Irish and world current events. For further details visit www.christymoore.com The song The City of Chicago, written by his brother Barry (better known as Luka Bloom) and released on the 1984 album Ride On, is about the mid-nineteenth century Irish Great Hunger or Famine, caused by repeated failure of the potato crop. Famine and emigration are recurring themes on traditional Irish songs. • Discussion: To introduce the song and create interest in the topic you can ask some of the following questions: Do you know the meaning of the words hunger and famine? Do you know any countries in the world that lack food nowadays? What do you know about the Irish Great Hunger in 1845-49? Why do you think the year 1847 was called “Black 1847”? Was Ireland an independent country at that time? Do you know where the city of Chicago and County Donegal are exactly? (Students can use a world map if available) • Explain they are going to listen to a song about the Great Famine in Ireland. -
View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
Identity, Authority and Myth-Making: Politically-Motivated Prisoners and the Use of Music During the Northern Irish Conflict, 1962 - 2000
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Identity, authority and myth-making: Politically-motivated prisoners and the use of music during the Northern Irish conflict, 1962 - 2000 Claire Alexandra Green Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy 1 I, Claire Alexandra Green, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Date: 29/04/19 Details of collaboration and publications: ‘It’s All Over: Romantic Relationships, Endurance and Loyalty in the Songs of Northern Irish Politically-Motivated Prisoners’, Estudios Irlandeses, 14, 70-82. 2 Abstract. In this study I examine the use of music by and in relation to politically-motivated prisoners in Northern Ireland, from the mid-1960s until 2000. -
Rosemary Lane the Pentangle Magazine
Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album. -
Patrick Street Patrick Street Mp3, Flac, Wma
Patrick Street Patrick Street mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Patrick Street Country: US Released: 1988 Style: Folk, Celtic MP3 version RAR size: 1260 mb FLAC version RAR size: 1266 mb WMA version RAR size: 1193 mb Rating: 4.3 Votes: 736 Other Formats: MIDI AA MMF VOC APE TTA AAC Tracklist Hide Credits 1 Patrick Street / The Carraroe Jig 2 Walter Sammon's Grandmother / Concertina Reel / Brenda McMahon's The Holy Ground 3 Written-By – Gerry O'Beirne 4 The Shores Of Lough Gowna / Contentment Is Wealth / Have A Drink With Me 5 French Canadian Set "La Cardeuse" 6 Loftus Jones The Dream 7a Written By – Andy Irvine Indiana 7b Written-By – Andy Mitchell 8 Martin Rochford's Reel / Roll Out The Barrel / The Earl's Chair 9 Mrs. O'Sullivan's Jig / Caliope House The Man With The Cap 10 Written-By – Colum Sands Credits Accordion – Jackie Daly Engineer, Producer – Donal Lunny Fiddle – Kevin Burke Guitar – Arty McGlynn Keyboards, Bodhrán – Donal Lunny Photography By – Colm Henry Vocals, Bouzouki, Mandolin, Harmonica – Andy Irvine Notes Lyrics included. Barcode and Other Identifiers Barcode: 048248107129 Other versions Category Artist Title (Format) Label Category Country Year Green SIF 1071 Patrick Street Patrick Street (LP, Album) SIF 1071 US 1987 Linnet Kevin Burke , Kevin Burke , Jackie Daly, Jackie Daly, Andy Green CSIF 1071 Andy Irvine, Arty McGlynn CSIF 1071 Ireland 1987 Irvine, Arty Linnet - Patrick Street (Cass) McGlynn Green SIF 1071 Patrick Street Patrick Street (LP, Album) SIF 1071 Ireland 1987 Linnet Green GLCD 1071 Patrick Street Patrick Street (CD, Album) GLCD 1071 US 1988 Linnet Related Music albums to Patrick Street by Patrick Street Capercaillie - Dusk Till Dawn - The Best Of Capercaillie Andy Irvine & Donal Lunny's Mozaik - Changing Trains Patrick Street - No. -
Vinyl Records for Sale
