The purpose of this study was to examine the emergence of choral music in Ireland since 1922, focusing specifically on the settings that were based on, or influenced by Irish songs and airs. It describes the culture of music in Ireland through instrumental music, dance, and the song tradition. It establishes the genres of song, the languages used, the stylistic characteristics, and the performance practices. It also looks at how the music was collected, and by whom. The study examines how singing was used in schools and communities as a language and culture-promoting exercise. It had almost no success linguistically, and limited success musically. It did however, result in the arranging and composing of Irish songs, and the establishment of part-singing as common practice in schools, primarily in the Irish language. The key composers and arrangers of these early decades are investigated. In the early years of independence Ireland's main focus was cultural reestablishment, but the State gave very little consideration to formal policy for the Arts. The 1950s brought change in this regard. This study investigates the role of An Comhairle Ealaíon (The Arts Council), who supports two key choral organizations, and funds other ventures and projects that promote and encourage choral performance and composition. In addition the roles played by the Department of Education and Skills, Ireland's key Choral Festivals, and Raidió Télifís Éireann (Radio Television Ireland), the country's national radio and television broadcaster, are also considered. The researcher's investigation into the composers and arrangers, who have used songs and instrumental airs upon which to base their choral compositions or arrangements, disclosed 105 composers and arrangers since 1922. In total, 822 settings were located. Twenty of the most popularly set choral arrangements are reviewed in this study, and the transition from solo song to ensemble setting is examined under a range of musical headings: a) treatment of the melody and rhythm, b) language and treatment of the text, c) use of accompaniment and resulting vocal textures, d) tonality, and e) structure, use of dynamics, phrasing and articulation. This investigation will serve as a guide for those wishing to learn about the characteristics of Irish songs and airs, and how these may be appropriately embraced in choral settings. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / April 8, 2015. / Choral Music, Irish Arrangers, Irish Choral Music, Irish Composers, Irish Music / Includes bibliographical references. / André Thomas, Professor Directing Dissertation; Wanda Brister, University Representative; Judy Bowers, Committee Member; John Geringer, Committee Member.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_252923 |
| Contributors | Barry, Anne (authoraut), Thomas, Andre J. (Andre Jerome) (professor directing dissertation), Brister, Wanda (university representative), Bowers, Judy K. (Judy Kay), 1949- (committee member), Geringer, John M. (committee member), Florida State University (degree granting institution), College of Music (degree granting college) |
| Publisher | Florida State University, Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text |
| Format | 1 online resource (312 pages), computer, application/pdf |
| Rights | This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). The copyright in theses and dissertations completed at Florida State University is held by the students who author them. |
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