Music of Ireland and Tony Curtis: Difference between pages

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{{otherpeople|Tony Curtis}}

Irish music is a [[folk music]] which has remained vibrant throughout the 20th century, when many other traditional forms worldwide lost popularity to [[pop music]]. In spite of [[emigration]] and a well-developed connection to music imported from [[Britain]] and the [[United States]], Irish music has kept many of its traditional aspects; indeed, it has itself influenced many forms of music, such as country and roots music in the USA, which in turn have greatly influenced [[rock music]] in the 20th century. It has occasionally also been modernised, however, and fused with [[rock and roll]], [[punk rock]] and other genres. Some of these fusion artists have attained mainstream success, at home and abroad. (One example of a traditional song that has received exposure as the result of being recorded by pop and rock artists is "[[She Moved Through the Fair]]".)

{{Infobox actor

| bgcolour =

| name = Tony Curtis

| image = Tony Curtis portrait.jpg

| imagesize = 200px

| caption = Tony Curtis

| birthname = Bernard Schwartz

| birthdate = {{birth date and age|1925|6|3}}

| ___location = [[New York]], [[New York]], [[United States|U.S.]]

| deathdate =

| deathplace =

| othername = Boinie

| height = 175 cm (5 foot 9 inches)

| spouses = [[Janet Leigh]]

| yearsactive = [[1949 in film|1949]]-[[Present (time)|Present]]

| homepage =

| notable role =

| academyawards =

| emmyawards =

| tonyawards =

}}

'''Tony Curtis''' (born '''Bernard Schwartz''', [[June 3]], [[1925]]) is an [[United States|American]] film actor. Famous for his thick black wavy hair, good looks, flashing long eyelashes and trademark New York accent, he was most popular during the late 1950s and early 1960s. He is best known for his light comic roles, especially his musician on the run from gangsters in ''[[Some Like It Hot]]'' (1959). He has also essayed a number of more serious dramatic roles over the years, such as his escaped convict in ''[[The Defiant Ones]]'' (1958), for which he received an [[Academy Award]] nomination. He has appeared in over 100 films since [[1949]], and has also made frequent television appearances.

During the 1970s and 1980s, the distinction between traditional and rock musicians became blurred, with many individuals regularly crossing over between these styles of playing as a matter of course. This trend can be seen more recently in the work of bands and individuals like [[U2]], [[Horslips]], [[Clannad]], [[The Cranberries]], [[The Corrs]], [[Van Morrison]], [[Thin Lizzy]], [[Ciarán Farrell]], [[Sinéad O'Connor]], [[My Bloody Valentine]], [[Rory Gallagher]], [[Republic of Loose]], and [[The Pogues]].

== Biography ==

Nevertheless, Irish music has shown an immense inflation of popularity with many attempting to return to their roots. There are also contemporary music groups that stick closer to a traditional sound, including [[Altan]], [[Danú]], [[Déanta]], [[Lúnasa (band)|Lúnasa]], [[Kíla]], [[Noel Shine and Mary Greene]], and [[Border Collies]]. Others incorporate multiple cultures in a fusion of style, such as [[Afro Celt Sound System]] and [[Loreena McKennitt]].

Tony Curtis was born '''Bernard Schwartz''', the son of [[Jew]]ish [[Hungary|Hungarian]] (from the city of [[Mátészalka]], [[Szatmár]]) immigrants Emanuel and Helen Schwartz, in [[the Bronx]], [[New York]]. His father was a tailor who had left his home country to find a new life in the [[United States]]. In the early days the family lived in the back of his tailor's shop, parents in one corner and Tony and his brothers Julius and Robert in another. Curtis has said of his mother in interview ' When I was a child she beat me up and was very aggressive, antagonistic.' His mother was later diagnosed with schizophrenia, a mental illness which also affected his brother Robert and led to his institutionalization. When Curtis was 8, he and his younger brother Julius were placed in an orphanage for one month because their parents could not afford to feed them. There were more hard times to come. When Curtis was 13, Julius was hit by a truck and died. It fell to Tony to identify the body. He has said that he still keeps his brother's cap and school books because that's all that's left of him. With the realities of real life all too harsh, a young Curtis sought refuge in the cinema.

'When I was a child, I used to go to the movies and became enthralled by all the fencing, horseback riding, kissing the girls. I said to myself "Why can't I do that?"

In addition to folk music, Ireland also has a rich store of contemporary classical music. However, contemporary classical music has no impact, and very little exposure in Ireland itself, and therefore abroad.

{{British/Celticmusic}}

Between [[1942]] and [[1945]] Curtis served in the [[U.S. Navy]] aboard the submarine tender, the USS PROTEUS. He witnessed the Japanese surrender in Tokyo Bay in September 1945, from a vantage point of 300 yards away.<ref>http://tendertale.com/ttiii/ttiii1.html</ref> After his service in the Navy, the young Curtis studied acting alongside [[Elaine Stritch]], [[Walter Matthau]] and [[Rod Steiger]]. To use his own words, he got into the movies because he was 'the handsomest of the boys.' Arriving in Hollywood in [[1948]] aged 23 he was put under contract to [[Universal Pictures]] and had his name changed to Tony Curtis. The studio sent him to fencing and riding lessons, but Curtis admits he was only interested in girls and money.

==Traditional music==

Irish traditional music (shortened to "trad" by some adherents), is characterized by slow-moving change, which usually occurs along accepted principles. Songs and tunes believed to be ancient in origin are respected (though, in reality, many are less than two hundred years old). It is, however, very difficult or impossible to know the age of most tunes due to their tremendous variation across Ireland and through the years; some generalization is possible, however -- for example, only modern songs are written in [[English language|English]], with few exceptions, the rest being in [[Irish language|Irish]]. Most of the oldest songs, tunes, and methods are rural in origin, though more modern songs and tunes often come from cities and towns.

Originally seen as just another pretty boy, he nonetheless proved he had great acting talent with many great performances in outstanding films such as the role of the scheming press agent Sidney Falco in ''[[Sweet Smell of Success]]'', along with [[Burt Lancaster]], and an [[Academy Awards|Oscar]]-nominated performance as a bigoted escaped convict chained to [[Sidney Poitier]] in ''[[The Defiant Ones]]''.

Music and lyrics are passed aurally/orally, and were rarely written down until recently (depending upon your definition of "recently", there are many examples of written music previous to 1800). Of major importance to the transcribing of melodies belonging to both the instrumental traditions and the song traditions were the collectors. These included [[George Petrie]], [[Edward Bunting]], [[Francis O'Neill]], [[Canon James Goodman]] and many others. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably always been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists.

Tony Curtis was so popular as a screen hunk during the 1950s that [[Elvis Presley]]<ref>[http://www.elvispresleynews.com/Elvis-Hairstyle.html Elvis Presley Elvis Presley News]</ref> copied his ducktail (DA) hairstyle after seeing it on screen.

For instance, [[guitar]]s and [[bouzouki]]s only entered the traditional Irish music world in the late 1960s. The [[bodhran]], once known in Ireland as a [[tambourine]], is first mentioned in the nineteenth century. [[Céilidh]] bands of the 1940s often included a [[drum kit|drum]] set and stand-up bass as well as [[saxophone]]s. (The band [[At The Racket]] continues the "tradition" of the saxophone in Irish music.) As of current writing, the first three instruments are now generally accepted in traditional Irish music circles (although perhaps not in the most purist of venues), while the latter three are generally not. (The Pogues received much criticism for their use of a drum kit, for instance.)

Curtis has also appeared frequently on television; he co-starred with [[Roger Moore]] in the [[television program|TV series]] ''[[The Persuaders!]]''. He later starred in ''[[McCoy (TV series)|McCoy]]'' and ''[[Vega$]]''. He made his screen debut, uncredited, in ''[[Criss Cross (1949 film)|Criss Cross]]'' playing a [[rhumba]] dancer. He also provided the voice of "Stony Curtis" as a guest star on ''[[The Flintstones]]''.

Furthermore, such "unimpeachable" instruments as button [[accordion]] and [[concertina]] made their appearances in Irish traditional music only late in the nineteenth century. There is little evidence for the [[flute]] having played much part in traditional music before art musicians abandoned the wooden simple-system instrument still preferred by trad fluters for the Boehm-system of the modern orchestra, and the tin whistle is another mass-produced product of the Industrial Revolution. A good case can be made that the Irish traditional music of the year 2006 had much more in common with that of the year 1906 than that of the year 1906 had in common with the music of the year 1806.

All his life, Curtis has enjoyed painting, and since the early 1980s, has had a second career as a [[painter]]. His work can command more than £25000 a canvas now and it is his career in paint that he now focuses rather than movies. 'I still make movies but I'm not that interested any more. I paint all the time.' In [[2007]] his painting ''The Red Table'' will be on display in the [[Metropolitan Museum]] in [[Manhattan]].

