Music Supplement

Total Page:16

File Type:pdf, Size:1020Kb

Music Supplement 1964 L books [ Tailoring Under the supervision of most We. books our London-trained cutter silver I I:S. C. TRI N ITY N EWS | GOWNS, HOODS, ,aheny. books CASSOCKS, BLAZERS livered I )Oste~ A Dublin University Undergraduate Weekly 3 CHURCH LANE 01. HOD6ES FIG61S COLLEGE GREEN bretta,. IIRYSON ... where else ? THURSDAY, 3rd DECEMBER, 1963 PRICE THREEPENCE match. LTD. :heese COMMONS AT CROSSROADS? S.R.C. Committee Reports The S.R.C. Sub-Committee which was recently set up to investigate Commons has completed its report. It expanded its terms of reference to include all aspects of evening catering, and its inquiry proceeded along the three lines of examining relevant documents, interviewing various bodies of College opinion, and assessing undergraduate feelings; Under the first head it was made voluntary and argued that seen that the Board had appointed three aims should be sought. a committee under Professor These are, in order of priority, Moody which suggested the pro- the saving of the historic vision of an evening meal for non- Commons as a common, orderly resident students. This was and graced meal for staff and accepted by the Board which students, the provision of a asked the Agent and Treasurer to wholesome meal at the lowest examine its practical application. possible price, and the saving of From their investigations the the " Cista Communis" from all following facts emerged: unnecessary expense. Commons is expensive because From the results of the of the use of waiters, the pro- questionnaire held by the S.R.C. ns vision of stout and the variations to assess undergraduate opinion ,, in attendance. At present it is it emerges that " there is a being subsidised by about £3,500 demand for an evening meal in per year. Since costs are likely College for all classes which is to rise and since kitchen capacity sufficient to make it a practical is stretched, the Board will have .proposition," and that " there ONLY TWENTY-THREE DAYS TO GO .... to decide whether Commons will is sufficient support for one --Photo " Irish Times ’" be maintained whatever the cost voluntary Commons." of providing it. An evening meal for outside students cannot be UNREST IN NEW S,R.C. Elections provided at the same time as a W.U.S. Week Last week we stated that T. M. traditional compulsory Commons L. Stuart had been elected to the on account of physical re- SCHOOL S.R.C. for the Mod. Lang. faculty. strictions. Profits This was a typographical error On the basis of that evidence There has been trouble in the new School of Business Studies the Board decided at the begin- W.U.S. Week is over for and we wish to apologise to Mr. another year and it is now between the staff and third-year undergraduates. Bitterness has been Stuart for any embarrassment ning of June to provide an evening aroused over the nature of the course which, some of the students meal for all, and retain only a possible to stand back and look that he may have been caused by .single voluntary Commons. With- at the results. These are, in fact, maintain, has not been properly planned. this. m a fortnight, however that most encouraging, showing a nett The Divinity School wish to profit of over £200 and a marked Bad feeling was first created by When questioned about the un- decision was changed after pro- the fact that a huge proportion have it pointed out: (a) that they tests were made by Dr. Luce, the improvement on last year’s total. easiness in the Faculty, Mr. had the highest po11---96.1 per tutors, and the Standing Com- On the whole, plain, straight of last year’s Senior Freshmen Pakenham-Walsh admitted that cent. of eligible voters; (b) mittee of the Junior Fellows. forward collections, with no over- were failed on the basis of the he had received a representative that since the first results (which Dr. Luce pointed out that the head expenses, seem to have been results in Accountancy alone. The committee from the students. He we used for our news story) the most successful methods of principal complaint, however, has were published a revision has Statutes would have to be raising money and over £33 found said that most of them seemed changed before Commons was been made to the percentage of their way into the carboy at been the large amount of work unable to use a book-list properly spoiled votes cast in that School. Front Gate from collections on which pupils are expected to and discounted the large failure The new figure is 20.1, which, the march and at Fiesta and the cover before their exams in April. race in Accountancy by pointing however, leaves the Divinity soccer and rugby matches. Similar One student told us that 145 out that many people did