NEWSLETTER Spring 2019
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												  Séamas De Barra1 Séamas de Barra Aloys Fleischmann Field Day Music Aloys Fleischmann (1910–92) was a key figure in the musical General Editors: Séamas de Barra and Patrick Zuk Séamas de Barra life of twentieth-century Ireland. Séamas de Barra presents an authoritative and insightful account of Fleischmann’s career 1. Aloys Fleischmann (2006), Séamas de Barra as a composer, conductor, teacher and musicologist, situating 2. Raymond Deane (2006), Patrick Zuk his achievements in wider social and intellectual contexts, and paying particular attention to his lifelong engagement Among forthcoming volumes are studies of Ina Boyle, Seóirse with Gaelic culture and his attempts to forge a distinctively Bodley, Michele Esposito and James Wilson. Aloys Irish music. Fleischmann Séamas de Barra is a composer and a musicologist. Music/Contemporary Ireland FIELD DAY PUBLICATIONS MUSIC 1 Séamas de Barra Aloys Fleischmann Field Day Music Aloys Fleischmann (1910–92) was a key figure in the musical General Editors: Séamas de Barra and Patrick Zuk Séamas de Barra life of twentieth-century Ireland. Séamas de Barra presents an authoritative and insightful account of Fleischmann’s career 1. Aloys Fleischmann (2006), Séamas de Barra as a composer, conductor, teacher and musicologist, situating 2. Raymond Deane (2006), Patrick Zuk his achievements in wider social and intellectual contexts, and paying particular attention to his lifelong engagement Among forthcoming volumes are studies of Ina Boyle, Seóirse with Gaelic culture and his attempts to forge a distinctively Bodley, Michele Esposito and James Wilson. Aloys Irish music. Fleischmann Séamas de Barra is a composer and a musicologist. Music/Contemporary Ireland FIELD DAY PUBLICATIONS MUSIC Aloys Fleischmann i ii Aloys Fleischmann Aloys Fleischmann Aloys Fleischmann Aloys Fleischmann Séamas de Barra Field Day Music 1 Series Editors: Séamas de Barra and Patrick Zuk Field Day Publications Dublin, 2006 Séamas de Barra has asserted his right under the Copyright and Related Rights Act, 2000, to be identified as the author of this work.
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												  Original Song Settings of Irish Texts by Irish Composers, 1900-1930Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song.
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												  IAWM ArticleWomen and Music in Nineteenth-Century Dublin (IAWM Journal, 2009) JENNIFER O’CONNOR Over the course of the nineteenth century, women in Dublin, Ireland became increasingly involved in all aspects of the city’s musical life, and one of the reasons was political. With the Act of Union in 1800, when the Kingdom of Ireland and the Kingdom of Great Britain merged, Parliament moved to London, along with much of the Irish aristocracy and the rich cultural life they supported. This move did not lead to the demise of cultural activities in the city; instead, it allowed the middle class to emerge as the new dominant class. As musical activities among the middle class continued to grow, so too, did the level of female participation as teachers, performers, composers, promoters, and writers. To be socially accepted, women throughout Europe at that time were expected to devote themselves to home and family, but Dublin was one of the more progressive cities in terms of music, thus a number of women were able to pursue their talents without being held back because of their gender. By 1900, in both numbers and status, women musicians were equal to men. In Irish musicological studies, however, the role of women in music remains, to a large extent, unnoticed and unappreciated. Recent publications may make brief references to women, but research dedicated to their importance in the development of music in Ireland has been neglected. This article presents a brief introduction to some of Dublin’s most prominent women in the nineteenth century and highlights their involvement in the growth of music in that city.
