In the early part of the twentieth century, a young musician named Natalie Curtis began drawing attention to the music of Native Americans and African Americans, publishing collections, organising concerts and advocating their traditions as
A nineteenth-century Irish flute player c. 1888 in ‘The Schoolmaster’s Moment of Leisure’, a watercolour and gouache by the American artist Howard Helmick (1845–1907) in the collections of the National Gallery of Ireland
In a masterful self-promotional effort that began in his twenties and lasted for the remainder of his career, Richard Wagner managed to develop himself into a ‘brand’ – a name, look, ideology and product that continues today.
Unlocking the Archive / Session with the Pipers /Music Recording / Casadh Arís / Temple Bar Trad / Música Nueva de Mexico / Outof Time / New Books on Music in Ireland / Winteriser / Happy to Meet, Sorry toPart / Dublin Philharmonic in USA /
Dr Desmond Fennell, Maynooth, writes:In the March-April issue Niall Ó Ciosáin reviewed Music in Nineteenth-Century Ireland, edited by Michael Murphy and Jan Smaczny. Inevitably, Mr Ó Ciosáin felt it necessary to deal with the much...
Icon of an Age: The AnthologyZampano ProductionsJohn McCormack gave his farewell performance (a handful of subsequent morale-boosting wartime concerts notwithstanding) to a packed Royal Albert Hall in London 70 years ago this coming Novembe
Dr Barra Boydell, Co-General Editor, Encyclopaedia of Music in Ireland, writes:I write on behalf of the editors and publishers of the Encyclopaedia of Music in Ireland to express our surprise that you saw fit in the March-April issue of JMI
Dear Editor,A large part of Barra Ó Séaghdha’s review of Prof. Harry White’s new book (JMI July-August) was taken up with White’s theory of why nineteenth-century Ireland did not produce a classical composer of international...
‘We all felt very lonely after you had gone. Your visit was like a part of an Irish fairy tale...’. Part and parcel of the British Composer Arnold Bax’s attachment to Ireland was his warm friendship with the Fleischmanns in Cork.
In an extract from a major new book, The Cork Choral Festival 1954-2004, edited by Ruth Fleischmann, Irish composer Seoirse Bodley shares his memories of the Festival’s seminar on contemporary music through the years as well as his experien
Dear Editor,What dreary horror to see Patrick Zuk occupying 30 per cent of a 34-page magazine again (JMI, July/August 2003). In this format the potential wisdom of his words becomes just an unmemorable gripe, however revelatory.
Students of the Hispanic Studies and Music Departments of Sheffield UniversitySt Nicholas’ Collegiate Church, 17 May 2003Torrejón de Velasco/Calderón – La Púrpura de la RosaWhile North America at the turn of the eighteenth...
Dear Editor,Let me open this response to Tom Munnelly’s review of my new edition of The Petrie Collection of the Ancient Music of Ireland by remarking that I have no problem agreeing with much of his criticism of Petrie.
A Eagarthóir,Richard Pine notes in his article ‘The National Ear’ that if the term ‘heritage music of Ireland’, rather than ‘traditional music’, was adopted as a title for our single-melody structured musical inheritance,...
Dear Editor, In defending Harry White against what I perceived as a personal attack by Patrick Zuk I have come under attack myself from four sides. As the arguments of Patrick Zuk, Barra Ó Séaghdha, Séamas de Barra and Eoin Hegarty are...
Dear Editor,Axel Klein’s letter in the last edition of the JMI, which censures both the manner and force of Patrick Zuk’s review of Musical Constructions of Nationalism, struck me as being distinctly odd.
Dear Editor,I was intrigued by Axel Klein's response to Patrick Zuk's review of Harry White’s writings on music and nationalism. It is noteworthy that Dr Klein does not take issue with any specific point raised by Zuk.
Dear Editor,Given how pertinent the issue of nationalism is for all who are interested in Irish cultural life, a lively discussion in these pages on the subject would have been welcome in the wake of my recent review of Musical Construction
Dear Editor,In a downright tour-de-force, Mr Patrick Zuk has turned a lengthy book review into a vicious attack on the views of Harry White on the development of music in the history of ideas in Ireland (JMI, March-April 2002, pp. 25-30).
Dear Editor,Ian Wilson rightly points out in his recent article (JMI, May-June 2002, pp. 5-11) that excessive vocal vibrato, apart from sounding ugly, militates against precision of execution and justness of intonation.
In the second part of his review of Musical Constructions of Nationalism, a new book edited by Michael Murphy and Harry White, Patrick Zuk discusses the ideas on music and Irish cultural history of musicologist Harry White.
In the first part of a two-part review of Musical Constructions of Nationalism, Patrick Zuk discusses the contributions of Michael Murphy and Joseph Ryan and the questions they raise about the influence of nationalist ideologies on musical
Ita Beausang’s research interests include music education and contextual studies of music in Ireland. She is an Advisory Editor for the forthcoming Encyclopaedia of Music in Ireland (UCD Press). Her biography of the Irish composer, Ina Boyle, is scheduled for publication in the Field Day Publications series.
At the 1948 London Olympic Games, when the competition still awarded medals for music and other arts, 'gentle Miss Ina Boyle' narrowly missed out on a bronze medal. Ita Beausang traces the story of the composer from Enniskerry and her as yet unperformed work.