Herní příležitosti a stylové proměny irské tradiční hudby

Title:

Herní příležitosti a stylové proměny irské tradiční hudby
Music sessions and style changes of irish traditional music

Creator:

Radostný, Lukáš and Křížová, Markéta

Identifier:

https://cdk.lib.cas.cz/client/handle/uuid:c6178744-8b8a-4ec1-b37e-03378a88a270
uuid:c6178744-8b8a-4ec1-b37e-03378a88a270
urnnbn:urn:nbn:cz:aba007-000bru

Type:

model:internalpart and TEXT

Format:

print

Description:

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“.

Language:

Czech

Rights:

http://creativecommons.org/licenses/by-nc-sa/4.0/
policy:public

Coverage:

1-14 and 3-16

Source:

Český lid | 2002 Volume:89 | Number:1

Harvested from:

CDK

Metadata only:

false