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												  The Role of Women in Music in Nineteenth-Century Dublin Jennifer O‟ConnorThe Role of Women in Music in Nineteenth-Century Dublin Jennifer O‟Connor Thesis Submitted to the National University of Ireland, Maynooth for the Degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare September 2010 Head of Department: Professor Fiona M. Palmer Supervisor: Professor Barra Boydell CONTENTS Acknowledgements vi Abbreviations vii Introduction 1 Chapter One: Music and Life in Nineteenth-Century Dublin 18 1.1 The Golden Age of Dublin: The Eighteenth Century 18 1.2 The Development of Dublin in the Nineteenth Century 21 1.3 The Developments in Music in the Nineteenth Century 23 1.4 The Development of Education 25 1.5 The Role of Women in Society 26 Chapter Two: The Development of the Female Pedagogue: The Beginning of a New Musical Profession for Women 30 2.1 The Role of the Pianoforte in the Lives of Nineteenth-Century Women 31 2.2 The Growth of the Female Pedagogue in Dublin 33 2.3 Mrs Allen and the Allen Academy 41 2.4 The Royal Irish Academy of Music: New Opportunities for Women 47 2.5 Fanny Robinson 48 2.6 A Comparison of the Careers of Fanny Robinson and Arabella Goddard 52 2.7 Elizabeth Scott-Ffennell 58 2.8 The O‟Hea Sisters 62 2.9 Edith Oldham 70 2.10 The Salaries of Female Staff at the Royal Irish Academy of Music 80 2.12 The Development of Music Exams and Qualifications 83 2.13 The Overall Growth in Female Pedagogy in Dublin 86 ii Chapter Three: Women Composing: A New Outlet for Female Creativity 89 3.1 Female Composers in Europe and Britain 90 3.2 The Role
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												  The Story of the BagpipeMil 31 HiBnOSOffilj 1 ; J m I i\ wt +lm\ ...-•.... The Music Story Series Edited by FREDERICK J. CROWEST. The . Story of the Bagpipe Zhe /flbueic Stoifi Series. A/6 net per Volume. Already published in this Series. THE STORY OF ORATORIO. By Annie Patterson, B.A., Mus. Doc. With Illustrations. THE STORY OF NOTATION. By C. F. Abdy Williams, M.A., Mus. Bac. With Illustrations. THE STORY OF THE ORGAN. By C. F. Abdy Williams, M.A., Mus. Bac. With Illustrations. THE STORY OF CHAMBER MUSIC. By N. Kilburn, Mus. Bac. With Illustrations. THE STORY OF THE VIOLIN. By Paul Stoeving. With Illustrations. THE STORY OF THE HARP. By W. H. Grattan Flood, Mus. Doc. With Illustrations. THE STORY OF ORGAN MUSIC. By C. F. Abdy Williams, M.A., Mus. Bac. With Illustrations. THE STORY OF ENGLISH MUSIC (1604-1904)- MUSICIANS' COMPANY LECTURES. THE STORY OF MINSTRELSY. By Edmondstoune Duncan. With Illustrations. THE STORY OF MUSICAL FORM. By Clarence Lucas. With Illustrations. THE STORY OF OPERA. By E. Mark-ham Lee, M.A., Mus. Doc. With Illustrations. THE STORY OF THE CAROL. By Edmondstoune Duncan. With Illustrations. This Series, in superior leather bindings, may be had on application to the Publishers. [all rights reserved.] ' firm a htn'jitliit/ l-i/ t A"<i<ltr '/trul The Story of the Bagpipe BY Wm, H. Grattan Flood Mus. Doc, National University of Ireland; Author ok " History op Irish Music," " Story of the Harp," etc. London The Walter Scott Publishing Co.. Ltd. New York: Charles Scribner's Sons £14 LORD CASTLETOWN OF UPPER OSSORY, K.P., (THE MACGILLA I'ADKAIG), THE DESCENDANT OK THE KINGS OK OSSORY, A VOTARY AND I'ATRON OF IRISH PIPE MUSIC, AS A SMALL TRIBUTE OK ESTEEM.
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												  The Story of the Bagpipe Xlbe /Hbusic Store SeriesCORNELL, ^ UNIVERSITY LIBRARY FROM The Carnegie Corporation MUSIC """"""•* ML 980.F6r" '•"'"'^ liiiMiiiiiiiMiiy °' "^^ l>a£IPipe 3 1924 022 329 977 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022329977 The Music Story Series Edited by FREDERICK J. CROWEST. The Story of the Bagpipe Xlbe /Hbusic store Series. Already published in this Series. THE STORY OF ORATORIO. By Annie Patterson, B.A., Mas. Doc. With Illustrations. THE STORY OF NOTATION. By C. F. Abdy Williams, M.A., Mus. Bac. With Illustrations. THE STORY OF THE ORGAN. By C. F. Abdy Williams, M.A., Mus. Bac. With Illustrations. THE STORY OF CHAMBER MUSIC. By N. KiLBURN, Mus. Bac. With Illustrations. THE STORY OF THE VIOLIN. By Paul Stoevinc. With Illustrations. THE STORY OF THE HARP. By W. H. Grattan Flood, Mus. Doc. With Illustrations. THE STORY OF ORGAN MUSIC. By C. F. Abdy Williams, M.A., Mus. Bac. With Illustrations. THE STORY OF ENGLISH MU§IC (1604-1904)— MUSICIANS' COMPANY LECTURES. THE STORY OF MINSTRELSY. By Edmondstoune Duncan. With Illustrations. THE STORY OF MUSICAL FORM. By Clarence Lucas. With Illustrations. THE STORY OF OPERA. By E. Markham Lee, M.A., Mus. Doc. With Illustrations. THE STORY OF THE CAROL. By Edmondstoune Duncan. With Illustrations. This Series, in superiot leather bindings, may be had en application to the Publishers. [all rights reserved.] < (C j.»-iU.'K' . Jliri- . ( (led The g Story of the Bagpipe BY ^^7 Wm.