DOCSLIB.ORG

61574447.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
61574447.Pdf Title Towards a regional understanding of Irish traditional music Author(s) Kearney, David Publication date 2009-09 Original citation Kearney, D. 2009. Towards a regional understanding of Irish traditional music. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b1985733~S0 version Access to the full text of the published version may require a subscription. Rights © 2009, David Kearney http://creativecommons.org/licenses/by-nc-nd/3.0/ Item downloaded http://hdl.handle.net/10468/977 from Downloaded on 2017-02-12T14:09:41Z Towards a regional understanding of Irish traditional music David Kearney, B.A., H.Dip. Ed. Thesis presented for the award of Doctor of Philosophy (Ph.D.) National University of Ireland, Cork Supervisors: Professor Patrick O’Flanagan, Department of Geography Mel Mercier, Department of Music September 2009 Submitted to National University of Ireland, Cork 1 Abstract The geography of Irish traditional music is a complex, popular and largely unexplored element of the narrative of the tradition. Geographical concepts such as the region are recurrent in the discourse of Irish traditional music but regions and their processes are, for the most part, blurred or misunderstood. This thesis explores the geographical approach to the study of Irish traditional music focusing on the concept of the region and, in particular, the role of memory in the construction and diffusion of regional identities. This is a tripartite study considering people, place and music. Each of these elements impacts on our experience of the other. All societies have created music. Music is often associated with or derived from places. Some places construct or reinforce their identity through the music and musicians through which they are associated. The thesis challenges conventional discourse on regional styles that construct an imagined pattern of regions based on subtle musical differences that may, though are not always, shared by people in that region and focuses on the social networks through which the music is disseminated. The thesis also challenges the abandonment of regional styles and the concept of regions in understanding the complex geographies of Irish traditional music (Morton, 2001). It seeks to find a middle ground between discourse analysis, musical analysis, the experience of music and place, and the representation of music and place. The dissertation is divided into three parts. Part one considers the development of music geography, noting and critiquing the abandonment of useful paradigms in both geography and ethnomusicology in search of new ways of understanding. Of particular interest is the concept of the region but it also considers the study of landscape and the humanist approach in cultural geography. The second part focuses on the discourse and study of regions in Irish traditional music and the various agents and processes that shape the concept of the region in Irish traditional music. The final part presents a case study of the Sliabh Luachra region combining and applying the various perspectives and paradigms drawn from geographical, ethnomusicological and anthropological sources. It attempts to generate an understanding of Sliabh Luachra as a region in the Irish traditional music narrative that is based on a combination of musical, socio-cultural and locational/environmental factors. 2 Declaration I declare that this dissertation is the result of my own work, except as acknowledged by appropriate reference in the text. ………………………………………. ………………………….. David Kearney Date 3 Contents Page Abstract ................................................................................................ 2 Declaration ............................................................................................ 3 Contents ............................................................................................... 4 Acknowledgements .................................................................................. 9 Index of Figures .................................................................................... 11 Index of Tables ..................................................................................... 13 Index of plates ...................................................................................... 15 Chapter 1 ....................................................................................... 19 Introduction .................................................................................... 19 1.1 Introduction .................................................................................... 20 1.2. Chapter outline ................................................................................ 25 1.3. Methodological considerations ............................................................. 30 4 Chapter 2 ....................................................................................... 39 Geographical perspectives in the study of music ........................... 39 2.1 Introduction .................................................................................... 40 2.2 Geographical and ethnomusicological paradigms ......................................... 41 2.3 Developing a framework for music geography ............................................ 62 2.4 Conclusion ...................................................................................... 