not School still at the top of the have " numerical intelligence." He methods outside the all-night books and 50 periodicals were de- spoiled votes poll, its nearest bridge match in Eason’s shop also said that the students’ rival being the Engineering School Relax window raised over £20. scribed as " essential reading " in strongest case lay in the fact that with 3 per cent. Perhaps the most popular item one month. There was also con- they were the pioneers in the new on the programme was the folk- fusion over the standard which faculty, and that he was prepared singing evening organised most was expected in the compulsory to discuss problems with them. with a successfully by the new College language. No clear ruling on that However, " the habit of work" LABOUR’S Folk-singing Society. Both attics was given until well after the did not " seem to be ingrained in of the G.M.B. were packed and a middle of term after many weeks many of them." LOST forge sum of money was raised of vacillation. for W.U.S. Book The saddest aspect of this week YEARS was U.C.D.’s inabilky to partici- The pate fully in all the functions By JOHN DARLEY because W.U.S. is not yet recog- D.V.: nised by the authorities there, PEN SHOP . However, recognition has been 4/5 SUFFOLK ST. Prionnsias Mac Aonghusa APCK app!ied for and we hope to have We specialise in Bookseliers and Pub//sber: their full support and co-opera- tion next year. PARKER, SHEAFFERS 37 DAWSON ST. The Secretary and Treasurer of and all leading brands of To-night W.U.S. in Trinity would like to Fountain Pens. B R 0 WN’S at the DUBLIN 2 thank all the individuals and J596 College societies whose help Sales and Service 139 St. Stephen’s Green PHIL i made the week such a success. 2 December 3rd, 1964 TRINITY NEWS TRINITY NEWS PLAYERS and Dinter A Dublin University Undergraduate Weekly By Michael Gilmour No. S Vol. Xll Thursday, 3rd December, 1964 The recurring problem of communication The over-fussy naturalism and the inconclusive between people is seen in " The Collection " and climaxes left too many loose ends waiting to be Chairman: ’" The Lovers" as not so much of lack of corn- tied up which severely weakened the impact. Douglas Halliday ’./. munication, but the evasion of it. In both plays If James set out to find the truth that is the Vice-Chairman: the characters are intelligent and alert enough last thing that Richard and Sarah want to find in " The Lovers." Here the naive escapist world of Jefferson Horsley to communicate if they wanted to, but for various reasons they don’t, bears and squirrels which Osborne created in " Look Back in Anger" has grown up in Pinter’s Editors: The Collection was originally conceived for Bill Hutchinson, Mirabel Walker, Robin Knight hands into a kind of sexual charade.,, television and the change of media in this pro- The casual opening remark, Is your lover Business Board: duction has not been altogether successful. The coming to-day?" the objective depersonalised plot has as its focal point the unknown act. Did arrangements immediately set the atmosphere Max Unwin, Charles Halliday, Hamish McRae. Bill, a young fashion designer, sleep with another ¯ which is gradually developed and intensified Secretary: man’s wife during a business stay in Leeds~ Pinter throughout. Richard and Sarah are supposedly Caroline Western gives fragmentary views from all who are con- happily married; that is their facade. Their cerned. Stella, the wife, admits it; her husband domesticity is cold and sterile. The evasion from (i James is inclined to believe her but is determined to find out the truth behind it all. The supposed communication on this level is complete. Yet i when Sarah’s lover does arrive he turns out to be ANY OLD RAGS ? lover Bill as first denies, then hints and finally none other than her husband. , i elaborates, while his patron Harry is doing his own To counteract the lifeless husband and wife bit of detective work. The story gets twisted, W.U.S. Week is over. This, one of our first embryos of a Rag lie piles upon lie, equivocation upon equivocation, relationship, Richard plays protector, aggressor, Week, has once again managed to restrain itself to the channelling of and James is left not much the wiser. consoler, accomplice and finally lover. Sarah in student charity into the more intelligent (and slightly less extrovertal) turn plays the conscientious housewife, the inno- These fragments needed the decisive move- cent, the mistress and the whore. On one level pipe-lines of extravaganza. Dublin has never really known a Rag ment of a television camera for the full contrast it is partly a game and partly a salvage operation Week proper, and any movement towards introducing such an in- of moods to be achieved.
