Contemporary Irish choral music and an outline of its historical origins (original) (raw)

Chapter Two-Sixteenth to Eighteenth Centuries 2.1 Cathedral Choral Music in Dublin in the Sixteenth and Seventeenth Centuries 2.2 Choral Music in Dublin's 'Golden Age' 2.3 Cathedral Music 2.4 Parish Church Music 2.5 Charity Concerts 2.6 Handel in Dublin 2.7 Catch Clubs 2.8 Conclusion Chapter Three-Nineteenth to Twentieth Centuries 3.1 Introduction to the Nineteenth Century 3.2 Choral Societies 3.3 The Catholic Church and the Cecilian Movement 3.4 Charles Villiers Stanford (1852-1924) 3.5 Introduction to the Twentieth Century 3.6 Choral Composition, 1900-1950 3.7 Choirs in Twentieth-Century Ireland 3.8 Catholic Church Music 3.9 National Institutions 3.9.1 Feis Ceoil 3.9.2 RTÉ Choirs 3.9.3 Cork International Choral Festival 3.9.4 Other Festivals 3.9.5 Other Organisations iii 3.9.6 The Study of Conducting 3.10 Composers of Choral Music in Postwar Ireland 3.11 Conclusion Part II: Analyses of Eight Contemporary Irish Choral Pieces Chapter Four-Choral Pieces by Contemporary Irish Composers 4.1 I would like to acknowledge and thank my supervisor, Denise Neary, for her guidance, support and encouragement throughout the academic element of this degree. I have learned a lot from her. John O'Keefe also provided important advice on direction for which I am very grateful. Thank you to Mary Lennon and Kerry Houston for helpful feedback on aspects of research. I wish to acknowledge the assistance of the library staff at the Royal Irish Academy of Music, the DIT Conservatory of Music and Drama, and Trinity College, Dublin. Thank you to my sons Brian Dungan and Niall Dungan who helped with aspects of formatting this dissertation. I wish to express my gratitude to my conducting teachers, Ildikó Herboly Kocsár, Péter Erdei and Gerhard Markson, who engendered in me a deeper love of music, a responsibility to the score and a responsibility to those whom I conduct.