More recently, traditional Irish music has been "expanded" to include new styles, arrangements, and variations performed by bands, although arguments run rife as to whether you may then call this music "traditional." However, the greater part of the community has accepted that the music played by such bands as [[Planxty]] and the [[Bothy Band]] and their numerous spiritual descendants is indeed traditional.

Curtis has spoken of his disappointment in never being awarded an [[Academy Award|Oscar]] 'I've never felt that my profession has recognized me for my work.' In March [[2006]], Curtis received the Sony Ericsson Empire Lifetime Achievement Award. He has a star on the [[Hollywood Walk of Fame]] and received [[France]]'s honor, the [[Ordre des Arts et des Lettres|Order of Arts and Letters]], in [[1995]].

Musicians from non-Irish styles (bluegrass, oldtime, folk) have discovered the appeal of Irish traditional music. However, the rhythmic pulse and melodic flow of Irish traditional music are quite distinct to the rhythmic and melodic structures that govern other musical forms, even in the case of the few tunes shared between these musical genres. Also, Irish sessions and bluegrass and old time jams carry completely different sets of etiquette and expectations, and these do not, for the most part, integrate well; this has led to many misunderstandings and outright confrontations.

== Relationships ==

Due to the importance placed on the melody in Irish music, [[harmony]] should be kept simple (although, fitting with the melodic structure of most Irish tunes, this usually does not mean a "basic" I-IV-V chord progression), and instruments are played in strict [[unison]], always following the leading player. True [[counterpoint]] is mostly unknown to traditional music, although a form of improvised "countermelody" is often used in the accompaniments of [[bouzouki]] and guitar players. Structural units are symmetrical and include decorations, in many cases imaginative and elaborate, of the rhythm, text, melody and phrasing, though not usually of dynamics.

Tony Curtis has been married six times. His first (and most famous) wife was the actress [[Janet Leigh]] (1927–2004), to whom he was married for 11 years, and with whom he fathered actresses [[Jamie Lee Curtis]] and [[Kelly Curtis]]. He said of their relationship, "For a while, we were Hollywood's golden couple. I was very dedicated and devoted to Janet. I was on top of my trade, but in her eyes that goldenness had started to wear off. I realised that whatever I was, I wasn't enough for Janet. That hurt me a lot and broke my heart."

He has also been married to:

Unaccompanied vocals ''ar [[sean nós|sean-nós]]'' ("in the old style") are considered the ultimate expression of traditional singing, usually performed solo, but sometimes as a duet. ''Sean-nós'' singing is highly ornamented and the voice is placed towards the top of the range; to the first-time listener, accustomed to pop and classical singers, ''sean-nós'' often sounds more "Arabic" or "Indian" than "Western". A true ''sean-nós'' singer will vary the melody of every verse, but not to the point of interfering with the words, which are considered to have as much importance as the melody. Non-''sean-nós'' traditional singing, even when accompaniment is used, uses patterns of ornamentation and melodic freedom derived from ''sean-nós'', and, generally, a similar voice placement.

* Jill Vandenberg Curtis ([[November 6]], [[1998]]&mdash;)

* Lisa Deutsch ([[February 28]], [[1993]]&ndash;[[1994]]); divorced

* Andrea Savio ([[1984]]&ndash;[[1992]]); divorced

* Leslie Allen ([[April 20]], [[1968]]&ndash;[[1982]]); divorced, two children

* [[Christine Kaufmann]] ([[February 8]], [[1963]]&ndash;[[1967]]); divorced, two children

His son, Nicholas (with Leslie Allen), died of a [[heroin]] overdose on July 2, 1994 at the age of 23. Of this, Curtis has said, "As a father you don't recover from that. There isn't a moment at night that I don't remember him." About his sexuality Curtis stated : "I was 22 when I arrived in Hollywood in 1948. I had more action than Mount Vesuvius! I loved it too. I participated where I wanted to and didn't where I didn't. I've always been open about it." [http://www.imdb.com/title/tt0053291/news] His current wife is 42 years his junior. They met in a restaurant in 1993 and married in 1998. "The age gap doesn't bother us. We laugh a lot. My body is functioning and everything is good. She's the sexiest woman I've ever known. We don't think about time. I don't use [[Viagra]] either. There are 50 ways to please your lover."

The concept of 'style' is of large importance to Irish traditional musicians. At the start of the last century, distinct variation in regional styles of performance existed. With increased communications and travel opportunities, regional styles have become more standardised, with soloists aiming now to create their own, unique, distinctive style, often hybrids of whatever other influences the musician has chosen to include within their style.

===Music forTrivia dancing===

{{Trivia|date=June 2007}}

[[Image:The Persuaders.jpg|framed|Curtis and [[Roger Moore]] in ''The Persuaders!'' (1971/72).]]

* Tony Curtis currently resides in [[Henderson, Nevada]].

* [[Audie Murphy]] suggested Curtis portray him in his biopic ''[[To Hell and Back]]''.

* Despite [[Lew Grade]] suggesting otherwise in his biography ''Still Dancing'', Curtis is good friends with [[Roger Moore]].

* Curtis and actress-activist [[Bo Derek]] met in Washington, D.C. in support of the American Horse Slaughter Prevention Act in May 2004.

* Has appeared in tourism advertisements for his ancestral homeland [[Hungary]].

* Has stated that his favorite movie star and co-star was [[Cary Grant]].

* Made "Top 10 stars of the year", [[1961]] and [[1962]].

* In late [[2005]], Curtis voiced criticism of the film ''[[Brokeback Mountain]]'', stating that he had no intention of seeing it.

* Being measured for their costumes for ''[[Some Like It Hot]]'', the designer apparently said after measuring Marilyn "you know Tony has a better-looking ass than you do." To which Monroe opened her blouse and said "Yeah, but he doesn't have tits like these!"

* Curtis has reportedly enjoyed watching [[science fiction]] for decades, and is a fan of the [[United Kingdom|British]] [[science fiction]] [[comedy]] [[television series]] ''[[Red Dwarf]]'' (1988). In [[1994]], this show achieved its highest accolade so far, winning an [[Emmy Award|International Emmy Award]] for the Outstanding Popular Arts category. Curtis was 69 at the time and presented the award to [[Robert Llewellyn]] (who played [[Kryten]] in the show). In Red Dwarf Series V episode, The Inquisitor, the character Rimmer remarks on Kryten and Lister being manacled together "Look, they come here with some cock-and-bull story, they're chained together like Sidney Poiter and Tony Curtis -- I say open the door to oblivion and kick 'em through."

* Tony Curtis is used as a continuing [[in-joke]] in the [[2005]] BBC series ''[[Look Around You]]''.

* On the [[March 17]] edition of [[Soccer AM]] Big Stan Hibbert finally told his rendition of the ' Tony Curtis Gag' which led to fireworks exploding and applause heard around the world. He was then showered in flowers from the watching audience and show crew and almost forgot to do his trademark ‘centrifugal force’ celebration.

== Filmography ==

Irish traditional music was largely meant (to the best of our current knowledge) for [[dance|dancing]] at celebrations for [[wedding]]s, [[saint's day]]s or other observances. Tunes (songs have words, tunes do not) are most usually divided into two eight-bar strains which are each played as many times as the performers feel is appropriate; Irish [[dance music]] is [[Isometre|isometric]]. (16 measures are known as a "step", with one 8 bar strain for a "right foot" and the second for the "left foot" of the step. Tunes that are not so evenly divided are called "crooked".) This makes for an eminently danceable music, and Irish dance has been widely exported abroad.

* ''[[Criss Cross (1949 film)|Criss Cross]]'' (1949)

* ''[[Bedrock Across the River]]'' (1949)

* ''[[The Lady Gambles]]'' (1949)

* ''[[Take One False Step]]'' (1949) (scenes deleted)

* ''[[Johnny Stool Pigeon]]'' (1949)

* ''[[How to Smuggle a Hernia Across the Border]]'' (1949) (short subject)

* ''[[Woman in Hiding]]'' (1950)

* ''[[Francis (film)|Francis]]'' (1950)

* ''[[I Was a Shoplifter]]'' (1950)

* ''[[Sierra (film)|Sierra]]'' (1950)

* ''[[Winchester '73 (1950 film)|Winchester '73]]'' (1950)

* ''[[Kansas Raiders]]'' (1950)

* ''[[The Prince Who Was a Thief]]'' (1951)

* ''[[Meet Danny Wilson]]'' (1952) (cameo)

* ''[[Flesh and Fury]]'' (1952)

* ''[[No Room for the Groom]]'' (1952)

* ''[[Son of Ali Baba]]'' (1952)

* ''[[Houdini (film)|Houdini]]'' (1953)

* ''[[The All-American]]'' (1953)

* ''[[Forbidden (1953 film)|Forbidden]]'' (1953)

* ''[[Beachhead]]'' (1954)