82 Chapter 3 ....................................................................................... 84 Terminology and context ............................................................... 84 3.1 Introduction .................................................................................... 85 3.2 Place, region and boundaries ................................................................. 85 3.3 Culture, heritage and tourism .............................................................. 103 3.4 Landscape and physical manifestations of culture ...................................... 110 3.5 Soundscape and the auditory experience of place and society ........................ 118 3.6 Representation, memory and power....................................................... 122 3.7 Conclusions .................................................................................. 134 5 Chapter 4 ..................................................................................... 137 The „region‟ in Irish traditional music ......................................... 137 4.1 Evidence of regional diversity in Irish traditional music ............................... 138 4.2 Changing contexts for understanding regional diversity in Irish traditional music . 145 4.3 Ó Riada and regions in Irish traditional music .......................................... 152 4.4 Approaches to regional musical style in Irish traditional music....................... 161 4.5 Expanding a regional understanding of Irish traditional music ....................... 171 4.6 Conclusion .................................................................................... 183 Chapter 5 ..................................................................................... 186 Shaping regions in Irish traditional music ................................... 186 5.1 Introduction .................................................................................. 187 5.2 Transmission ................................................................................. 189 5.3 Notating and publishing Irish traditional music ......................................... 194 5.4 Recording and broadcasting Irish traditional music .................................... 209 5.5 Comhaltas Ceoltóirí Éireann ............................................................... 224 6 5.6 Monuments ................................................................................... 251 5.7 Conclusion .................................................................................... 272 Chapter 6 ..................................................................................... 277 Sliabh Luachra.............................................................................. 277 6.1 Introduction .................................................................................. 278 6.2 Fieldwork context ........................................................................... 280 6.3 An historical geography of Sliabh Luachra .............................................. 282 6.4 Origins and evolution of Sliabh Luachra as a musical place .......................... 290 6.5 Changes in the musical soundscape of the Sliabh Luachra region .................... 309 6.6 Conclusion .................................................................................... 324 Chapter 7 ..................................................................................... 326 Re-imagining and representing Sliabh Luachra ........................... 326 7.1 Introduction .................................................................................. 327 7.2 Recordings .................................................................................... 328 7 7.3 Monuments ................................................................................... 336 7.4 Festivals ....................................................................................... 359 7.5 Locating Sliabh Luachra .................................................................... 364 7.6 Conclusion ...................................................................................
Load more

Recommended publications
  • Fall 2003 Archipelago
    archipelago An International Journal of Literature, the Arts, and Opinion www.archipelago.org Vol. 7, No. 3 Fall 2003 AN LEABHAR MÒR / THE GREAT BOOK OF GAELIC An Exhibiton : Twenty-two Irish and Scottish Gaelic Poems, Translations and Artworks, with Essays and Recitations Fiction: PATRICIA SARRAFIAN WARD “Alaine played soccer with the refugees, she traded bullets and shrapnel around the neighborhood . .” from THE BULLET COLLECTION Poem: ELEANOR ROSS TAYLOR Our Lives Are Rounded With A Sleep Reflection: ANANT KUMAR The Mosques on the Banks of the Ganges: Apart or Together? tr. from the German by Rajendra Prasad Jain Photojournalism: PETER TURNLEY Seeing Another War in Iraq in 2003 and The Unseen Gulf War : Photographs Audio report on-line by Peter Turnley Endnotes: KATHERINE McNAMARA The Only God Is the God of War : On BLOOD MERIDIAN, an American myth printed from our pdf edition archipelago www.archipelago.org CONTENTS AN LEABHAR MÒR / THE GREAT BOOK OF GAELIC 4 Introduction : Malcolm Maclean 5 On Contemporary Irish Poetry : Theo Dorgan 9 Is Scith Mo Chrob Ón Scríbainn ‘My hand is weary with writing’ 13 Claochló / Transfigured 15 Bean Dubh a’ Caoidh a Fir Chaidh a Mharbhadh / A Black Woman Mourns Her Husband Killed by the Police 17 M’anam do sgar riomsa a-raoir / On the Death of His Wife 21 Bean Torrach, fa Tuar Broide / A Child Born in Prison 25 An Tuagh / The Axe 30 Dan do Scátach / A Poem to Scátach 34 Èistibh a Luchd An Tighe-Se / Listen People Of This House 38 Maireann an t-Seanmhuintir / The Old Live On 40 Na thàinig anns a’ churach