VINYL RECORDS FOR SALE Updated: 14.09.2021 SIGNS & SYMBOLS: Artist / title / music / year of first publishing / country of origin / issue / label / country of issue / gradings (record / cover) / remarks / price in Euro To get the price in US Dollars = Price in Euro x 1,15 Music: age - new age avn - avantgarde avj - avantgarde/jazz avr - avantgarde/rock bea - beat bgr - bluegrass blu - blues blr - blues rock brs - brass rock chn - chansons ctr - country rock dis - disco eas - easy listening elm - electronic/meditation music fnk - funky fol - folk flr - folk rock hrd - hard rock hvm - heavy metal jaz - jazz j+r - jazz rock new - contemporary music, new music old - early music ork - orchestral music ost - original soundtrack p+r - poprock pjr - progressive jazz rock pop - pop prg - progressive rock prf - progressive folk rock prh - progressive hard rock psy - psychedelic pnk - punk reg - reggae roc - rock rnr - rock and roll rnb - rhythm and blues sgr - singer / songwriter ska - ska, rockabilly, psychobilly sou - soul slr - soulrock srf - surf music sth - southern rock swi - swing syn - synthesizer rock tec - techno trd - traditional jazz ujr - underground jazzrock und - underground music unf - underground folk unj - underground jazz unr - underground rock var - variety music Issue: or - original, first issue ri - reissue with different cover ro - reissue in original cover YY - release’s year of this reissue P.J. - Polish Jazz series Nr... APB - „Archiv of Polish Beat” series Gradings: (record first /then cover) m (mint - the record looks -
BBC Music Booklet Celebrating 80 Years of Music.Pdf
Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music. -
Christy Moore and the Irish Protest Ballad
“Ordinary Man”: Christy Moore and the Irish Protest Ballad MIKE INGHAM Introduction: Contextualizing the Modern Ballad In his critical study, The Long Revolution, Raymond Williams identified three definitions of culture, namely idealist, documentary, and social. He conceives of them as integrated strands of a holistic, organic cultural process pertaining to the “common associative life”1 of which creative artworks are an inalienable part. His renowned “structure of feeling” concept is closely related to this theoretical paradigm. The ballad tradition of popular and protest song in many ethnic cultural traditions exemplifies the core of Williams’s argument: it synthesizes the ideal aesthetic of the traditional folk song form as cultural production, the documentary element of the people, places, and events that the song records and the contextual resonances of the ballad’s source and target cultures. Likewise, the persistence and durability of the form over many centuries have ensured its survival as a rich source for ethnographic studies and an index of prevailing socio-political conditions and concerns. As twentieth-century commentators on the Anglophone ballad form, such as A. L. Lloyd, have observed, there is an evident distinction between the older ballad tradition, tending toward a more impersonal and distanced voice and perspective, and the more personal style of ballad composed after the anthropological research of ethnomusicologists such as Cecil Sharp, Alan Lomax, and others during the first half of the twentieth century. The former derives from a continuous lineage of predominantly anonymous or unattributed folk material that can be said to reside in the public domain, and largely resists recuperation or commodification by the music industry. -
Dònal Lunny & Andy Irvine
Dònal Lunny & Andy Irvine Remember Planxty Contact scène Naïade Productions www.naiadeproductions.com 1 [email protected] / +33 (0)2 99 85 44 04 / +33 (0)6 23 11 39 11 Biographie Icônes de la musique irlandaise des années 70, Dònal Lunny et Andy Irvine proposent un hommage au groupe Planxty, véritable référence de la musique folk irlandaise connue du grand public. Producteurs, managers, leaders de groupes d’anthologie de la musique irlandaise comme Sweeney’s Men , Planxty, The Bothy Band, Mozaik, LAPD et récemment Usher’s Island, Dònal Lunny et Andy Irvine ont développé à travers les années un style musical unique qui a rendue populaire la musique irlandaise traditionnelle. Andy Irvine est un musicien traditionnel irlandais chanteur et multi-instrumentiste (mandoline, bouzouki, mandole, harmonica et vielle à roue). Il est également l’un des fondateurs de Planxty. Après un voyage dans les Balkans, dans les années 70 il assemble différentes influences musicales qui auront un impact majeur sur la musique irlandaise contemporaine. Dònal Lunny est un musicien traditionnel