* ''[[Johnny Dark]]'' (1954)

* ''[[The Black Shield of Falworth]]'' (1954)

* ''[[Six Bridges to Cross]]'' (1955)

* ''[[So This Is Paris]]'' (1955)

* ''[[The Purple Mask]]'' (1955)

* ''[[The Rawhide Years]]'' (1955)

* ''[[The Square Jungle]]'' (1955)

* ''[[Trapeze]]'' (1956)

* ''[[Mister Cory]]'' (1957)

* ''[[Sweet Smell of Success]]'' (1957)

* ''[[The Midnight Story]]'' (1957)

* ''[[The Vikings (film)|The Vikings]]'' (1958)

* ''[[Kings Go Forth]]'' (1958)

* ''[[The Defiant Ones]]'' (1958)

* ''[[The Perfect Furlough]]'' (1958)

* ''[[Some Like It Hot]]'' (1959)

* ''[[Operation Petticoat]]'' (1959)

* ''[[Who Was That Lady?]]'' (1960)

* ''[[The Rat Race]]'' (1960)

* ''[[Spartacus (film)|Spartacus]]'' (1960)

* ''[[Pepe (film)|Pepe]]'' (1960) (cameo)

* ''[[The Great Impostor]]'' (1961)

* ''[[The Outsider (1961 film)|The Outsider]]'' (1961)

* ''[[Taras Bulba (film)|Taras Bulba]]'' (1962)

* ''[[40 Pounds of Trouble]]'' (1962)

* ''[[The List of Adrian Messenger]]'' (1963) (cameo)

* ''[[Captain Newman, M.D.]]'' (1963)

* ''[[Paris, When It Sizzles]]'' (1964) (cameo)

* ''[[Wild and Wonderful]]'' (1964)

* ''[[Goodbye Charlie]]'' (1964)

* ''[[Sex and the Single Girl]]'' (1964)

* ''[[The Great Race]]'' (1965)

* ''[[Boeing Boeing]]'' (1965)

* ''[[Chamber of Horrors (film)|Chamber of Horrors]]'' (1966) (cameo)

* ''[[Not with My Wife, You Don't!]]'' (1966)

* ''[[Arrivederci, Baby!]]'' (1966)

* ''[[Don't Make Waves]]'' (1967)

* ''[[On My Way to the Crusades, I Met a Girl Who...]]'' (1968)

* ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968) (voice)

* ''[[The Boston Strangler]]'' (1968)

* ''[[Those Daring Young Men in Their Jaunty Jalopies]]'' (1969)

* ''[[You Can't Win 'Em All]]'' (1970)

* ''[[Suppose They Gave a War and Nobody Came?]]'' (1970)

* ''[[Mission: Monte Carlo]]'' (1974)

* ''[[Lepke]]'' (1975)

* ''[[London Conspiracy]]'' (1976)

* ''[[The Last Tycoon]]'' (1976)

* ''[[Casanova & Co.]]'' (1977)

* ''[[Sextette]]'' (1978)

* ''[[The Manitou]]'' (1978)

* ''[[The Bad News Bears Go to Japan]]'' (1978)

* ''[[Double Take]]'' (1979)

* ''[[Title Shot]]'' (1979)

* ''[[Little Miss Marker]]'' (1980)

* ''[[It Rained All Night the Day I Left]]'' (1980)

* ''[[The Mirror Crack'd]]'' (1980)

* ''[[The Scarlett O'Hara War]]'' (1980)

* ''[[Othello, the Black Commando]]'' (1982)

* ''[[Where Is Parsifal?]]'' (1983)

* ''[[BrainWaves]]'' (1983)

* ''[[The Fantasy Film Worlds of George Pal]]'' (1985) (documentary)

* ''[[Club Life]]'' (1985)

* ''[[Insignificance]]'' (1985)

* ''[[The Last of Philip Banter]]'' (1986)

* ''[[Balboa (film)|Balboa]]'' (1986)

* ''[[The Passenger - Welcome to Germany]]'' (1988)

* ''[[Lobster Man from Mars]]'' (1989)

* ''[[Midnight (1989 film)|Midnight]]'' (1989)

* ''[[Walter & Carlo In America]]'' (1989)

* ''[[Prime Target]]'' (1991)

* ''[[Center of the Web]]'' (1992)

* ''[[Hugh Hefner: Once Upon a Time]]'' (1992) (documentary)

* ''[[Naked in New York]]'' (1993)

* ''[[The Mummy Lives]]'' (1993)

* ''[[A Century of Cinema]]'' (1994) (documentary)

* ''[[The Immortals (film)|The Immortals]]'' (1995)

* ''[[The Celluloid Closet]]'' (1995) (documentary)

* ''[[Hardball (1997 film)|Hardball]]'' (1997)

* ''[[Brittle Glory]]'' (1997)

* ''[[Alien X Factor]]'' (1997)

* ''[[Stargames]]'' (1998)

* ''[[Louis & Frank]]'' (1998)

* ''[[Play It to the Bone]]'' (1999) (cameo)

* ''[[Reflections of Evil]]'' (2002) (narrator)

* ''[[Where's Marty?]]'' (2006)

* ''[[Funny Money]]'' (2007)

* ''[[The Blacksmith and the Carpenter]]'' (2007) (voice)

* ''[[David & Fatima]]'' (2008)

* ''[[Oceans 14]]'' (2009)

== References ==

Traditional dances and tunes include [[reel (dance)|reels]] (4/4), [[hornpipe]]s (4/4 with swung eighth notes), and [[jig]]s (the common double jig is in 6/8 time), as well as imported [[mazurka]]s, [[polkas]], and highlands (a sort of Irished version of the Scottish [[strathspey (dance)|strathspey]]). [[Jig]]s come in various other forms for dancing -- the slip jig and hop jig are commonly written in 9/8 time, the single jig in 12/8. (The dance the hop jig is no longer performed under the auspices of An Coimisiun.) The form of jig danced in hardshoe are known as double or treble jigs (for the doubles/trebles performed with the tip of the hardshoe), and the jig danced in ghillies/pomps/slippers are known as light jigs.

<references/>

== Further reading ==

[[Polka]]s are a type of 2/4 tune mostly found in the [[Sliabh Luachra]] area, at the border of [[County Cork|Cork]] and Kerry, in the south of Ireland. The main differences between these types of tunes are in the [[time signature]], [[tempo]], and rhythmic emphasis. It should be noted that, as an aural music form, Irish traditional music is rather artificially confined within time signatures, which are not really capable of conveying the particular emphasis for each type of tune. An easy demonstration of this is any attempt to notate a slow air on the musical stave. Similarly, attempts by classically trained musicians to play traditional music by reading the common transcriptions are almost unrecognisable - the transcriptions exist only as a kind of shorthand.

* {{cite book |last= Curtis |first= Tony |authorlink= |coauthors= [[Barry Paris]] |title= Tony Curtis: The Autobiography |year= 1993 |publisher= William Morrow & Co |___location= New York |isbn= 978-0-688-09759-2 }}

* {{cite book |last= Ayres |first= Ian |title= Van Gogh's Ear: The Celebrity Edition |year= 2006 |publisher= French Connection |___location= Paris |isbn= 978-2-914-85307-1 }}

== External links ==

====Set dancing====

{{Commons}}

''Main article: [[Set dancing]]''

* {{imdb name|0000348|Tony Curtis}}

* {{tcmdb name|848347|Tony Curtis}}

* [http://www.oralhistoryproject.com/TonyCurtis1.html Biography] and [http://www.oralhistoryproject.com/tcurtis_navy.html naval service] from the California Center for Military History website

{{DEFAULTSORT:Curtis, Tony}}

[[Set dancing]], generally danced in "sets" of four couples (eight hands; a "half set" is two couples or four hands), is one of the most popular forms of the Irish traditional dances. After almost having died out, the recreational dance form was revived in the 1980s in counties Clare and Kerry. Venues for set dancing are often pubs, which might reserve one evening of the week for dancing, and [[céilís]], which almost always feature live céilí bands. It is not uncommon for young people in Ireland's cities (and other large cities around the world) these days to "go set-dancing", as others of their contemporaries go "clubbing".

[[Category:American film actors]]

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[[Category:Living people]]

[[bg:Тони Къртис]]

Most sets consist of a series of figures. Each figure is danced to a different type of tune with a pause between each figure for the dancers to catch their breath (and perhaps to quickly review the next figure); a reel, jig, hornpipe, and a polka, for instance. Each figure calls for a certain amount of measures of music, and the musicians will often be given a list of the music required for each set ahead of time so the figure and the music will end at the same time.

[[ca:Tony Curtis]]

[[de:Tony Curtis]]

A caller will sometimes call a set, especially when there are many beginners, but set dancers strive to memorize their sets in order not to need a caller. Attendees will generally see a few of the easier sets at the beginning of the night called for new dancers and visitors, and then the rest of the sets tend to be for "those who know".

