Abstract
A traditional Irish musician prepares for months for the Fleadh Cheoil na hÉireann — an annual music competition sponsored by Comhaltas Ceoltôirî Éireann (the Irish Musicians’ Club). The musicians who have made it to this final All-Ireland championship round have been given excellent marks by highly respected traditional musicians at competitions at the county and provincial levels. On the day of the fleadh, competitors perform their pieces for an adjudicator who has been carefully picked by Comhaltas for his or her traditionality and high regard within the musical community. Adjudicators in each competition use a strict set of criteria, also developed by Comhaltas. Top honors go to the musician who, according to the panel of adjudicators and set of category-specific criteria, brings to the stage the most perfect performance. One musician in each category is honored with the coveted All-Ireland prize.
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Notes
Regina Bendix, In Search of Authenticity: The Formation of Folklore Studies (Madison: University of Wisconsin Press, 1997), 21.
See Mary Trachel, ‘Oral and Literate Constructs of the “Authentic” in Irish Music,’ Eire-Ireland 30(3) (1995): 27–46.
Francis James Child, The English and Scottish Popular Ballads, vols. 1–10 (Boston, MA: Houghton Mifflin, 1882–98).
Iain Chambers, Migrancy, Culture, Identity (London: Routledge, 1994), 83.
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© 2009 Scott Spencer
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Spencer, S. (2009). Traditional Irish Music in the Twenty-first Century: Networks, Technology, and the Negotiation of Authenticity. In: Brady, S., Walsh, F. (eds) Crossroads: Performance Studies and Irish Culture. Palgrave Macmillan, London. https://doi.org/10.1057/9780230244788_6
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DOI: https://doi.org/10.1057/9780230244788_6
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-30550-6
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