    [Show full text]
  • Genre and Identity in British and Irish National Histories, 1541-1691
    “NO ROOM IN HISTORY”: GENRE AND IDENTIY IN BRITISH AND IRISH NATIONAL HISTORIES, 1541-1691 A dissertation presented by Sarah Elizabeth Connell to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April 2014 1 “NO ROOM IN HISTORY”: GENRE AND IDENTIY IN BRITISH AND IRISH NATIONAL HISTORIES, 1541-1691 by Sarah Elizabeth Connell ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2014 2 ABSTRACT In this project, I build on the scholarship that has challenged the historiographic revolution model to question the valorization of the early modern humanist narrative history’s sophistication and historiographic advancement in direct relation to its concerted efforts to shed the purportedly pious, credulous, and naïve materials and methods of medieval history. As I demonstrate, the methodologies available to early modern historians, many of which were developed by medieval chroniclers, were extraordinary flexible, able to meet a large number of scholarly and political needs. I argue that many early modern historians worked with medieval texts and genres not because they had yet to learn more sophisticated models for representing the past, but rather because one of the most effective ways that these writers dealt with the political and religious exigencies of their times was by adapting the practices, genres, and materials of medieval history. I demonstrate that the early modern national history was capable of supporting multiple genres and reading modes; in fact, many of these histories reflect their authors’ conviction that authentic past narratives required genres with varying levels of facticity.
    [Show full text]
  • Interactive Multilinear Narratives and Real-Life Community Stories
    Crossings - Volume 4, Issue 1 - Nisi et al. 09/29/2006 02:27 PM Crossings: eJournal of Art and raison d'être contribute gallery issues : 1.1 : 1.2 : 2.1 : 3.1 : 4.1 Technology Weird View: Interactive Multilinear Narratives and Real-Life Community Stories Valentina Nisi Story Networks Group Media Lab Europe Ireland Mads Haahr Department of Computer Science Trinity College, Dublin Ireland Abstract. This paper presents our experiences with Weird View, a multi-branching interactive narrative, harnessing the power of hyperlinked structures and oral storytelling. True stories were collected by word of mouth from inhabitants of a terrace of houses in Dublin, Ireland, and supplemented with video and photography to form a collection of narrative fragments. A computer application was built to allow the narratives to be navigated. In this way, Weird View attempts to capture part of the community folklore and re- present it to the community in the form of an interactive, nonlinear narrative. The viewer is presented with the fact that a community exists and is continually formed, around place, time, life conditions and social networks. When shown to the community, the Weird View project resulted in awakening community awareness through reappropriation of local, social and personal stories. Introduction A common use of information technologies is to make spatial separation of individuals irrelevant and thereby allow the formation of communities across geographical boundaries. Such online communities, made possible through the increased adoption of information and communication technologies, have received a significant amount of attention. However, the same technologies can also be used to reinforce more traditional types of communities, often based in shared spatial and cultural contexts.
    [Show full text]
  • Ancient Greek Tragedy and Irish Epic in Modern Irish
    MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Katherine Anne Hennessey, B.A., M.A. ____________________________ Dr. Susan Cannon Harris, Director Graduate Program in English Notre Dame, Indiana March 2008 MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE Abstract by Katherine Anne Hennessey Over the course of the 20th century, Irish playwrights penned scores of adaptations of Greek tragedy and Irish epic, and this theatrical phenomenon continues to flourish in the 21st century. My dissertation examines the performance history of such adaptations at Dublin’s two flagship theatres: the Abbey, founded in 1904 by W.B. Yeats and Lady Gregory, and the Gate, established in 1928 by Micheál Mac Liammóir and Hilton Edwards. I argue that the potent rivalry between these two theatres is most acutely manifest in their production of these plays, and that in fact these adaptations of ancient literature constitute a “disputed territory” upon which each theatre stakes a claim of artistic and aesthetic preeminence. Partially because of its long-standing claim to the title of Ireland’s “National Theatre,” the Abbey has been the subject of the preponderance of scholarly criticism about the history of Irish theatre, while the Gate has received comparatively scarce academic attention. I contend, however, that the history of the Abbey--and of modern Irish theatre as a whole--cannot be properly understood except in relation to the strikingly different aesthetics practiced at the Gate.