[[es:Tony Curtis]]

[[eo:Tony Curtis]]

Another feature of set dancing is "battering", where the dancers tap/stamp out a rhythm on the floor as they move through the set. At one point in time, this was mainly the province of the "head couple" at the top of the set, as this was generally the most experienced pair of dancers in the set. However, it has become much more common for many if not all of the dancers in a set to batter throughout the set. (This provides either a great deal of energy or simply an overwhelming conglomerate of noise, depending on one's personal viewpoint of the matter.)

[[fr:Tony Curtis]]

[[io:Tony Curtis]]

====Stepdancing====

[[it:Tony Curtis]]

''Main article: [[Irish dance]]''

[[he:טוני קרטיס]]

[[nl:Tony Curtis]]

Stepdancing, in the [[Munster]] or southern style form, is the most widespread of the Irish dance forms, although there are many others (including the [[Connemara]] style, a few scattered remnants of other regional forms of stepdancing, and other forms of Southern style dancing not under the auspices of An Coimisiún Le Rincí Gaelacha). Modern stepdancing is connected to the Irish cultural revivals of the nineteenth century in one long line. Modern stepdancers are athletes as well as dancers; champions train for competition in a manner similar to ballet dancers, ice skaters, and gymnasts. It is largely a solo dance form, although group dances or figures exist in a set curriculum of ceili (or, in Scottish Gaelic, ceilidh), or party, dances. Stepdancing was hugely popularized after the success of the [[Broadway theatre|Broadway]]-style musical ''[[Riverdance]]'' in 1994.

[[ja:トニー・カーティス]]

[[no:Tony Curtis]]

The litmus test of the solo stepdancer is the non-traditional set dance (not related to set dancing, where groups of dancers form figures) which is generally choreographed by a dancer's teacher for that dancer or for the teacher's dancing school.

[[nn:Tony Curtis]]

[[oc:Tony Curtis]]

An Coimisiún Le Rincí Gaelacha has long instituted a certification system for teachers and adjudicators through scrúdaithe (examinations/tests). An Coimisiún was established by Conradh na Gaeilge – The Gaelic League – in the late twenties as a commission for the purpose of examining the organisation of Irish dancing as it existed at that time and to make recommendations as to how it might be better organised in the future. The body first met in 1930.

[[pl:Tony Curtis]]

[[pt:Tony Curtis]]

Those who pass the teachers examination receive the TCRG (Teagascóir Coimisiún Le Rincí Gaelacha) certification as certified instructors. After ten years of holding the TCRG certificate, teachers may then test for the ADCRG (Ard Diploma Coimisiún Le Rincí Gaelacha) in order to adjudicate dance competitions (''feis''; plural, ''feiseanna''). Both tests involve considerable practical, oral, and written demonstration of Irish stepdancing, including the ability to sing certain tunes and identify snippets of the traditional and non-traditional sets -- a formidable task for (often) non-musicians.

[[ru:Тони Кёртис]]

[[fi:Tony Curtis]]

====Sean nós dancing====

[[sv:Tony Curtis]]

Modern step dancing evolved from sean-nós ("old style") dancing. Sean-nós dancing has a large element of improvisation, but at its best is more than a mere frenetic jumping about; the performance of a skilled sean-nós dancer should convey both restraint and wildness packaged in an unpretentious dignity. The upper body and arms are loose and relaxed, rather than held erect and still as in modern stepdancing, and the footwork is low, hard, and percussive, without the high kicks (over the knee height) of stepdancing. Props are occasionally employed - for example, in "The Brush Dance" the dancer uses a sweeping brush (broom) as a prop.

[[uk:Тоні Кертіс]]

Sean-nós dancing continues to maintain itself as a living tradition despite the popularity and flash of the more athletic modern stepdancing forms and theatrical spectacles.

====Riverdance====

''Main article: [[Riverdance]]''

[[Image:Riverdance.jpg|Riverdance Promotional Poster|thumb|right|150px]]

''[[Riverdance]]'' is a musical and dancing interval act starring [[Michael Flatley]] and [[Jean Butler]]. Also featuring the choir [[Anuna]], it was performed during the [[Eurovision Song Contest 1994]]. Popular reaction to the act was so immense that an entire musical revue was built around the act. Although ''[[Riverdance]]'' was much criticised in the traditional cultural communities as being only derived from the Irish tradition, with many hybridised dances (American tap, ballet, and jazz elements were introduced; the rhythmic structure of much of the music is not based on traditional Irish music, but has roots in the complex polyrhythms of Eastern Europe) and tunes largely composed for the show by [[Bill Whelan]] rather than taken directly from the tradition, the artistic standards of the show were very high, featuring the work of world-class designers, choreographers, dancers and musicians.

''Riverdance'' 's appeal was such that the arts of Ireland were made globally popular in a very short time. Dancing school enrollments skyrocketed, Irish [[Irish traditional music session|session]]s found their numbers swelling with new musicians wishing to take part, and interest in Irish arts rose to an all time high.

However, many artists found that what was wanted by much of the new audience was not the traditions from which ''[[Riverdance]]'' was derived, but more spectacle after the fashion of the original stage show, or even direct imitations of the show's [[Bill Whelan]] tunes and hybrid-form dance numbers. Many of the eager new musicians vanished upon discovering that Irish traditional music requires practice, skill, and commitment and is not merely an exercise in mass participation to the exclusion of musicality or an excuse to carouse and receive free drink. (The same held true in other Irish cultural communities, such as the stepdance schools.)

Overall, the general feeling of the Irish traditional arts communities seems to be that ''[[Riverdance]]'' was an enjoyable, expert piece of Broadway-style theatre that did an extremely good job of popularizing Irish culture and arts worldwide, but that the rate of change it inflicted upon the traditional artforms that inspired the show did not sit comfortably with many of the original participants. Still, even the most gloomy or vehement of the show's detractors will often admit that, at the least, the show brought a great deal of needed funds to the Irish cultural and arts communities worldwide.

== Instruments used in traditional Irish music ==

====Fiddle====

:''Main articles: [[Irish fiddling]] and [[Fiddle]]''

One of the most important instruments in the traditional repertoire, the fiddle (or violin - there is no physical difference) is played differently in widely-varying regional styles. Modern performers include [[Peter Horan]], [[James Kelly (fiddler)|James Kelly]], [[Martin Hayes (musician)|Martin Hayes]], [[Paul O'Shaughnessy]], [[Matt Cranitch]], [[Frankie Gavin]], the [[Glackin brothers]], [[Mairéad Ní Mhaonaigh]], [[Maire Breatnach]] and [[Gerry O'Connor]]. Sligo fiddlers like [[Michael Coleman (musician)|Michael Coleman]], [[James Morrison (fiddler)|James Morrison]], [[Paddy Killoran]] did much to popularise Irish music in the States in the 1920s and 1930s.

The best-known regional fiddling traditions are from [[Donegal fiddle tradition|Donegal]], [[Sligo]], [[Sliabh Luachra]] and [[County Clare|Clare]].

The fiddling tradition of Sligo is perhaps most recognizable to outsiders, due to the popularity of American-based performers like [[Lad O'Beirne]], Michael Coleman, James Morrison and Paddy Killoran; Irish Sligo fiddlers included the late [[Andrew Davey]], [[Martin Wynne]], [[Fred Finn]], [[John Joe Gardiner]] (who was born in Sligo and played that style of music, but moved to Dundalk where he was a huge influence on traditional music and on playing in the Sligo style) and [[Kathleen Harrington]], John Joe's sister.

Other established fiddlers include(d) Clare's [[Frank Custy]], [[Paddy Canny]], [[Bobby Casey]], [[Jack Mulcaire]], [[John Kelly]], [[Patrick Kelly]], [[Peadar O'Loughlin]], [[Pat O'Connor]], [[Junior Crehan]] and [[P. Joe Hayes]], while Donegal has produced [[Danny O'Donnell]], [[Néllidh Boyle]], [[James Byrne (musician)|James Byrne]], [[Vincent Campbell]], [[Francie Byrne]], [[John Doherty (musician)|John Doherty]], [[Proinsias Ó Maonaigh]], and [[Flogging Molly|Bridget Regan]]. Sliabh Luachra, a small area between [[County Kerry|Kerry]] and [[County Cork|Cork]], is known for [[Julia Clifford]], her brother [[Denis Murphy (Irish musician)|Denis Murphy]], and [[Pádraig O'Keefe]]. Contemporary fiddlers from Sliabh Luachra include [[Máire O'Keeffe]], [[Matt Cranitch]], [[Gerry Harrington]], [[Connie O'Connell]], and [[Tim Browne]], while [[Séamus Creagh]], actually from Westmeath, is imbued in the local style.

Several phenomenal fiddlers have also emerged in the United States in recent years, among them [[Liz Carroll]], [[Marie Reilly]] and [[Eileen Ivers]].