Recommended publications
  • University of Florida Thesis Or Dissertation Formatting
    IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection.
    [Show full text]
  • <Insert Image Cover>
    An Chomhaırle Ealaíon An Tríochadú Turascáil Bhliantúil, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1981. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951. Thirtieth Annual Report and Accounts for the year ended 31st December 1981. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951. Cover: Photograph by Thomas Grace from the Arts Council touring exhibition of Irish photography "Out of the Shadows". Members James White, Chairman Brendan Adams (until October) Kathleen Barrington Brian Boydell Máire de Paor Andrew Devane Bridget Doolan Dr. J. B. Kearney Hugh Maguire (until December) Louis Marcus (until December) Seán Ó Tuama (until January) Donald Potter Nóra Relihan Michael Scott Richard Stokes Dr. T. J. Walsh James Warwick Staff Director Colm Ó Briain Drama and Dance Officer Arthur Lappin Opera and Music Officer Marion Creely Traditional Music Officer Paddy Glackin Education and Community Arts Officer Adrian Munnelly Literature and Combined Arts Officer Laurence Cassidy Visual Arts Officer/Grants Medb Ruane Visual Arts Officer/Exhibitions Patrick Murphy Finance and Regional Development Officer David McConnell Administration, Research and Film Officer David Kavanagh Administrative Assistant Nuala O'Byrne Secretarial Assistants Veronica Barker Patricia Callaly Antoinette Dawson Sheilah Harris Kevin Healy Bernadette O'Leary Receptionist Kathryn Cahille 70 Merrion Square, Dublin 2. Tel: (01) 764685. An Chomhaırle Ealaíon An Chomhairle Ealaíon/The Arts Council is an independent organization set up under the Arts Acts 1951 and 1973 to promote the arts.
    [Show full text]
  • Original Song Settings of Irish Texts by Irish Composers, 1900-1930
    Technological 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.
    [Show full text]
  • 200 Years of Irish Symphonies
    Symphonies and Accompaniments: 200 Years of Irish Symphonies Paper read at the symposium ‘The Symphony and Ireland’, Dublin, DIT Conservatory of Music and Drama, 20 April 2013 © April 2013, Axel Klein, Ph.D., Frankfurt, Germany, www.axelklein.de Ireland’s musical traditions appear to offer little space for the symphonic genre. Beyond Charles Stanford, few international scholars would be able to name an Irish composer writing symphonies. Yet (as always), a closer look reveals that there is more than meets the eye. In this contribution my intention is to collect the empirical facts about symphony writing in Ireland and by Irish composers elsewhere. In doing so I will try to answer questions such as ‘How many Irish symphonies were there?’, ‘Who wrote them?’, ‘Could they be heard in Ireland?’ and ‘What was the heyday of Irish symphonies about?’. The answers will provide clues to further problems such as ‘What were the difficulties?’ and ‘Why don’t we know them?’. Thus I seek not only to give an overview of the symphonies in question, but also to the ‘accompaniments’ in cultural history that prevented or promoted the development of the genre in Ireland. To begin, let me draw your attention to the probably earliest use of the term ‘symphony’ in Ireland. It is included in the title of my presentation and of course I am alluding to the famous Irish Melodies collection of arrangements of Irish traditional songs by John Andrew Steven- son to poetry by Thomas Moore published in ten volumes and a supplement from 1808. When I began to study Irish musical history more than 25 years ago, Stevenson’s use of the term ‘symphony’ struck me as very odd.