    [Show full text]
  • 14/11/2019 11:44 the Kerry Archaeological & Historical Society
    KAHS_Cover_2020.indd 1 14/11/2019 11:44 THE KERRY ARCHAEOLOGICAL & HISTORICAL SOCIETY EDITORIAL COMMENT CALL FOR PARTICIPATION: THE YOUNG It is scarcely possible to believe, that this magazine is the 30th in We always try to include articles the series. Back then the editor of our journal the late Fr Kieran pertaining to significant anniversaries, O’Shea, was having difficulties procuring articles. Therefore, the be they at county or national level. KERRY ARCHAEOLOGISTS’ CLUB Journal was not being published on a regular basis. A discussion This year, we commemorate the 50th Are you 15 years of age or older and interested in History, Archaeology, Museums and Heritage? In partnership with Kerry occurred at a council meeting as to how best we might keep in anniversary of the filming of Ryan’s County Museum, Kerry Archaeological & Historical Society is in the process of establishing a Young Kerry Archaeologists’ contact with our membership and the suggestion was made that a Daughter on the Dingle Peninsula. An Club, in which members’ children can participate. If you would like to get actively involved in programming and organizing “newsletter” might be a good idea. Hence, what has now become event, which catapulted the beauty of events for your peers, please send an email to our Education Officer: [email protected]. a highly regarded, stand-alone publication was born. Subsequent, the Peninsula onto the world stage, to this council meeting, the original sub-committee had its first resulting in the thriving tourism meeting. It was chaired by Gerry O’Leary and comprised of the industry, which now flourishes there.
    [Show full text]
  • Table of Contents
    The Central and Regional Fisheries Boards ACKNOWLEDGEMENTS The authors wish to gratefully acknowledge the help and co-operation of the regional director Dr. Pat Buck and staff from IFI Macroom as well as various other offices throughout the region. The authors also gratefully acknowledge the help and cooperation of colleagues in IFI Swords. We would like to thank the landowners and angling clubs that granted us access to their land and respective fisheries. Furthermore, the authors would like to acknowledge the funding provided for the project from the Department of Communications, Energy and Natural Resources for 2010. PROJECT STAFF Project Director/Senior Research officer: Dr. Fiona Kelly Project Manager: Dr. Andrew Harrison Research Officer: Dr. Ronan Matson Research Officer: Ms. Lynda Connor Technician Mr. Rory Feeney Technician: Ms. Emma Morrissey Technician: Ms. Róisín O’Callaghan Technician: Mrs. Ciara Wögerbauer Technician / Fisheries Assistant: Ms. Gráinne Hanna GIS Officer: Mr. Kieran Rocks Fisheries Assistant: Mr. Kevin Gallagher (Oct 2010 – Dec 2010) The report includes Ordnance Survey Ireland data reproduced under OSi Copyright Permit No. MP 007508. Unauthorised reproduction infringes Ordnance Survey Ireland and Government of Ireland copyright. © Ordnance Survey Ireland, 2010 ACKNOWLEDGEMENTS The authors wish to gratefully acknowledge the help and co-operation of the regional director Dr. Patrick Buck and staff from IFI Macroom as well as various other offices throughout the region. The authors also gratefully acknowledge the help and cooperation of colleagues in IFI Swords. We would like to thank the landowners and angling clubs that granted us access to their land and respective fisheries. Furthermore, the authors would like to acknowledge the funding provided for the project from the Department of Communications, Energy and Natural Resources for 2010.
    [Show full text]
  • TUNE BOOK Kingston Irish Slow Session
    Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected].
