The Harp "That Once Thru Tara's Halls

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The Harp "That once thru Tara's Halls......" It is difficult, with any degree of accuracy, to determine where the harp first originated.Some believe it was first concieved in south-east Asia, while others credit the Phoenicians (early Egyptians) . In any event, as is the case with most new developments, it probably evolved over time , until it reached Ireland, where the Irish embraced it as the national emblem of Ireland. The most famous harp, Brian Boro’s harp is on display in Trinity College, in Dublin and is the same harp that was used as the national emblem of Ireland. It was used on Irish coinage and adopted by Guinness on their logo. Irish legends tell us, Dagda, a chief among the Tuatha De Danaan, owned the first Gaelic harp. If this legend is correct that would age the first Irish harp- some six to eight thousand years old. In the courts of the great Irish Chieftains, the harpist was of a higher social class, ranking only behind chiefs and bards. The harpist would play as the bard recited poetry for the court. In times of troubles the harpist would lead the warriors into battle and incite them to courage and victory. During England’s conquest of Ireland the harp was banned. By the late 18th century the traditional Irish harpers were nearly extinct. Harpist had always trained a protoge to carry on their tradition, nothing was written. In 1792 a Harp Festival was held in Belfast to in an attempt to revive the art. Fewer than a dozen harpists were found in all Ireland. A young gentleman named Edward Bunting was given the task of notating all the music played at the festival. Even after the event, Bunting continued to collect music, legends and all aspects of the Harpists skills. Most of the surviving works of the early harpist was made possible, by the efforts of Edward Bunting. Turlough Carolan (1670-1738), the famous blind Irish harpist, is credited with hundreds of popular tunes that are still popular to this day. .

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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.
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Readings in Irish Traditional Music O’Brien, Fergal Grade 2 Bodhran Tutor & CD, 2017 www.bodhrangradetutor.com Acton, Charles Irish Music and Musicians, 1978 Dublin: Eason & Co. Armstrong, Robert B. The Irish and the Highland Harps, 1904 New York: Douglas. Austin, Valerie Influence on the decline of Indigenous Irish Music in the 20th Century: The Dance Halls 1993 Act 1935. M.A. Thesis, University of Florida. Boydell, Barra The Flageolet in Ireland, in: Irish Musical Studies 1, G. Gillen & H. White, Eds, 150-168, 1990 Dublin: Irish Academic Press. 1996 The Iconography of the Irish Harp as a National Symbol, in: Irish Musical Studies 5, P. Devine & H. White, Eds, 131-145, Dublin: Four Courts Press. Bodley, Seoirse ‘Technique & Structure in Sean Nós Singing’ 1972 Irish Folk Music, 1, 45-53. Breathnach, Breandán Ceol Rince na hÉireann 1, 1962 Dublin: Oifig an tSoláthair Poiblí. 1970 ‘The Dancing Master 2’ Ceol, 3(4), 116. 1971 Folk music and dances of Ireland, Cork: Mercier Press. 1971 ‘An Italian Origin for the Irish Jig’ Béaloideas, 39-41. 1972 ‘Tús an Phoirt in Eirinn’, Irish Folk Music, 1, 37-42. 1975 ‘Piper Jackson’ Irish Folk Music Studies – Éigse Cheol Tíre 2. 1976 Ceol Rince na hÉireann 2, Dublin: Oifig an tSoláthair Poiblí. 1977 ‘Francis O’Neill – Collector of Irish Music’ Dal gCais, 3. 1982 ‘Between the Jigs and the Reels’ Ceol, 5, 43-48. 1983 The Traditional Music Scene in Ireland, in: Ireland and the Arts, T.P. Coogan, Ed, London: Namara Press. 1985 Ceol Rince na hÉireann 3, Dublin: Oifig an tSoláthair Poiblí.
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Irish/English
0146100018 Rec;u CLT I CIH /ITH Letters of Support Le 2 6 MARS 2018 1 Uachtaran na hEireann/President of Ireland Mic~~-~ .. ~: ..~!~~!~.~ .... ~(-G. ... 2 Lord Mayor of Dublin Micheal MacDonnncha 3 Arts Council of Ireland Sheila Pratschke 4 Fair Pie: Gender balance in Irish Traditional Music Sile Denvir 5 Clifden Arts Festival Brendan Flynn 6 Comhaltas Ceolt6irl Eireann Ann Finnegan 7 Conservatory of Music and Drama, DIT Orla McDonagh 8 David Byers, conductor David Byers 9 Deirdre Danaher, harper Deirdre Danaher 10 Dublin City Council Ray Yeates 11 Eilis Lavelle, harper Eilis Lavelle 12 Siofra Gielty, harper Siofra Gielty 13 Foras na Gaeilge Sean 6 Coinn 14 Gael Linn Antoine 6 Coileain 15 Galway City Museum Eithne Verling 16 International Society for Folk Harpers and Craftsmen David Kolacny 17 National Folklore Collection Bairbre Nf Fhloinn 18 Irish Traditional Music Archive Grace Toland 19 National University of Ireland, Galway Mairfn Nf Dhonnchadha 20 Derek Ball; composer Derek Ball 21 Milwaukee Irish Festival Barry Stapleton 22 Moya Cannon, poet Moya Cannon 23 Music Critic, The Irish Times Siobhan Long 24 Music Generation Laois Rosa Flannery 25 Na Pfobairf Uilleann Gay McKeon 26 O'Brien International Martin Fahey 27 Phil Coulter, musician Phil Coulter 28 RTE Lyric FM Aodan 6 Dubhghaill 29 Royal Irish Academy of Music Deborah Kelleher 30 Ruaidhrf Dall Harp School Nodlaig Nf Bhrollaigh 32 Willie Clancy Summer School Harry Hughes 425 Beersbridge Road Bloomfield Belfast BT5 5DU Northern Ireland Tel: +44 (0)28 9065 9706 Mob: 07753 631 446
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