St. Patrick's Day Music
St. Patrick's Day Music
Happy St. Patrick's Day! You can't celebrate the Irish without bringing some music into the party, so check out this carefully selected list of twenty great Irish songs for St. Patrick's day - click through to download them all and create your own St. Patrick's Day playlist.
Get your tin whistle ready! - Play along with St. Patrick's Day music!
The tin whistle is one of Ireland's oldest instruments, and you'll often hear it in the music of the Emerald Isle. It's easy to learn and a lot of fun, so buy one for yourself and play along with your favorite St. Patrick's Day music!
One cannot hear a slow air played with depth of feeling on a tin whistle by a true Celt without being drawn into, and sharing, the emotions expressed by the player. When Robert Clarke invented the Tin whistle in 1843, little did he know that it would become the perfect wind instrument to be played universally in all the Celtic lands. It can be heard in concert halls, broadcasts, churches and, above all, especially in Ireland, in the pubs. It is easy to play; inexpensive; and can be carried so as to be available for performances on all occasions. The Clarke Celtic Tin whistle in the Key of D comes with its own fingering chart and five traditional Celtic tunes, one each from Wales, Scotland and Brittany and two from Ireland. The whistle comes decorated with a Celtic Knot and is individually gift boxed.
Fun Irish Music For St. Patrick's Day Parties!
Love Irish Rock Music? Read More In These Books!
Accessibly written and well illustrated, this book explores Irish rock music's relationship to the wider world of international popular music through a detailed analysis of the Ireland's most prominent artists and bands - U2, Van Morrison, Sinead O'Connor, The Boomtown Rats, and Horslips - along with key musical movements including the Beat Scene, the Folk Revival, Northern Irish Punk, and Dance Music in Ireland. It brings to the study of popular music the concerns of Irish Studies about national and cultural identity and, at the same time, enriches these debates by applying a focus on popular music culture to debates traditionally concerned with literature and drama. The book focuses on the significance of music and music in performance, and it analyzes songs and albums, as well as live concerts on television and video/DVD. It presents a wealth of primary research to establish a detailed critical context, such as the music press in Ireland, the UK, and US. The authors have interviewed key industry personnel, artists, and commentators, and their thoughts on Irish rock and pop are particularly interesting to the broader debate.
Rockaganda is a themed trawl through the past 30-odd years of active Irish rock'n'roll mouthing from the great, the good, the bad, the awful, the hopefuls, the contenders and the totally forgotten. Using his experience as a journalist, his scrapbook (which is now a hardcopy archive), and his contacts book, Tony Clayton-Lea gathers the best of the mutterings of U2, SinÃ©ad O'Connor, Ash, Boyzone, Westlife, Van Morrison, The Pogues, Bob Geldof, and many others. The result is a perfect dip-in/dip-out book that highlights the cream (some smooth, some clotted) of the Irish music industry on a variety of topics, ranging from sex and drugs and rock'n'roll to politics, success, fame, and celebrity. "" `Rockaganda' is a must for those who embrace the insanity that is the world rock and roll culture."" - Midwest Book Review
Examines the history, performance, and practice of Irish Rock Music from the 1960s to the present. Using theoretical perspectives drawn from Irish cultural criticism and Rock Music Studies the author shows how Irish rock music has engaged with issues of national identity at every level, from music to performance to distribution.
Contemporary Irish popular music represents a set of enormously successful cultural and economic practices. Much in the same way that Irish literature was felt to have produced an inordinate number of geniuses throughout the last century, so the island seems capable of producing an endless supply of successful pop and rock acts. At the top of the pyramid are U2 who have sold in excess of 100 million albums.
This book attempts to consider the "Irishness" of "Irish popular music". Such an analysis encompasses many complex issues concerning national identity, globalization, and cultural nationalism.