====Flute and whistle====

[[Image:Tinwhistles.jpg|right|thumb|150px|Tin whistles in a variety of makes and keys.]]

''Main articles: [[flute]] and [[tin whistle]]''

The flute has been an integral part of Irish traditional music since roughly the middle of the nineteenth century, when art musicians largely abandoned the wooden simple-system flute (having a conical bore, and fewer keys) for the metal [[Boehm system]] flutes of present-day classical music.

Although the choice of the wooden flute over the metal was initially driven by the fact that, being "outdated" castoffs, the old flutes were available cheaply second-hand, the wooden instrument has a distinct sound and continues to be commonly preferred by traditional musicians to this day. A number of excellent players—[[Joanie Madden]] being perhaps the best known—use the [[Western concert flute]], but many others find that the simple system flute best suits traditional fluting. Original flutes from the pre-Boehm era continue in use, but since the 1960s a number of craftsmen have revived the art of wooden flute making. Some flutes are even made of [[Polyvinyl chloride|PVC]]; these are especially popular with new learners and as travelling instruments, being both less expensive than wooden instruments and far more resistant to changes in humidity.

The [[tin whistle]] or metal whistle, which with its nearly identical fingering might be called a cousin of the simple-system flute, is also popular. It was mass-produced in nineteenth century Manchester England, as an inexpensive instrument. Clarke whistles almost identical to the first ones made by that company are still available, although the original version, pitched in C, has mostly been replaced for traditional music by that pitched in D, the "basic key" of trad. The other common design consists of a [[barrel]] made of seamless tubing fitted into a plastic or wooden [[mouthpiece (woodwind)|mouthpiece]].

Skilled craftsmen make fine custom whistles from a range of materials including not only aluminium, brass, and steel tubing but synthetic materials and tropical hardwoods; despite this, more than a few longtime professionals stick with ordinary factory made whistles.

Irish schoolchildren are generally taught the rudiments of playing on the tin whistle, just as school children in many other countries are taught the soprano recorder. At one time the whistle was thought of by many traditional musicians as merely a sort of "beginner's flute," but that attitude has disappeared in the face of talented whistlers such as [[Mary Bergin]], whose classic early seventies recording ''Feadóga Stáin'' (with bouzouki accompaniment by [[Alec Finn]]) is often credited with revolutionising the whistle's place in the tradition.

The [[low whistle]], a derivative of the common tin whistle, is also popular, although some musicians find it less agile for session playing than the flute or the ordinary D whistle.

Notable present-day flute-players (sometimes called 'flautists' or 'fluters') include [[Matt Molloy]], [[Kevin Crawford]], [[Peter Horan]], [[Michael McGoldrick]], [[Desi Wilkinson]], [[Conal O'Grada]], [[Emer Mayock]], and [[Joanie Madden]] while whistlers include [[Paddy Moloney]], [[Carmel Gunning]], [[Paddy Keenan]], [[Seán Ryan]], [[Andrea Corr]], [[Mary Bergin]], and [[Packie Byrne]].

====Uilleann pipes====

''Main article: [[Uilleann pipes]]''

Uilleann pipes (pronounced ''ill-in'' or ''ill-yun'' depending upon local dialect) are complex and said to take years to learn to play. It was common to have learning to play the pipes said to be 7 years learning, 7 years practicing and 7 years playing before a piper could be said to have mastered his instrument. Its modern form had arrived by the 1890s, and was played by ''gentlemen pipers'' like [[Seamus Ennis]], [[Leo Rowsome]] and [[Willie Clancy]], in refined and ornate pieces, as well as showy, ornamented forms played by travelling pipers like [[John Cash (piper)|John Cash]] and [[Johnny Doran]]. The uilleann piping tradition had nearly died before being re-popularized by the likes of [[Paddy Moloney]] (of [[the Chieftains]]), and the formation of [[Na Píobairí Uilleann]], an organization open to pipers that included such legends as Rowsome and Ennis, as well as researcher and collector [[Breandán Breathnach]]. [[Liam O'Flynn]] is one of the most popular of modern performers along with [[Paddy Keenan]], [[John McSherry (musician)|John McSherry]], [[Davy Spillane]], [[Jerry O'Sullivan]], [[Mick O'Brien]] and many more. Many [[Pavee]] (Traveller) families, such as the Fureys and Dorans and Keenans, are famous for the pipers among them.

[[Uilleann pipes]] are among the most complex forms of [[bagpipes]]; they possess a [[chanter]] with a double [[reed (music)|reed]] and a two-octave range, three single-reed drones, and, in the complete version known as a full set, a trio of (''[[regulators]]'') all with double reeds and keys worked by the piper's forearm, capable of providing harmonic support for the melody. (Virtually all uilleann pipers begin playing with a half set, lacking the regulators and comprised of only bellows, bag, chanter, and drones. Some choose never to play the full set, and many make little use of the regulators.) The bag is filled with air by a [[bellows]] held between the piper's elbow and side, rather than by the performer's lungs as in the [[highland pipes]] and almost all other forms of bagpipe, aside from the [[Scottish smallpipes]], the [[Northumbrian pipes]] of northern England, and the [[Border pipes]] found in both parts of the Anglo-Scottish [[Border]] country.

The uilleann pipes play a prominent part in a form of instrumental music called [[Fonn Mall]], closely related to unaccompanied singing ''an [[sean nós]]'' ("in the old style"). [[Willie Clancy]], [[Leo Rowsome]], and [[Garret Barry]] were among the many pipers famous in their day; [[Paddy Keenan]], [[Davy Spillane]] and [[Robbie Hannon]] play these traditional airs today, among many others.

====Harp====

''Main article: [[harp]]''

The harp is among the chief symbols of Ireland. The Celtic harp, seen on Irish coinage and used by Guinness, was played as long ago as the 10th century. In ancient times, the harpers were greatly respected, considered to have near-magical powers and assigned a high place amongst the most significant retainers of the Irish lords and chieftains. Perhaps the best known representative of this tradition of harping today is [[Turlough Ó Carolan]], a blind 18th century harper who is often considered the unofficial national composer of Ireland. [[Thomas Connellan]], a slightly earlier Sligo harper, composed such well known airs as ''"[[The Dawning of the Day]]"''/''"Raglan Road"'' and ''"Carolan's Dream"''.

The native Irish harping tradition was an aristocratic art music with its own canon and rules for arrangement and compositional structure, only tangentially associated with the folkloric music of the common people, the ancestor of present day [[Irish traditional music]]. Some of the late exponents of the harping tradition, such as O'Carolan, were influenced by the Italian Baroque art music of such composers as Vivaldi, which could be heard in the theatres and concert halls of Dublin. The harping tradition did not long outlast the native Gaelic aristocracy which supported it. By the early nineteenth century, the Irish harp and its music were for all intents and purposes dead. Tunes from the harping tradition survived only as unharmonised melodies which had been picked up by the folkloric tradition, or were preserved as notated in collections such as [[Edward Bunting]]'s, (he attended the [[Belfast Harp Festival]] in 1792) in which the tunes were most often modified to make them fit for the drawing room pianofortes of the Anglicised middle and upper classes.

The first generations of twentieth century revivalists, mostly playing the gut-strung (frequently replaced with nylon after the Second World War) neo-Celtic harp with the pads of their fingers rather than the old brass-strung harp plucked with long fingernails, tended to take the dance tunes and song airs of [[Irish traditional music]], along with such old harp tunes as they could find, and applied to them techniques derived from the orchestral (pedal) harp and an approach to rhythm, arrangement, and tempo that often had more in common with mainstream classical music than with either the old harping tradition or the living tradition of Irish music. Over the past thirty years a revival of the early Irish harp has been growing, with replicas of the medieval instruments being played, using strings of brass, silver, and even gold. Further information is available from the [http://www.irishharp.org Historical Harp Society of Ireland], [http://www.clarsach.net Clarsach.net].

Notable modern players include the late [[Derek Bell (musician)|Derek Bell]] (of [[The Chieftains]]), [[Laoise Kelly]] (of [[The Bumblebees]]), [[Grainne Hambly]], [[Máire Ní Chathasaigh]], [[Mary O'Hara]], [[Antoinette McKenna]], [[Michael Rooney]], [[Aine Minogue]], [[Patrick Ball]] and [[Bonnie Shaljean]]. The best of these have a solid background in genuine [[Irish traditional music]], often having strong competency on another instrument more common in the living tradition, such as the fiddle or concertina, and work very hard at adapting the harp to traditional music, as well as reconstructing what they can of the old harpers' music on the basis of the few manuscript sources which exist. However, the harp continues to occupy a place on the fringe of [[Irish traditional music]].