    [Show full text]
  • The Use of Newspapers As a Source for Musicological Research: a Case
    The Use of Newspapers as a Source for Musicological Research: A Case Study of Dublin Musical Life 1840–44 Catherine Ferris Thesis submitted to National University of Ireland, Maynooth for the Degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare April 2011 Head of Department: Professor Fiona M. Palmer Supervisor: Professor Barra Boydell Contents Acknowledgements i Abbreviations ii List of Tables iii Part I Chapter 1: Introduction 1 Methodology 11 Thesis Overview 14 Editorial Decisions 16 The Class Context 17 Chapter 2: The Use of Newspapers for Musicological Research 19 Newspaper Characteristics 24 Newspaper Access and Formats 26 Considerations in the Use of Newspapers for Musicological Research 28 Newspaper Bias 29 The Audience: Literacy, Circulation and Reading Rooms 32 History of the Press 37 Freeman’s Journal 40 Evening Packet 49 Saunders’s News-Letter 58 Comparative Bias 65 Single Newspaper Study 71 Chapter 3: Case Study: Dublin Music Societies, 1840–1844 74 Hibernian Catch Club 75 Anacreontic Society 90 Philharmonic Society 110 Antient Concerts Society 130 University Choral Society 151 University Church Music Society 172 Societa Armonica 176 Dublin Sacred Harmonic Society 179 Dublin Harmonic Society 182 Metropolitan Choral Society 184 Amateur Harmonic Society 198 Tradesmen’s Harmonic Society 201 Dublin Concordant Society 205 Orpheus Society 207 Case Study Conclusion 211 Chapter 4: Conclusion 215 Part II Register of Musical Data on the Music Societies in the Freeman’s Journal, the Evening Packet and the Saunders’s News-Letter, 1840–1844 222 Bibliography 463 Abstract 505 Acknowledgements Foremost, I am indebted to my supervisor Professor Barra Boydell for his inestimable guidance, support and encouragement throughout my studies.
    [Show full text]
  • The Irish Composers Project: Primary Sources for Research and Promotion of Irish Art Music
    THE IRISH COMPOSERS PROJECT: PRIMARY SOURCES FOR RESEARCH AND PROMOTION OF IRISH ART MUSIC PATRICIA FLYNN Introduction Irish contemporary art music is an often-overlooked aspect of the musical traditions of Ireland. In 1995 composer Raymond Deane (1953-) coined the term 'the honor of non-existence' to describe the condition of contemporary composers in Ireland.(1) it is telling still that in considerations Of Irish culture, such as in the interdisciplinary field of Irish studies, the emphasis has to a large extent been on one of our three main music traditions.(2) The term Irish Music for many signifies traditional music, the fold music of the people. Sometimes it is used to refer to our popular tradition, particularly rock music, but rarely will it bring to mind the current art music tradition. Perhaps this is as it should be; there will always be a smaller and specialized interest in classical music. However, that this is one of our traditions should not be forgotten. An understanding of this tradition informs an understanding of ourselves and the place of music in the Irish imaginative exploration of ideas. The role of music- ology illuminating these ideas and developing wider under- standing and knowledge of this music is clear; as is the role of music institutions in making this music generally known and promoting access to this part of our cultural heritage. This essay outlines a project in which both academic and cultural institutions worked in partnership to create a digital archive of Irish contemporary art music, ensuring thus primary sources for future music research, performance and wider promotion.
