Northern Ireland remains a divided community in which traditional culture is widely understood as a marker of religious affiliation and ethnic identity. David Cooper provides an analysis of the characteristics of traditional music performed in Northern Ireland, as well as an ethnographic and ethnomusicological study of a group of traditional musicians from County Antrim. In particular, he offers a consideration of the cultural dynamics of Northern Ireland with respect to traditional music.

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

From cha cha chá to jeliya and Hindustani raga to hip-hop gamelan, this exciting new text takes students on a journey through diverse musical cultures and traditions of the world. With a clear and accessible presentation style and lively and engaging writing, it is an ideal introduction to world music for non-music and music majors alike.

"Tuned Out is a study of Protestant attitudes to Traditional music in Northern Ireland. It reflects on performance practices, the impact of historical literature and political pragmatism - which have affected and shaped Traditional music as we find it in the first decade of the twenty-first century."--BOOK JACKET.

Irish Protestant Identities is a major multi-disciplinary portrayal and analysis of the often overlooked Protestant tradition in Ireland. A distinguished team of contributors explore what is distinctive about the religious minority on the island of Ireland. Protestant contributions to literature, culture, religion, and politics are all examined. Accessible and engaging throughout, the book examines the contributions to Irish society from Protestant authors, Protestant churches, the Orange Order, Unionist parties, and Ulster loyalists. Most books on Ireland have concentrated upon the Catholicism and Nationalism which shaped the country in terms of literature, poetry, politics, and outlook. This book instead explores how a minority tradition has developed and coped with existence in a polity and society in which some historically felt under-represented or neglected.

Includes record reviews.

"In Ireland, the Great Famine was a period of mass starvation, disease and emigration between 1845 and 1852. It is also known, mostly outside Ireland, as the Irish Potato Famine. In the Irish language it is called an Gorta Mór (IPA: [n t mo?], meaning "the Great Hunger") or an Drochshaol ([n dxhi?l], meaning "the bad life"). During the famine approximately 1 million people died and a million more emigrated from Ireland, causing the island's population to fall by between 20% and 25%."--Wikipedia.