====Accordion and concertina====

''Main articles: [[accordion]] and [[concertina]]''

The accordion plays a major part in modern Irish music. Popular players include [[John Williams (accordionist)|John Williams]], [[Joe Burke]], [[Billy McComiskey]], [[Joe Joyce]], [[Sharon Shannon]], and [[Dave Hennessy]]. Concertina players include [[Niall Vallely]], [[Kitty Hayes]], [[Mícheál Ó Raghallaigh]], [[Tim Collins (musician)|Tim Collins]], [[Gearoid O hAllmhurain]], [[Mary MacNamara]] and [[Noel Hill]].

The accordion spread to Ireland late in the 19th century. In its ten-key form ([[melodeon]]), it was popular across the island, and was recorded early by [[John Kimmel]] and Irish-American [[Peter Conlon]]. While uncommon, the melodeon is still played in some parts of Ireland, in particular in [[Connemara]] by [[Johnny Connolly]].

Modern Irish accordion players generally prefer the 2 row button accordion. Unlike similar accordions used in other European and American music traditions, the rows are tuned a semi-tone apart. This allows the instrument to be played chromatically in melody. Currently accordions tuned to the keys of B/C and C#/D are by far the most popular systems.

The B/C accordion lends itself to a flowing style; it was popularized by [[Paddy O'Brien]] of [[Tipperary]], [[Joe Burke]] and [[Sonny Brogran]] in the 1950s and 60s and is popular with box players of the Galway style including Billy McComiskey. Other famous B/C players include [[Paddy O'Brien]] of County Offaly, [[James Keane]], and [[John Nolan]].

The C#/D accordion lends itself to a punchier style and is particularly popular in the slides and polkas of Kerry Music. Notable players include [[Sharon Shannon]], [[Jackie Daly]] and [[Joe Cooley]].

A somewhat older system pioneered in America was the D/C# system that was popularized by [[Joe Derrane]].

Piano accordions are somewhat unusual in Irish Music, but not completely unknown. [[Karen Tweed]] is one famous player of Piano Accordion in Irish Traditional Music.

[[Image:EnglishConcertina.jpg|thumb|right|English concertina made by Wheatstone around 1920.]]

Concertinas are of several types, the two most common in Irish traditional music being the English and the Anglo systems. Each differs from the other in construction and playing technique. The Anglo is the more common in Irish music and its use in that genre precedes the English. The most distinctive characteristic of the Anglo system is that each button sounds a different note, depending on whether the bellows are compressed or expanded. Anglo concertinas typically have either two or three rows of buttons that sound notes, plus an "air button" located near the right thumb that allows the player to fill or empty the bellows without sounding a note.

Two-row Anglo concertinas usually have 20 buttons that sound notes. Each row of 10 buttons comprises notes within a common key. The two primary rows thus contain the notes of two musical keys, such as C and G. Each row is divided in two with five buttons playing lower-pitched notes of the given key on the left-hand end of the instrument and five buttons playing the higher pitched notes on the right-hand end. The row of buttons in the higher key is closer to the wrist of each hand.

Three-row concertinas add a third row of accidentals (i.e., sharps and flats not included in the keys represented by the two main rows) and redundant notes (i.e., notes that duplicate those in the main keys but are located in the third, outermost row) that enable the instrument to be played in virtually any key. A series of sequential notes can be played in the home-key rows by depressing a button, compressing the bellows, depressing the same button and extending the bellows, moving to the next button and repeating the process, and so on. A consequence of this arrangement is that the player often encounters occasions requiring a change in bellows direction, which produces a clear separation between the sounds of the two adjacent notes. This tends to give the music a more punctuated, bouncy sound that can be especially well suited to hornpipes or jigs.

English concertinas, by contrast, sound the same note for any given button, irrespective of the direction of bellows travel. Thus, any note can be played while the bellows is either expanded or compressed. As a consequence, sequential notes can be played without altering the bellows direction. This allows sequences of notes to be played in a smooth, continuous stream without the interruption of changing bellows direction.

Despite the inherent bounciness of the Anglo and the inherent smoothness of the English concertina systems, skilled players of Irish traditional music can achieve either effect on each type of instrument by adapting the playing style. On the Anglo, for example, the notes on various rows partially overlap and the third row contains additional redundant notes, so that the same note can be sounded with more than one button. Often, whereas one button will sound a given note on bellows compression, an alternative button in a different row will sound the same note on bellows expansion. Thus, by playing across the rows, the player can avoid changes in bellows direction from note to note where the musical objective is a smoother sound. Likewise, the English system accommodates playing styles that counteract its inherent smoothness and continuity between notes. Specifically, when the music calls for it, the player can choose to reverse bellows direction, causing sequential notes to be more distinctly articulated.

Well known concertina players include [[Noel Hill]] and [[Padraig Rynne]].

====Banjo====

''Main article: [[banjo]]''

The four-string tenor banjo is favoured by most Irish traditional players, and is commonly tuned GDAE, an octave below the fiddle. It was brought to Ireland by returned emigrants from the [[United States]], where it was developed by [[Africa]]n [[slavery|slaves]]. The banjo, as a relatively loud wire-strung instrument, serves a similar musical function in sessions to the [[cittern]] and [[mandolin]]. Unlike the cittern, however, it is seldom strummed (although older recordings will sometimes feature the banjo used as a backing instrument), instead being played as a melody instrument using either a [[plectrum]] or a "thimble". While the instrument's percussive sound can add greatly to the "lift" of a [[Irish traditional music session|session]], a poorly played or overly loud banjo can be disruptive. Skilled and sensitive players will generally find themselves welcomed in "open" sessions. [[Barney McKenna]] of [[The Dubliners]] is often credited with paving the way for the banjo's current popularity, and is still actively playing. Great players include [[Kieran Hanrahan]], [[John Carty (musician)|John Carty]], [[Angelina Carberry]], [[Fergus O'Byrne]], Gerry O'Connor, and [[Kevin Griffin]].

The five-string banjo has had little or no role in Irish traditional music as a melody instrument but is becoming more prominent due to the work of people like [[Tom Hanway]], an expatriate American banjo player in Ireland. Other five-string banjo players involved with Irish music are [[Bela Fleck]], [[Leon Hunt]] and [[Chris Grotewohl]].

====Guitar====

''Main article: [[guitar]]''

Guitars have become commonplace in modern [[Irish traditional music session|session]]s. These are usually strummed with a plectrum (pick) to provide backing for the melody players. Irish backing tends to use chord voicings up and down the neck, rather than basic first or second position "cowboy chords"; unlike those used in jazz, these chord voicings seldom involve barre fingerings and often employ one or more open strings in combination with strings stopped at the fifth or higher frets. Modal (root and fifth without the third, neither major nor minor) chords are used extensively alongside the usual major and minor chords, as are suspended and sometimes more exotic augmented chords; however, the major and minor seventh chords are less employed than in many other styles of music. Players usually strum only two to four strings at a time, rather than across all six at once; the strings are often slightly muted with the palm of the plectrum (picking) hand. A monotonous alternating bass is not appropriate, but basslines and flashes of improvised counterpoint, well played, can add considerable style and verve.

The guitarist follows the leading melody player precisely rather than trying to control the rhythm and tempo. The backing should follow the rhythmic emphasis and pulse of the tune, rather than being simply metronomic counting; a backing that does not "lift" the tune generally kills it. "Folk," "old timey," rock, and bluegrass guitar styles do not fit well with Irish traditional music, not least because many Irish tunes do not fit into a neat chord progression.

As a general rule, no more than two guitarists should play at any one time, and players must strive to complement the tune and each other, instead of competing. The guitarist must be as skilled and as dedicated to the tradition as any of the melody players, and must hold in mind that "less is more." A "rhythm section" is not necessary in the traditional session, and it is always better to sit out a tune or to play so quietly as to only be heard by oneself than to wreck the music by playing jarring chords or an incorrect beat.

Many of the earliest notable guitarists working in traditional music, such as [[Dáithí Sproule]] and the [[Bothy Band]]'s [[Mícheál Ó Domhnaill]], used the DADGAD tuning, to the point that some musicians came to believe that only DADGAD was appropriate. However, tasteful use of standard (EADGBE) and dropped-D (DADGBE) tunings is perfectly suited to traditional music, as shown by the work of, amongst others, [[Steve Cooney]], [[Arty McGlynn]] and [[John Doyle]]. A host of other altered tunings are also used by some players, most of them modal, like DADGAD, ([[Paul McSherry]]), rather than being open-chord tunings like Open-G.

The guitar is used to accompany singers as well as instrumentalists, but it is generally considered to be a serious violation of session etiquette to play behind a singer without being asked. The purest form of Irish traditional song is the unaccompanied solo, and singers often vary their rhythm and alter the melody from verse to verse; an accompanist unfamiliar with the specific song and the individual singer's approach to it will throw the singer off completely.