    [Show full text]
  • Sacred Space. a Study of the Mass Rocks of the Diocese of Cork and Ross, County Cork
    Sacred Space. A Study of the Mass Rocks of the Diocese of Cork and Ross, County Cork. Bishop, H.J. PhD Irish Studies 2013 - 2 - Acknowledgements My thanks to the University of Liverpool and, in particular, the Institute of Irish Studies for their support for this thesis and the funding which made this research possible. In particular, I would like to extend my thanks to my Primary Supervisor, Professor Marianne Elliott, for her immeasurable support, encouragement and guidance and to Dr Karyn Morrissey, Department of Geography, in her role as Second Supervisor. Her guidance and suggestions with regards to the overall framework and structure of the thesis have been invaluable. Particular thanks also to Dr Patrick Nugent who was my original supervisor. He has remained a friend and mentor and I am eternally grateful to him for the continuing enthusiasm he has shown towards my research. I am grateful to the British Association for Irish Studies who awarded a research scholarship to assist with research expenses. In addition, I would like to thank my Programme Leader at Liverpool John Moores University, Alistair Beere, who provided both research and financial support to ensure the timely completion of my thesis. My special thanks to Rev. Dr Tom Deenihan, Diocesan Secretary, for providing an invaluable letter of introduction in support of my research and to the many staff in parishes across the diocese for their help. I am also indebted to the people of Cork for their help, hospitality and time, all of which was given so freely and willingly. Particular thanks to Joe Creedon of Inchigeelagh and local archaeologist Tony Miller.
    [Show full text]
  • The Catchments of Bantry Bay
    streamscapes cuan baoi The Catchments of Bantry Bay www.streamscapes.ie “To protect your rivers, protect your mountains.” - Emperor Yu (1600BC) Foreword: What is a Catchment? When you think of it, we all live in valleys, no matter how steep or broad, SAFETY FIRST!!! The ‘StreamScapes’ programme involves a hands-on survey of your local landscape and and all of our valleys have streams and rivers. From the hills above us to waterways...safety must always be the underlying concern. If you are undertaking aquatic survey, remember that all bodies of water are potentially dangerous places. the sea below, these watercourses make their way across our landscape and Slippery stones and banks, broken glass and other rubbish, polluted water courses which may host disease, poisonous plants, barbed wire in riparian zones, fast moving currents, misjudging the depth of water, cold temperatures...all of these are hazards to be minded! define the Catchment in which we live. Here a mountain stream runs If you and your group are planning a visit to a stream, river, canal, or lake for purposes of assessment, ensure that you have a good ratio of experienced and water-friendly adults swiftly and tumbles over waterfalls, there a wide river flows easily past to students, keep clear of danger, and insist on discipline and caution! green fields, through our communities and down to the sea. In that river, along its banks and into the surrounding landscapes, may be Welcome to StreamScapes, a dynamic environmental education programme for schools, community groups, and individual citizens. Undertaking a StreamScapes project will give you a deeper understanding of: found a wealth of biodiversity; fish, birds, insects, animals, trees, wild • How your local (rural or urban) catchment environment functions flowers, and people, but only if our waters run pure and clean.
    [Show full text]
  • Comhaltas Ceoltóirí Éireann (The Irish Musicians' Association) and the Politics of Musical Community in Irish Traditional Music
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2015 Comhaltas Ceoltóirí Éireann (The Irish Musicians' Association) and the Politics of Musical Community in Irish Traditional Music Lauren Weintraub Stoebel Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/627 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COMHALTAS CEOLTÓIRÍ ÉIREANN (THE IRISH MUSICIANS’ ASSOCIATION) AND THE POLITICS OF MUSICAL COMMUNITY IN IRISH TRADITIONAL MUSIC By LAUREN WEINTRAUB STOEBEL A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 ii © 2015 LAUREN WEINTRAUB STOEBEL All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Peter Manuel______________________________ ________________ _________________________________________ Date Chair of Examining Committee Norman Carey_____________________________ ________________ _________________________________________ Date Executive Officer Jane Sugarman___________________________________________ Stephen Blum_____________________________________________ Sean Williams____________________________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract COMHALTAS CEOLTÓIRÍ ÉIREANN (THE IRISH MUSICIANS’ ASSOCIATION) AND THE POLITICS OF MUSICAL COMMUNITY IN IRISH TRADITIONAL MUSIC By LAUREN WEINTRAUB STOEBEL Advisor: Jane Sugarman This dissertation examines Comhaltas Ceoltóirí Éireann (The Irish Musicians’ Association) and its role in the politics of Irish traditional music communities.
