Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Folk music --- History and criticism. --- Ethnic music --- Traditional music --- History and criticism --- Folklore --- Music

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In 'Roots of the Revival', Ronald D. Cohen and Rachel Clare Donaldson present a transatlantic history of folk's mid-century resurgence that juxtaposes the related but distinct revivals that took place in the United States and Great Britain.

Folk music --- Ethnic music --- Traditional music --- Folklore --- Music --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"For at least two centuries, and arguably much longer, Ireland has exerted an important influence on the development of the traditional, popular and art musics of other regions, and in particular those of Britain and the United States. During the past decade or so, the traditional musics of the so-called Celtic regions have become a focus of international interest. The phenomenal success of shows such as Riverdance (which appeared in 1995, spawned from a 1994 Eurovision Song Contest interval act) brought Irish music and dance to a global audience and played a part in the further commoditization of Irish culture, including traditional music. However, there has been until now, relatively little serious musicological study of the traditional music of Northern Ireland. Northern Ireland remains a divided community in which traditional culture, in all its manifestations, is widely understood as a marker of religious affiliation and ethnic identity. Since the outbreak of the most recent 'troubles' around 1968, the borders between the communities have often been marked by music. For example, many in the Catholic, nationalist community, regard the music of Orange flute bands and Lambeg drums as a source of intimidation. Equally, many in the Protestant community have distanced themselves from Irish music as coming from a different ethnic tradition, and some have rejected tunes, styles and even instruments because of their association with the Catholic community and the Irish Republic. Of course, during the same period many other Protestants and Catholics have continued to perform in an apolitical context and often together, what in earlier times would simply have been regarded as folk or country music. With the increasing espousal of a discrete Ulster Scots tradition since the signing of the Belfast (or 'Good Friday') Agreement in 1998, the characteristics of the traditional music performed in Northern Ireland, and the place of Protestant musicians within popular Irish cult"--Provided by publisher.

Folk music --- Irish Americans --- Ethnology --- Irish --- Ethnic music --- Traditional music --- Folklore --- Music --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book examines folk music and dance revival movements in Russia, exploring why this folk culture has come to represent Russia, how it has been approached and produced, and why memory and tradition, in these particular forms, have taken on particular significance in different periods. Above all it shows how folk ""tradition"" in Russia is an artificial cultural construct, which is periodically reinvented, and it demonstrates in particular how the ""folk revival"" has played a key role in strengthening Russian national consciousness in the post-Soviet period.

Folk music --- Ethnic music --- Traditional music --- Folklore --- Music --- History and criticism. --- Social aspects

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Music and dance in Canada today are diverse and expansive, reflecting histories of travel, exchange and interpretation, and challenging conceptions of expressive culture that are bounded and static. Reflecting current trends in ethnomusicology, Contemporary Musical Expressions in Canada examines cultural continuity, disjuncture, intersection, and interplay in music and dance across the country. Essays reconsider conceptual frameworks through which cultural forms are viewed, critique policies meant to encourage crosscultural sharing, and address ways in which traditional forms of expression have changed to reflect new contexts and audiences. From North Indian kathak dance, Chinese lion dance, early Toronto hip hop, and contemporary cantor practices within the Byzantine Ukrainian Church in Canada to folk music performances in twentieth-century Quebec, Gaelic milling songs in Cape Breton, and Mennonite songs in rural Manitoba, this collection offers detailed portraits of contemporary music practices and how they engage with diverse cultural expressions and identities. At a historical moment when identity politics, multiculturalism, diversity, immigration, and border crossings are debated around the world, Contemporary Musical Expressions in Canada demonstrates the many ways that music and dance practices in Canada engage with these broader global processes."--

Folk music --- Ethnic music --- Traditional music --- Folklore --- Music --- History and criticism.