Bøker av Harry White

EMIR is the first comprehensive attempt to chart Irish musical life across recorded history. It is the collective work of over 230 contributors whose research has been marshaled by an editorial and advisory board of specialists in the following domains of Irish musical experience: secular and religious music to 1600; art music, 1600-2010; Roman catholic church music; Protestant church music; popular music; traditional music; organology, and iconography; historical musicology; ethnomusicology; the history of recorded sound; music and media; music printing and publishing; music in Ireland as trade, industry and profession. In its extensive catalogues, discographies and source materials, EMIR sets in order, often for the first time, the legacy and worklists of performers and composers active in Ireland (or of Irish extraction), notably (but not exclusively) in the nineteenth and early twentieth centuries. It offers to the general reader a regiment of brief lives' of Irish musicians throughout history, and it affords the specialist a detailed retrieval of information on music in Ireland hitherto unavailable or difficult to access. Above all, it is encyclopaedic in its address on the plurality and diversity of Irish musical experience. To this end, EMIR represents the single largest research project on music in Ireland to have been undertaken to date.

Packed with rare and unpublished images, this is the definitive story of an iconic British brand - Bass.

This is the first study to survey the development of musical thought in modern Irish cultural history. It registers the function of music as a dynamic agent in the history of Irish ideas in the period 1770 - 1970. Ireland's verbally dominated culture has depended on music throughout its evolution, but the presence of music - to say nothing of its impact on the formation of Irish cultural thought - has been hitherto scarcely recognised. The Keeper's Recital attempts to redress this neglect by examining the role of music in Ireland's notably polarised cultural matrix by means of three prevailing themes: the integrity of sectarian culture, the political expression of cultural autonomy and the symbolic force of celticism. The book traces the development and cultural dislocation of music in Ireland from the late eighteenth century to the death of Sean Ó Riada and it thereby identifies the function and status of music in those cultural and political ideologies of nationalism, colonialism and revival which it helped to foster. Although The Keeper's Recital is primarily concerned with such figures as Turlough Carolan, Edward Bunting, Thomas Moore, Thomas Davis, George Petrie, Douglas Hyde, Heinrich Bewerunge, Charles Villiers Stanford, Arnold Bax and Sean Ó Riada, its scrutiny of the condition of music in Irish cultural history notably embraces Irish political and literary thought throughout the period 1770-1970. While not offered as a history of music in Ireland, it engages with the principal themes of that history in order to identify and distinguish between the symbolic power of Irish music (particularly in terms of its preservation) and its failure to generate a durable aesthetic of comparable significance to that which infused the Literary Revival.