    [Show full text]
  • Charitable Tax Exemption
    Charities granted tax exemption under s207 Taxes Consolidation Act (TCA) 1997 - 30 June 2021 Queries via Revenue's MyEnquiries facility to: Charities and Sports Exemption Unit or telephone 01 7383680 Chy No Charity Name Charity Address Taxation Officer Trinity College Dublin Financial Services Division 3 - 5 11 Trinity College Dublin College Green Dublin 2 21 National University Of Ireland 49 Merrion Sq Dublin 2 36 Association For Promoting Christian Knowledge Church Of Ireland House Church Avenue Rathmines Dublin 6 41 Saint Patrick's College Maynooth County Kildare 53 Saint Jarlath's College Trust Tuam Co Galway 54 Sunday School Society For Ireland Holy Trinity Church Church Ave Rathmines Dublin 6 61 Phibsboro Sunday And Daily Schools 23 Connaught St Phibsborough Dublin 7 62 Adelaide Blake Trust 66 Fitzwilliam Lane Dublin 2 63 Swords Old Borough School C/O Mr Richard Middleton Church Road Swords County Dublin 65 Waterford And Bishop Foy Endowed School Granore Grange Park Crescent Waterford 66 Governor Of Lifford Endowed Schools C/O Des West Secretary Carrickbrack House Convoy Co Donegal 68 Alexandra College Milltown Dublin 6 The Congregation Of The Holy Spirit Province Of 76 Ireland (The Province) Under The Protection Of The Temple Park Richmond Avenue South Dublin 6 Immaculate Heart Of Mary 79 Society Of Friends Paul Dooley Newtown School Waterford City 80 Mount Saint Josephs Abbey Mount Heaton Roscrea Co Tiobrad Aran 82 Crofton School Trust Ballycurry Ashford Co Wicklow 83 Kings Hospital Per The Bursar Ronald Wynne Kings Hospital Palmerstown
    [Show full text]
  • Site Synopsis
    SITE SYNOPSIS SITE NAME: MULLAGHANISH TO MUSHERAMORE MOUNTAINS SPA SITE CODE: 004162 The Mullaghanish to Musheramore Mountains SPA comprises a substantial part of the Boggeragh/Derrynasaggart Mountains in Co. Cork. It is divided roughly into two sectors by the R582 road between Macroom and Millstreet. Most of the site is over 200 m in altitude, rising to heights of 475 m in the eastern sector (Musherabeg) and 462 m in the western sector (Knockullane). Several important rivers rise within the site, notably the Foherish and Awboy. The site is underlain by Old Red Sandstone. The site consists of a variety of upland habitats, though approximately one-third is afforested. The coniferous forests include first and second rotation plantations, with both pre-thicket and post-thicket stands present. The principal tree species present are Sitka Spruce (Picea sitchensis) and Lodgepole Pine (Pinus contorta). Almost one-third of the site is unplanted blanket bog and heath, with both wet and dry heaths present. The vegetation is characterised by such species as Ling Heather (Calluna vulgaris), Cross-leaved Heath (Erica tetralix), Bilberry (Vaccinium myrtillus), Common Cottongrass (Eriophorum angustifolium), Deergrass (Scirpus cespitosus) and Purple Moor-grass (Molinia caerulea). The remainder of the site is mostly rough grassland that is used for hill farming. This varies in composition and includes some wet areas with rushes (Juncus spp.) and some areas subject to scrub encroachment. The site is a Special Protection Area (SPA) under the E.U. Birds Directive, of special conservation interest for Hen Harrier. This site is a stronghold for Hen Harrier. A survey in 2005 recorded 5 pairs, which represents over 2% of the all-Ireland total.
    [Show full text]