Melody playing on the guitar is quite possible, but tends to be drowned out in a session environment by the louder instruments such as fiddle and flute. Masters of the guitar in Irish traditional music include [[Arty McGlynn]], [[Dáithí Sproule]], [[John Doyle]], [[Paul McSherry]], [[Zan McLeod]], [[Loughy]] (Kieran O'Loughlin), [[Dennis Cahill]] and [[Steve Cooney]].

====Bouzouki====

[[Image:Irish Bouzouki.jpg|thumb|100px|right|An Irish Bouzouki.]]

''Main article: [[bouzouki]]''

A relative of the once-popular [[cittern]] imported from [[Greece]], the bouzouki was introduced in the late 1960s by [[Johnny Moynihan]] and then popularized by [[Donal Lunny]], [[Andy Irvine]], and [[Alec Finn]]. Today's Irish bouzouki has four courses of two strings each tuned GDAD, GDAE, or ADAE; unison courses are probably most common, although octaves in the bass are favoured by some players. The back is flat or lightly arched and the top is either flat or carved like that of an arch top [[guitar]] or [[mandolin]]. All in all, the Irish bouzouki has evolved into a member of the mandolin family with little resemblance to the round-backed Greek bouzouki with its guitarlike (in the four course version) tuning. [[Alec Finn]] is the only notable player still using a Greek bouzouki, one of the older style three course (six string) instruments tuned DAD.

====Mandolin====

''Main article: [[mandolin]]''

The mandolin, a fretted instrument strung with eight steel strings in four unison courses and played with a plectrum (pick), is not a common instrument amongst Irish traditional musicians. When it appears at a session, it's usually tuned GDAE, like the fiddle.

Although almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval [[sound hole]]s to the Italian-style bowl-back mandolins or the carved-top mandolins with [[f-hole]]s favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the trad ear. Greatly preferred are flat-topped "Irish-style" mandolins (remniscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s. The mandolins built by British [[luthier]] Stefan Sobell are perhaps the most highly prized for Irish traditional music, although many other makers, such as Ireland's Joe Foley, also make well-regarded mandolins.

Chord-strumming on the mandolin (particularly bluegrass-style "chop" strumming) does not fit at all well with Irish traditional music; an approach of two and three note chords mixed with "countermelody," as used by [[Irish bouzouki]] players can be more appropriate, but is often lost amidst the other instruments of a session.

Noteworthy Irish mandolin players include [[Andy Irvine (musician)|Andy Irvine]] (who almost always tunes the E down to D), [[Mick Moloney]] and [[Paul Kelly (musician)|Paul Kelly]].

====Bodhrán====

''Main article: [[bodhrán]]''

[[Image:bodhran.jpg|thumb|Bodhrán with tipper.]]

A [[frame drum]], usually of bent wood and goatskin, the bodhrán is considered a relatively modern addition to traditional dance music. Some musicologists suggest its use was originally confined to the [[wrenboys]] on [[St. Stephen's Day]] and other quasi-ritual processions. It was introduced/popularized in the 1960s by [[Seán Ó Riada]] (although there are mentions of "tambourines" without zils being played as early as the mid nineteenth century), and quickly became popular. Great players include [[Johnny 'Ringo' McDonagh]], [[Tommy Hayes]], [[Colm Murphy]] and [[Fergus O'Byrne]] (of [[Ryan's Fancy]]) and John Joe Kelly of [[Flook]].

Although skilled bodhrán players are highly prized by most traditional musicians, the inaccurate perception of many neophytes and other persons only peripherally involved with the living tradition that the bodhrán represents an "easy" way to participate in sessions has caused some players to develop a deep and abiding, if sometimes unreasonable, hatred for the instrument. (A well-known fiddler once described the sound of an ineffectively played bodhrán at a session as 'sounding like a sack of spuds falling down stairs'.) It is therefore considered wise for those who play the bodhrán to cultivate a skin thicker than that upon their drum.

Mention should also be made here of the "bones" -- two slender, curved pieces of bone or wood -- and "spoons". Pairs of either are held together in one hand and shaken rhythmically to make a percussive, clacking sound. They should be used sparingly and never (one may fear the worst from the simple existence of this warning) during waltzes, airs, or songs.

====Harmonica====

''Main article: [[harmonica]]''

A well-known instrument found in many kinds of traditional music, the Irish harmonica tradition is best-represented by Mick Kinsella, Paul Moran, the Murphy family from County Wexford, the late Eddie Clarke and [[Brendan Power]] (the latter being of [[New Zealand]]). A detailed discography of Irish harmonica albums can be found at http://www.irishmusicreview.com.

==Late 19th century revival and the 20th century==

The revival of interest in Irish traditional culture was closely linked to Nationalist calls for independence and was catalysed by the foundation of the Gaelic League in 1893. This sought to encourage the rediscovery and affirmation of Irish traditional arts by focusing upon the Irish language, but also established an annual competition, the Feis Cheoil, in 1903 as a focus for its activities.

The Gaelic League was often accused of being a largely middle-class organisation and of taking little heed of the interests or enjoyments of those living in rural areas of Ireland; most of the League's meetings were in fact held in London.

Religion also played a role in the re-development of Irish culture. The actual achievement of independence from Britain tallied closely with a new Irish establishment desire to separate Irish culture from the European mainstream, but the new Irish government also paid heed to clerical calls to curtail 'jazz dancing' and other suggestions of a dereliction in Irish morality -- though it was not until 1935 that the Public Dance Halls Act curtailed the right of anyone to hold their own events; from then on, no public musical or dancing events could be held in a public space without a license and most of those were usually only granted to 'suitable' persons - often the parish priest.

Combined with continued emigration, and the priesthood's inevitable zeal in closing down un-licensed events, the upshot was to drive traditional music and dancing back into the cottage where it remained until returning migrants persuaded pub owners to host sessions in the early 1960s.

===Pub sessions===

''Main article: [[Irish traditional music session]], [[pub session]]''

Pub sessions are now the home for much of Irish traditional music, which takes place at informal gatherings in urban pubs. The first known of these modern pub sessions took place in 1947 in [[London]]'s [[Camden Town]] at a bar called ''The Devonshire Arms'' (although some ethnomusicologists believe that Irish immigrants in the United States may have held sessions before this); the practice was only later introduced to Ireland. By the 1960s pubs like ''O'Donoghues'' in [[Dublin]] were holding their own pub sessions, and the [[Fleadh Cheoil]] [[music festival]] was sparking increased popular interest in traditional music.

===1960s and 70s: Revival again===

[[Seán Ó Riada]]'s [[The Chieftains]], [[The Clancy Brothers]], [[The Dubliners]], [[Sweeney's Men]] and [[Planxty]] were in large part responsible for a second wave of revitalization of Irish folk music in the 1960s, followed up by [[The Bothy Band]] and [[Clannad]] in the 70s. This revival was aided in part by a loose movement of musicians founded in 1951 with the aim of preserving traditional music, [[Comhaltas Ceoltóirí Éireann]].

The 1960s saw a number of innovative performers. [[Christy Moore]] and [[Donal Lunny]], for example, first performing as a duo, and later creating two of the most well-known bands of the era, Planxty and [[Moving Hearts]] (in the 1980s). The Clancys broke open the field in the US in the early part of the decade, which inspired vocal groups like The Dubliners, while [[Ceoltóirí Chualann]]'s instrumental music spawned perhaps the best-known Irish traditional band, The Chieftains, which formed in 1963.

By the 70s, bands like Planxty and Clannad had set the stage for a major popular blossoming of Irish music. Formed in 1974, The Bothy Band became the spearcarriers of that movement; their debut album, ''[1975]'' (1975), inspired a legion of fans. (One can often find The Bothy Band under "Rock" in some stores.) New groups that appeared in their wake included Moving Hearts formed by [[Dónal Lunny]] and Christy Moore and featuring Davy Spillane on uilleann pipes - the first time this had effectively happened in a rock setting.

The '70s saw the beginning of fusions of Irish traditional music with American and British [[rock and roll]], beginning perhaps with the band [[Horslips]]. [[Singer-songwriter]] [[Van Morrison]] is also renowned from the trad-rock scene, and is known for incorporating [[soul music|soul]] and [[R&B]] to great effect. Blues guitarist [[Rory Gallagher]] was renowned for his masterful guitar playing. The [[heavy metal music|heavy metal]] band [[Thin Lizzy]] occasionally used Irish musical traditions in their songs. For example, the song Emerald used a jig (6/8) time signature, and a melody that was influenced by traditional Irish music. Also, the song "The Black Rose" contained a traditional Irish reel being played by guitar, bass, and drums. Most famously, their reworking of the traditional folk staple, "Whiskey in the Jar" was a huge hit. Singer and songwriter [[Phil Lynott]] is often said to have been a modern incarnation of the [[Poetry of Ireland|Irish poetry]] tradition. Irish influence in a more strictly pop idiom was represented in this period by Waterford born singer/songwriter [[Gilbert O'Sullivan]] who had an international breakthrough, peaking with two UK No. 1 singles (Clair, Get Down) and one US No. 1 (Alone Again, Naturally).