    [Show full text]
  • Waterford Music Club 1942-1990 by Eric De Courcy
    1 Waterford Music Club 1942-1990 by Eric de Courcy 1. PERSONAL PRELUDE A Dubliner born and bred, my first visit to Waterford was as a 'cellist with the New Dublin Trio in January 1943, when we were invited to play for Waterford Music Club. This was in fact the fourth concert of the club that had been formed the previous year. It was wartime, or the Emergency as we called it in our neutrality. There were few cars on the road, and the antiquated little train rambled its way to Waterford through New Ross. It was indeed picturesque but bitterly cold in that mid-war mid-winter. In spite of the very warm hospitality accorded to us, I little thought that in less than a year and a half I would be returning to Waterford as organist and Choirmaster of Christ Church Cathedral and that it would be my home for almost half a century. 2. OVERTURE On Thursday afternoon, 28 May 1942, at No. 1 Suir View, Newtown, Waterford, an informal meeting took place at which a proposal to form a music club in Waterford was discussed. The four present were:- Miss Elizabeth Downey, Mrs Ida Starkie O'Reilly, Mr William F Watt and Mr T F H Bayly. Miss Downey was a well established teacher of singing and voice production in Waterford. Her success as a teacher was reflected in the many awards won by her pupils, and by the fact that in 1966 she moved to Dublin to take up a post at the Royal Irish Academy of Music.
    [Show full text]
  • Innocence and Experience: the Life and Music of James Wilson, Mark Fitzgerald [Book Review]
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dwyer, Benjamin ORCID: https://orcid.org/0000-0003-3616-7091 (2018) Innocence and Experience: The life and music of James Wilson, Mark Fitzgerald [Book Review]. The Musical Times, 159 (1943) . pp. 109-118. ISSN 0027-4666 [Article] Published version (with publisher’s formatting) This version is available at: https://eprints.mdx.ac.uk/25106/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • 2014 February
    International Association of Music Libraries, Archives and Documentation Centres United Kingdom and Ireland Branch founded 1953 Newsletter Number 67 February 2014 Editor: Anna Pensaert Publications Officer: Almut Boehme ISSN 0263-9939 Editor: Anna Pensaert University of Cambridge Pendlebury Library of Music, 11 West Road, Cambridge, CB3 9DP. Tel. 01223 335183 Music Department, University Library, West Road, Cambridge CB3 9DR. Tel. 01223 333072 e-mail: [email protected] Publications Officer: Almut Boehme Rare Books and Music, National Library of Scotland, George IV Bridge, Edin- burgh, EH1 1EW. T Tel. 0131 623 3880. e-mail: [email protected] Newsletter, Number 67, February 2014 EDITORIAL The end of the Diamond Jubilee year is gradually Contents approaching and this issue reflects on some of the activities and events that have taken place, start- ing with a blog on the Jubilee Reception by Susi Diamond Jubilee 2 Woodhouse and continuing with a wide range of reports, news and updates. People and places 8 Resources 16 I would like to draw special attention to the infor- mation about the upcoming conferences: the ASW Diary and events 17 in Cambridge and the IAML international confer- ence in Antwerp. We hope to see many of you at Exec briefing 18 either, or both, for our annual opportunity to catch up and share professional experiences. We now have all the usual social media up and running and we hope this will prove to be a good framework for some additional discussions and contributions. Anna Pensaert 1 Newsletter, Number 67, February 2014 DIAMOND JUBILEE EVENTS 2 Newsletter, Number 67, February 2014 PRESIDENT’S REPORT Reception I hope that all of you who attended this event will agree this was probably the highlight of our Diamond Jubilee year.