irlandais, guitariste, bouzoukiste et joueur de bodhrán. Depuis plus de quarante ans, il est à l’avant-garde de la renaissance de la musique traditionnelle irlandaise. Depuis les années 80, il diversifie sa palette d’instruments en apprenant le clavier, la mandoline et devient producteur de musique, l’amenant à travailler avec entre autres Paul Brady, Rod Stewart, Indigo Girls, Sinéad O’Connor, Clannad et Baaba Maal. Contact scène Naïade Productions www.naiadeproductions.com [email protected] / +33 (0)2 99 85 44 04 / +33 (0)6 23 11 39 11 2 Line Up Andy Irvine : voix, mandoline, harmonica Dònal Lunny : voix, bouzouki, bodhran Paddy Glackin : fiddle Discographie Andy Irvine - 70th Birthday Planxty - A retrospective Concert at Vicar St. -
May 26, 2016 for IMMEDIATE RELEASE MICHIGAN IRISH
May 26, 2016 FOR IMMEDIATE RELEASE MICHIGAN IRISH MUSIC FESTIVAL ANNOUNCES 2016 LINEUP 4-Day Festival Returns Sept. 15 - 18 The Michigan Irish Music Festival will kick off the 2016 festival with a Pub Preview Party again on Thursday night. The Pub Party will give patrons a preview of the weekend with food, beverage, and entertainment in the pub tent only. Entry is only $5 (cash only Thursday). Three bands will play Thursday. The full festival opens Friday with all five stages and the complete compliment of food, beverages (domestic beer, Irish whiskey, Irish cider and local craft beer), shopping and cultural/dance offerings. The music line-up is being finalized with over 20 bands on tap. Altan – The seeds of Altan lie in the music and spontaneity of sessions in kitchens and pubs in their hometown of Donegal, where their music was heard in an atmosphere of respect and intimacy. It is here that the band's heart still lies, whether they are performing on TV in Australia or jamming with Ricky Skaggs on the west coast of the United States. Andy Irvine – Andy Irvine is one of the great Irish singers, his voice one of a handful of truly great ones that gets to the very soul of Ireland. He has been hailed as "a tradition in himself." Musician, singer and songwriter, Andy has maintained his highly individual performing skills throughout his 45-year career. A festival favorite, Scythian, returns. Named after Ukrainian nomads, Scythian (sith-ee-yin) plays immigrant rock with thunderous energy, technical prowess, and storytelling songwriting, beckoning crowds into a barn-dance rock concert experience. -
Troubled Voices Martin Dowling a Troubles Archive Essay
Troubled Voices A Troubles Archive Essay Martin Dowling Cover Image: Joseph McWilliams - Twelfth March (1991) From the collection of the Arts Council of Northern Ireland About the Author Martin Dowling is a historian, sociologist, and fiddle player, and lecturer in Irish Traditional Music in the School of Music and Sonic Arts in Queen’s University of Belfast. Martin has performed internationally with his wife, flute player and singer Christine Dowling. He teaches fiddle regularly at Scoil Samhradh Willy Clancy and the South Sligo Summer School, as well as at festivals and workshops in Europe and America. From 1998 until 2004 he was Traditional Arts Officer at the Arts Council of Northern Ireland. He is the author of Tenant Right and Agrarian Society in Ulster, 1600-1870 (Irish Academic Press, 1999), and has held postdoctoral fellowships in Queen’s University of Belfast and University College Dublin. Recent publications include “Fiddling for Outcomes: Traditional Music, Social Capital, and Arts Policy in Northern Ireland,” International Journal of Cultural Policy, vol. 14, no 2 (May, 2008); “’Thought-Tormented Music’: Joyce and the Music of the Irish Revival,” James Joyce Quarterly, vol. 44, no. 1 (2008); and “Rambling in the Field of Modern Identity: Some Speculations on Irish Traditional Music,” Radharc: a Journal of Irish and Irish-American Studies, vols. 5-7 (2004-2006), pp. 109-136. He is currently working on a monograph history of Irish traditional music from the death of harpist-composer Turlough Carolan (1738) to the first performance of Riverdance (1994). Troubled Voices Street singers and pedlars of broadsheets had for two centuries been important figures in Irish political and social life. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.