===Late 20th century: Rock and more...===

[[Image:The Waterboys perform in Dublin 2004.jpg|thumb|The Waterboys performing in Dublin in 2004.]]

Traditional music, especially sean-nós, played a major part in Irish popular music later in the century, with [[Van Morrison]], [[Hothouse Flowers]] and [[Sinéad O'Connor]] using traditional elements in popular songs. [[Enya]] achieved enormous international success with [[New Age]]/Celtic fusions. [[The Pogues]], led by [[Shane MacGowan]], helped fuse Irish folk with [[punk rock]] to some success beginning in the 1980s, while the [[Afro-Celt Sound System]] achieved considerable fame adding West African influences and [[drum n bass]] in the 1990s.

In the 1980s, major bands included [[De Dannan]], [[Altan]], [[Arcady]], [[Dervish (band)|Dervish]] and [[Patrick Street]]. [[Punk rock]] entered Ireland in full in the late 1970s, and flowered in the following decade with performers like [[Gavin Friday]], [[Bob Geldof]], while the [[Belfast]] scene inspired a legion of punk bands from Northern Ireland, of whom [[Stiff Little Fingers]] are the most well-known. Later in the 80s and into the 90s, Irish punk, like the scene in the UK, US and elsewhere, fractured into new styles of [[alternative rock]], which included the critically acclaimed [[That Petrol Emotion]], the renowned underground band [[My Bloody Valentine]] and the popular punk sound of [[Ash (band)|Ash]].

The '80s also saw the rise of Irish international stars. The biggest Irish musical performer of any kind is undoubtedly [[U2]], who entered the mainstream beginning in 1980 with ''[[Boy (album)|Boy]]'', and continuing to incorporate a number of styles on later albums into the next century. Other rock bands of the era included [[The Undertones]], [[Energy Orchard]] and [[The Boomtown Rats]]. A growing interest in Irish music at this time helped many artistes gain more recognition abroad, including [[Mary Black]], [[Andy White (singer-songwriter)|Andy White]], [[Sharon Shannon]], Hothouse Flowers and others. The [[BBC]] screened a documentary series about the influence of Irish music called ''Bringing it all Back Home'' (a reference to both the [[Bob Dylan]] folk song and the way in which Irish traditional music has travelled, especially in the New World following the [[Irish diaspora]], which in turn has come back to influence modern Irish rock music). This series also helped to raise the profile of many artistes relatively little known outside Ireland. The fashionability of Irish folk music at this time may be judged from the huge success that non-Irish band [[The Waterboys]] enjoyed with their albums ''[[Fisherman's Blues]]'' and ''[[Room to Roam]]'', both of which are full of Irish folk influences. Meanwhile, [[Sinéad O'Connor]]'s confrontational style won her a legion of fans as well as controversy.

Country and Western music from the United States, which was influenced indirectly by Irish music, returned back over the ocean and is immensely popular in Ireland.

In the 1990s, pop bands like [[the Corrs]], [[B*Witched]], [[Boyzone]] and the somewhat rockier [[The Cranberries]] also became internationally renowned. Ireland had developed the [[Celtic metal]] scene, part of the [[black metal]] style which was common throughout much of Europe, and soon evolved into Celtic battle metal, Celtic doom metal and Celtic pagan metal. Artists included [[Waylander (band)|Waylander]], Bran Barr, [[Cruachan (band)|Cruachan]] and [[Geasa]]. Ireland was comparatively poorly-represented in the growing electronic music genre, but several groups did release albums, such as [[Skintone]].

In 1998, a crew called [[Exile Eye]] released the ''[[Optic Nerve]]'' [[Extended play|EP]], which generated a great deal of interest in [[hip hop music|hip hop]] and inspired a number of newer hip hop crews, though Exile Eye was not the first Irish hip hop performers, as [[Scary Éire]] and others came first. These included [[Homebrew (band)|Homebrew]], [[Third Eye Surfers]] and [[Creative Controle]].

In the 2000s [[Gráda]], [[Danú]] and [[Teada]] are among the youngest major instrumental bands of a largely traditional bent (although Gráda is not so easily defined. While showing a strong understanding of their historical roots, they intertwine more contemporary sounds into their playing, bridging a gap between traditionalists and modern fusion groups).

New bands that promote the pub ballads and raucous instrumentals so familiar to Irish music fans include [[Flogging Molly]], the [[Dropkick Murphys]], and the [[LeperKhanz]]. There are many other Irish bands developing fusions of local and Irish music such as [[Skelpin]], [[Flook]], [[Kíla]], Gráda and [[Bad Haggis]]. These bands are no longer formed exclusively in Ireland.

===Classical music in Ireland===

While Irish traditional music, and more recently rock music, have gained such an international following, Irish classical music has had a long struggle to become accepted. Some music comes from the world between popular and classical music. One well-known example is the internationally renowned choir [[Anúna]], with its unique and unusual sound and stage show.

[[Image:Ciaran Farrell.jpg|left|thumb|160 px| Ciarán Farrell.]] Composer [[Ciarán Farrell]] is also breathing new life into the international classical music scene with his fresh and original style, drawing from a wide range of influences that cross the boundaries of Jazz, Rock, Folk and Classical genres.

[[Image:Anuna.jpg|thumb|Anuna.]]Despite the enormous international successes of Irish performers in the fields of traditional and rock music, classical Irish music has struggled hard over the last 100 years to gain a strong and secure foothold in the psyche of the Irish people though groups such as [[The West Ocean String Quartet]], [[The Musicians of Prey]], [[The Crash Ensemble]] and the young vocal group [[Bulraga]] are beginning to change that. Music education at school level is not a core subject either but in recent years the Leaving Certificate [Ireland's final year exams at secondary level] has introduced a more populist curriculum in Musicianship.

Groups such as [[Anúna]], [[Camerata Ireland]], [[Opera Theatre Company]] and the [[Irish Chamber Orchestra]] have had considerable international success. There is a [[National Symphony Orchestra]] of very good quality [managed and run by [[Radio Telefís Éireann|RTÉ]] the Irish National broadcaster], a classical music radio station [[Lyric FM]], but beyond this Irish classical artists have to struggle for any recognition in their own country. Many of them seek education and work beyond the boundaries of Ireland.

==Audio samples==

{{listen|filename=IrishTunes.ogg|title=Irish harmonica tune|description=Recording from the Library of Congress' ''California Gold: Northern California Folk Music from the Thirties Collection''; performed by Aaron Morgan (harmonica) on July 17, 1939 in [[Columbia, California]]}}

==See also==

*[[List of Irish people#Music|List of Irish musicians]]

*[[Comhaltas Ceoltóirí Éireann]]

*[[List of All-Ireland Champions]]

*[[List of Irish Music Collectors]]

*[[Celtic music]]

*[[Irish rock]]

*[[Irish Recorded Music Association]]

*[[Irish topics]]

*[[Irish traditional music session]]

*[[List of artists who reached number one in Ireland]]

*[[List of songs that reached number one on the Irish Dance Chart]]

*[[List of songs that reached number one on the Irish Singles Chart]]

*[[One Hit Wonders in Ireland]]

*[[Top selling singles and albums in Ireland]]

==References==

*O'Connor, Nuala. "Dancing at the Virtual Crossroads". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 1: Africa, Europe and the Middle East'', pp 170-188. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0

*Mathieson, Kenny. "Ireland". 2001. In Mathieson, Kenny (Ed.), ''Celtic music'', pp. 10-53. Backbeat Books. ISBN 0-87930-623-8

*Carson, Ciaran. "Last Night's Fun"

*Geoff Wallis and Sue Wilson "The Rough Guide to Irish Music" ISBN 1-85828-642-5

*Barra Boydell: ''Music and Paintings in the National Gallery of Ireland'', 1985, ISBN 0-903162-22-9

==External links==

{{wikinews|Wikinews interview with America's Got Talent finalists Celtic Spring}}

*[http://www.comhaltas.ie/ Comhaltas Ceoltóirí Éireann] A global movement promoting Irish traditional music and culture

*[http://www.irishtune.info/ The Irish Traditional Music Tune Index] A searchable database of traditional dance tunes which identifies sources for tunes on commercial recordings and in tune books.

*[http://www.thesession.org/ TheSession.org, an online tune database and discussion site for adherents of Irish Traditional Music]

*[http://www.cmc.ie/ Contemporary Music Centre, Dublin] Ireland's national resource and archive centre for contemporary Irish classical music.

*[http://www.libraryireland.com/IrishMusic/Contents.php A History of Irish Music, by W. H. Flood]

*[http://www.icebergradio.com/celtic Online radio] featuring Celtic + Irish music

[[Category:Irish music]]

[[Category:Irish culture]]

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[[nl:Ierse folk]]

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