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The 1916 Easter Rising was the watershed political moment of the modern Irish Nation. Padraig Pearse, along with his co-conspirators, initiated an event that dramatically affected the Celtic Revival literary movement. Prior to the rebellion, Pearse left a calculated literary legacy through pamphlets, broadsides, and poems. His most notable contribution to print nationalism was the text of The Easter Proclamation, but the poems he wrote prior to his execution are important contributions to the modern Irish elegiac tradition. Poets took to their work with renewed political fervor and used elegiac forms to mourn the dead and subvert the rhetoric of imperialism. This study focuses on the modern Irish elegy, but also records the creation and reception of Pearse’s documents and actions. Beginning with his political pamphlets, speeches, and poetry, this paper examines how Pearse’s legacy in print impacted the elegiac tradition in Ireland. While it would be impossible to examine every elegy directly influenced by the Easter Rising in this short paper, it is useful to examine disparate elegiac viewpoints on this historical event. Initially tracing the historical production of The Easter Proclamation and Pearse’s series of separatist pamphlets, this exploration shifts to Pearse’s self-elegies and the elegies written by his acquaintances and contemporaries. Yeats is the obvious starting point for Republican elegies, but I will also explore the shifting poetics and elegiac tropes present in the poems of AE (George Russell), and Francis Ledwidge. This paper does not seek to ignore or discredit the print legacy of the other leaders of the Rising (notably Connolly, MacDonagh, and Markiewicz), but focuses on Pearse because of his print legacy and political importance. / text

This work will explore the musical ideas and philosophy discussed by George Russell in his book “The Lydian Chromatic Concept of Tonal Organization” (2001). Through the lens of a performing musician, improviser and composer/arranger, it will explore how the ideas of unity (vertical) and duality (horizontal), interact with each other through Tonal Gravity, and how they can be practically implemented as tools used to expand the scope of vertical (harmonic) consciousness and individual expression. Through my studies of the LCC, I have composed new music, in addition to contextualizing familiar jazz repertoire, in new and refreshing ways. Russell describes the Lydian Chromatic scale and its eleven member scales, as well as three different coexistent levels of Tonal Gravity in his River Trip analogy (Vertical, Horizontal and Supra-Vertical), which together opens up both ingoing and outgoing tonal resources. I have been exploring ways of integrating these elements in my expression. George Russell’s 50 years of work on The Concept was explicitly made to inspire future innovators to develop “[…] intellectual brilliance, intuitive perception, emotional fire, and spiritual depth.” (Russell, 2001, p. 98). Studying the Concept has helped me find my own expression more believable. By avoiding mechanical playing and rather developing my ears and fluency on the instrument, it allows for harmonic color and expression to be felt and created, instead of prepared licks and patterns. / <p><strong>For my exam concert I chose to play my own compositions in a quartet with the following contributing musicians:</strong></p><p>Trumpet and compositions - Øyvind Solheim</p><p>Piano - Rasmus Mannervik</p><p>Double bass - Anton Berndts</p><p>Drums - Richard Andersson Rasheed</p><p>The concert took place at the Royal College of Music in Stockholm on the 26th of March 2024. The set list consisted of six pieces, some of which had seamless transitions in-between each other. Since we had rehearsed with an open approach, we went in to the performance with the same attitude of playing something new.</p><p><strong>Repertoire (with timestamps from the recording)</strong></p><p>1. [00:00:40 – 00:05:40] October March - Øyvind Solheim</p><p>2. [00:06:35 – 00:15:40] Reaching - Øyvind Solheim</p><p>3. [00:16:30 – 00:25:40] Acrimony - Øyvind Solheim</p><p>4. [00:25:40 – 00:36:32] Wheelez - Øyvind Solheim</p><p>5. [00:38:02 – 00:47:40] Acending, Decending - Øyvind Solheim</p><p>6. [00:49:29 – 00:58:47] Lam-ent - Øyvind Solheim</p>