    [Show full text]
  • France and Ireland: Notes and Narratives
    Technological University Dublin ARROW@TU Dublin AFIS (Association of Franco-Irish Studies) Books Publications 2015 France and Ireland: Notes and Narratives Una Hunt Technological University Dublin, [email protected] Mary Pierse Follow this and additional works at: https://arrow.tudublin.ie/afisbo Part of the Arts and Humanities Commons Recommended Citation Hunt, Una and Pierse, Mary, "France and Ireland: Notes and Narratives" (2015). Books. 8. https://arrow.tudublin.ie/afisbo/8 This Book is brought to you for free and open access by the AFIS (Association of Franco-Irish Studies) Publications at ARROW@TU Dublin. It has been accepted for inclusion in Books 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 France and Ireland Reimagining Ireland Volume 66 Edited by Dr Eamon Maher Institute of Technology, Tallaght PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Una Hunt and Mary Pierse (eds) FRANCE AND IRELAND Notes and Narratives PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the Deutsche National bibliografie; detailed bibliographic data is available on the Internet at http://dnb.d-nb.de. A catalogue record for this book is available from the British Library. Library of Congress Control Number: 2015939710 ISSN 1662-9094 ISBN 978-3-0343-1914-0 (print) ISBN 978-3-0353-0743-6 (eBook) Cover image: Mike Stilkey, ‘The Piano Has Been Drinking’, 2010.
    [Show full text]
  • Freie Referate 19 Musik Nach 1945 The
    Freie Referate 19 Musik nach 1945 Gareth Cox The Development of Twentieth-Century Irish Art-Music" Although Irish literature has attained international recognition as representing some of the most important and seminal texts in the English language, a fact reflected musically in the many settings or reception of the writings of Irish authors (John Cage's settings of Finnegan 's Wake, for example, or Luciano Berio's subtle employment of Joycean onomatopoeia from the «Sirens» chapter of Ulysses in Thema - Omaggio a Joyce), Irish art-music has remained relatively unknown outside the island. lreland has never produced a major composer (and perhaps positively, Irish composers have never suffered from the towering presence and domination of one past national composer as is often the case in Scandinavian countries) and the country is often merely associated with such musical trivialism as Dublin being the birthplace of John Field or where the first performance of Handel's Messiah took place. Irish folk music has, on the other hand, achieved enormous international dissemination and there is a signi.ficant and ever-increasing body of academic ethnomusicological research into Irish music; indeed, the very term «Irish music» has always implied Irish traditional or folk music thus necessitating the differentia- tion «Irish art-music». Unlike the well-documented golden age of music in Dublin in the 18th century1 when Dublin enjoyed a cul- tural life in the British Isles second only to London, there is little literature on twentieth-century lrish music apart from a 1968 thesis2 and the occasional article3 and dictionary entry. 4 Very few scores have been published and even fewer commercial recordings have been released.
    [Show full text]
  • The Music Association of Ireland Fostering a Voice for Irish Composers and Compositions
    JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNALOF THE MUSIC OF MUSICAUSTRALIA COUNCIL OF AUSTRALIA The Music Association of Ireland Fostering a Voice for Irish Composers and Compositions Introduction TERESA o’dONNELL n 1948, an association was founded in Dublin to improve the status of art music within the cultural life of Ireland. The Music Association of Ireland (MAI) sought to act as an umbrella group for all areas of classical music in Ireland, to create ■ [email protected] Ia musically educated audience in Ireland and to establish an Irish contemporary school of composition based on the European aesthetic (independent of the prevailing nationalist sentiment). The MAI Council produced a substantial policy document, Music and the Nation: A Memorandum (Music Association of Ireland 1949a) and had six objectives: to further musical education, to improve conditions for composers and musicians generally, to work for the establishment of a National Concert Hall, to submit recommendations on music policy to the relevant authorities, to encourage the formation of musical groups, societies and choirs throughout the country and to organise popular lectures, concerts and recitals with a view to awakening a regional and national musical consciousness (Music Association of Ireland 1948a). During its sixty-year lifespan (1948–2007), the MAI, a voluntary body, contributed considerably to the musical life of Ireland, particularly through its education initiatives and the creation of a musical infrastructure for composers1. Initiatives, such as the Composers’ Group (1953–1975), Countrywide Tours (1954–1980), Schools Recitals Scheme (1967– 2003), Irish Youth Orchestra (1970–) and the Dublin Festival of Twentieth Century www.jmro.org.au Music (1969–1986) were pioneered and championed at a time when government funding of the arts was limited.
    [Show full text]