Michael Nicholsen | Oakton Community College (original) (raw)
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Papers by Michael Nicholsen
Canadian Journal of Irish Studies, 2016
en / this article examines the use of the term "Celtic music" in light of recent skepticism in se... more en / this article examines the use of the term "Celtic music" in light of recent skepticism in several fields that questions long-accepted notions of the ethnic origins of the modern Irish and Scots as descendants of ancient continental Celtic invaders. Specifically, the essay reveals when, how, and why the "Celtic music" label emerged, how it changed over time, and assesses the cases made by both proponents of the term and those who regard it as problematic. From the sixteenth century, when Scottish antiquarian George buchanan invented the story of Celtic mass migration to britain and Ireland, to the nineteenth century, when the Gaelic Revival of Ireland and Irish America advertised "Celtic music" as a distinctive racial characteristic while simultaneously promoting pan-Celticism, to the late twentieth century, when record labels and concert promoters sought to market different genres of music to a wide audience to increase profits, this article examines how different groups of people used, and misused, a musical myth. / fr / Cet article examine l'usage du terme « musique celtique » à la lumière du scepticisme émergent dans plusieurs champs de recherche face aux notions longtemps convenues des origines ethniques des irlandais et des écossais, c'est-à-dire en tant que descendants d'envahisseurs celtes issus du continent au cours de l'antiquité. en particulier, l'article révèle quand, comment et pourquoi l'étiquette « musique celtique » est apparue, comment elle a évolué au cours des siècles, et évalue les thèses émises par ceux qui préconisent l'usage du terme aussi bien que celles du camp opposé. L'article examine les usages et détournements de ce mythe musical par plusieurs intervenants, à commencer par le seizième siècle, lorsque l'historien écossais George buchanan a inventé le récit de la migration en masse des celtes vers l'Angleterre et l'Irlande, jusqu'au dix-neuvième siècle, lorsque la renaissance gaélique en Irlande et en Amérique irlandaise fit la publicité de la « musique celtique » comme caractéristique raciale distincte tout en faisant la promotion du Panceltisme, et même à la fin du vingtième, lorsque les compagnies de disques et promoteurs de concerts ont cherché à maximiser leurs bénéfices en faisant découvrir un vaste éventail de genres à de nouveaux publics.
Crafting Infinity: Reworking Elements of Irish Culture, 2012
New Hibernia Review, 2010
is the latest monograph emanating from the prolific and demanding historian James S. Donnelly, Jr... more is the latest monograph emanating from the prolific and demanding historian James S. Donnelly, Jr. Those adjectives may strike some readers as smacking of filial loyalty, for the present reviewer spent nearly a decade as a student under Donnelly's direction at the University of Wisconsin-Madison. But, rather than expressing any sense of debt-though debt there is-these words indicate an appreciation that any scholar would feel for the decades of intensive research and deep thought that have culminated in this compelling book.
New Hibernia Review, 2009
Conference Presentations by Michael Nicholsen
This essay examines the role played by early collectors of Irish music, specifically Joseph Coope... more This essay examines the role played by early collectors of Irish music, specifically Joseph Cooper Walker (1761-1810), Edward Bunting (1773-1843), and George Petrie (1790-1866) in creating a myth that the tunes that they collected and published, and Irish traditional music in general , stretched back to a period of "remote antiquity." Walker, Bunting, and Petrie often argued that the tunes that they printed were a product of the medieval era or older. By examining statements that the collectors made, this essay establishes that Walker, Bunting, and Petrie had no evidence to support their assertions, and that there exists evidence directly contrary to their arguments. The collectors were nonetheless successful in creating a general misconception that Irish traditional music was a product of the Middle Ages or earlier, while their contemporary Thomas Moore was more correct in his statement that the tunes were no older than "the last disgraceful century."
Canadian Journal of Irish Studies, 2016
en / this article examines the use of the term "Celtic music" in light of recent skepticism in se... more en / this article examines the use of the term "Celtic music" in light of recent skepticism in several fields that questions long-accepted notions of the ethnic origins of the modern Irish and Scots as descendants of ancient continental Celtic invaders. Specifically, the essay reveals when, how, and why the "Celtic music" label emerged, how it changed over time, and assesses the cases made by both proponents of the term and those who regard it as problematic. From the sixteenth century, when Scottish antiquarian George buchanan invented the story of Celtic mass migration to britain and Ireland, to the nineteenth century, when the Gaelic Revival of Ireland and Irish America advertised "Celtic music" as a distinctive racial characteristic while simultaneously promoting pan-Celticism, to the late twentieth century, when record labels and concert promoters sought to market different genres of music to a wide audience to increase profits, this article examines how different groups of people used, and misused, a musical myth. / fr / Cet article examine l'usage du terme « musique celtique » à la lumière du scepticisme émergent dans plusieurs champs de recherche face aux notions longtemps convenues des origines ethniques des irlandais et des écossais, c'est-à-dire en tant que descendants d'envahisseurs celtes issus du continent au cours de l'antiquité. en particulier, l'article révèle quand, comment et pourquoi l'étiquette « musique celtique » est apparue, comment elle a évolué au cours des siècles, et évalue les thèses émises par ceux qui préconisent l'usage du terme aussi bien que celles du camp opposé. L'article examine les usages et détournements de ce mythe musical par plusieurs intervenants, à commencer par le seizième siècle, lorsque l'historien écossais George buchanan a inventé le récit de la migration en masse des celtes vers l'Angleterre et l'Irlande, jusqu'au dix-neuvième siècle, lorsque la renaissance gaélique en Irlande et en Amérique irlandaise fit la publicité de la « musique celtique » comme caractéristique raciale distincte tout en faisant la promotion du Panceltisme, et même à la fin du vingtième, lorsque les compagnies de disques et promoteurs de concerts ont cherché à maximiser leurs bénéfices en faisant découvrir un vaste éventail de genres à de nouveaux publics.
Crafting Infinity: Reworking Elements of Irish Culture, 2012
New Hibernia Review, 2010
is the latest monograph emanating from the prolific and demanding historian James S. Donnelly, Jr... more is the latest monograph emanating from the prolific and demanding historian James S. Donnelly, Jr. Those adjectives may strike some readers as smacking of filial loyalty, for the present reviewer spent nearly a decade as a student under Donnelly's direction at the University of Wisconsin-Madison. But, rather than expressing any sense of debt-though debt there is-these words indicate an appreciation that any scholar would feel for the decades of intensive research and deep thought that have culminated in this compelling book.
New Hibernia Review, 2009
This essay examines the role played by early collectors of Irish music, specifically Joseph Coope... more This essay examines the role played by early collectors of Irish music, specifically Joseph Cooper Walker (1761-1810), Edward Bunting (1773-1843), and George Petrie (1790-1866) in creating a myth that the tunes that they collected and published, and Irish traditional music in general , stretched back to a period of "remote antiquity." Walker, Bunting, and Petrie often argued that the tunes that they printed were a product of the medieval era or older. By examining statements that the collectors made, this essay establishes that Walker, Bunting, and Petrie had no evidence to support their assertions, and that there exists evidence directly contrary to their arguments. The collectors were nonetheless successful in creating a general misconception that Irish traditional music was a product of the Middle Ages or earlier, while their contemporary Thomas Moore was more correct in his statement that the tunes were no older than "the last disgraceful century."