Essays on irish music

In 1985, in twenty-six places around Ireland, previously content and immobile statues of stone, plaster and reinforced concrete began to move – wink, weep, bleed, sigh, talk and even light up. The thing caught on like good scandal and became the only growth industry of the 1980s. Nell McCafferty pondered the curious fact that the statues only moved in the 26 Counties (Fintan’s theory is that the ones in the Six Cos. were afraid to move). It was all brought on by all the talk and referenda on divorce and contraception; the air is that of the 1960s Civil Rights anthem.

Gospel fiddling is not known as a fiddle style, but has held a place of great importance among Louisiana's fiddlers. The fiddle, labeled in the old days as the "devil's instrument" for leading many fiddlers down the "wicked path of sin," is now readily accepted in worship sanctuaries throughout the area. The most noted was evangelist, Dallas Hayes, who traveled the area, holding revivals in the first half of the 20th century, and playing the fiddle with his troop of family musicians. Hector Stutes (Lake Charles), Mastern Brack (Evans), Eli Burr (Merryville), Murphy Sensat (Sulphur), and Jamesette Kile (Lena) all spent a major portion of their fiddling life playing for church services.

Essays on irish music

essays on irish music


essays on irish musicessays on irish musicessays on irish musicessays on irish music