This book also provides extensive details on non-musical members of the family – from children to businessmen – proving extremely useful; perhaps an evaluation of their place within French musical culture would have completed this effort nicely.
Today, traditional Irish music is widely respected worldwide. Bands such as The Chieftains have helped distance it from negative associations with rural regions and poverty.
Traditional Irish music
Irish traditional music is an expansive form of expression with roots dating back centuries. Today it can be found across genres including Celtic fusion and rock. Irish traditional music has also had a major influence on well-known acts like U2, the Cranberries and Sinead O’Connor.
Irish music was traditionally passed down through listening and learning by ear, though modern classes of Irish traditional music may provide students with music notes for study.
Irish music’s rich musical tradition has endured colonisation, famine, and emigration to become one of its most distinctive cultural exports. Played everywhere from pubs and homes to wedding receptions and often used to dance or relax to, Irish traditional music is enjoyed worldwide and widely loved for its haunting and unique sound – popularly typified by the tin whistle as it once known as the penny whistle due to its cost-effective production process.
Irish folk music
As with other folk musics, Irish folk music has changed throughout its history. While traditionally it was associated with dance, there is also an extensive ballad tradition and several instruments including fiddle, bodhran, wooden flute, tin whistle and Uillean pipes; more recently the bouzouki (a large mandolin-like instrument) has gained more renown.
In the 1960s, an exciting period of musical innovation began with musicians like Sean O’Riada. Combining classical training with Irish folk music, Ceoltoiri Chualann helped liberate traditional Irish music from negative associations while expanding its appeal. Subsequently, bands like Planxty and The Chieftains helped further popularise traditional Irish music while artists like Sinead O’Connor, Enya, Clannad and others achieved global fame incorporating new age influences into their sound.
Today’s music scene in Ireland is vibrant; modern fusions of exuberant jigs and reels can be heard everywhere. Popular artists continue to draw influence from traditional Irish music while many Irish musicians have expanded into rock, jazz and other genres.
Irish traditional music
Irish traditional music can be heard everywhere from house parties to pubs, ceili dances, stage performances and competitions. Additionally, it plays an integral part of Irish culture by being used to commemorate events such as Saint’s days, weddings and funerals.
Popular instruments for music lovers to consider are the fiddle, tin whistle and uilleann pipes. Iuleann pipes resemble Scottish bagpipes but can be played using one hand and elbow action instead of blowing air directly through them; while a tin whistle looks similar but must be played across its mouthpiece rather than directly into it for its unique tone production.
Planxty, De Dannan and The Bothy Band developed new instruments for Irish folk music during the 1960s and 1970s, including guitar and bouzouki inclusion. Later bands such as Ye Vagabonds and The Gloaming used intelligent vocals to revive traditional songs with care while experimenting with long ambient interludes.
Irish pop music
Irish music has evolved with new instruments and international influences. This melting pot has produced artists like U2, Van Morrison, Sinead O’Connor, Enya, Clannad and the Dubliners as well as bands such as U2.
In the 1960s, traditional Irish music underwent a revival thanks to Ceoltoiri Chualann, an instrumental group who created an innovative style that transcended its association with rural regions and poverty. Their success inspired vocal groups like The Dubliners as well as international audiences who now heard Irish music around the globe.
This book includes an interesting chapter on non-musical members of O’Kelly family and provides detailed accounts of their lives, but seems to serve little purpose overall. A more substantive concluding chapter would have completed it more satisfactorily; perhaps one that assessed O’Kellys place within French musical culture and considered whether they can be considered Irish composers.