Like the music of other nations, Irish traditional instrumental music too is being spread across the whole world through the mass-media and the recording Industry. There are certain differences between stage performances and traditional playing in its natural milieu though. The dance function of the music was becoming redundant in recent decades and a concert form of playing replaced the role of the house dancing accompaniment. The fact that Irish traditional music has developed up to the present day is being stimulated by the phenomenon of Irish musical session, an association of musicians gathered to play tunes (short melodies), mainly of dance music character. Irish sessions have its own rules, etiquette and controlling factors. According to this rules the session leader, being the musician with the highest status among the others, starts each set of tunes, sets the pace and rhythm of music. The music making of this kind appeared in Irish traditional music quite recently, especially thanks to musicians from the Irish diaspora that lived in North America and in the industrial towns of the Great Britain. From these places the post-WW2 phenomenon of Irish traditional music sessions gradually expanded to the Irish communities ali around the world. Of great importance for the next development and contemporary form of traditional Irish music were the musicians that came out of the Irish emigrants in the United States. In the 1930s it was Paddy Killoran, James Morrison and Michael Coleman, all living in New York, whose musical styles were often imitated. It was the beginning of great changes in the local musical styles in Ireland: under the influence of the personal styles of these famous fiddlers, originally from County Sligo, the local musicians tried to imitate this grandiose interpretation in their own playing. Thus gradually the differences between local styles are disappearing. This trend is stronger with the development of the musical industry. Even though some of the interpreters are afraid that through the weakening of the local music styles Irish traditional music looses its enchantment (draiocht), others consider the contemporary development being a proof of the fact that also in the future Irish traditional music will stay a live phenomenon and not a conserved manifestation of „folklorism“.
In the 1991 census, 1 360 000 inhabitants of the Czechoslovak Federative Republic claimed Moravian nationality. Even though the interest of general public in the problem of ethnic Moravian identity had lost strength considerably, it has been disputed until today how to interpret this fact appropriately. The author makes an effort to prove, through historical recapitulation of recent attempts to constitute the new ethnicalnational identity of one part of the Moravian inhabitants, that the making of the specifically Moravian national ideology is related only to the spontaneous unfolding of civic activism since the end of the year 1989. On the basis of the analysis of both specialized studies and works of partakers active in the emancipation movements themselves, he focuses on the historical background of the idea of distinctive nationality of Moravians and the subsequent typology of indentifications of the inhabitants of Moravia. For the first half of the 1990s there could be stated the existence of three dominant tendencies in the ways of collective identification of the population of Moravia. In the first case it is the declaration of the existence of peculiar Moravian nation, in the second one the acknowledgment to the „peculiar cultural and historical branch of the Czech nation“. The adherents of the last, third standpoint have no problems to identify, in spite of their Moravian heritage, as Czechs without further attributes. The effort to constitute a distinctive „Moravian nation“ is in this study being interpreted as an example of the conviction that for the entrenchment of peculiar ethnical conciousness it is not crucial the „objective“ existence of specific cultural patterns, but the implementation of peculiar ideological system. Under conditions of Moravian national identification we are thus confronted with the idea that even in case of the absence of „natural“ aggregates of specific cultural facts it is possible to attempt to construct peculiar national collectiveness. The confidence in the reality of ethnic peculiarity than becomes the matter of the inerpretation of the everyday reality. In the context of other ethnoregional movements the existence of the phenomenon of ethnic Moravian identity can be perceived as the mobilization of identity of peripheral community with many nativist traits. Even though it might seem that the adherents of the idea of the existence of peculiar Moravian nation are seemingly loosing their significance lately, it can be supposed that the efforts in its paradigmatic construction and social establishment will continue also in the future.