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ix ACKNOWLEDGEMENTS M y thanks to Peadar Ó Riada, for allowing me full access to his own music and that of his father, Seán Ó Riada. The knowledge that such vernacular church music not only exists, but continues to be developed in an Irish liturgical context, provides an ongoing source of inspiration. The expertise of Dr Ann Buckley (TCD) in both medieval musicologyandethnomusicologyproveddecisiveintheinitialframingofthis study, and I acknowledge with gratitude her guidance and encouragement along an exploratory pathway. My thanks to Cork University Press for its assistance as the manuscript was being prepared for publication. Sincere thanks to Dr Darina McCarthy for her expert preparation of the musical examples and for her overall assistance in the editing process. I owe a debt of gratitude to Fr Frank McNamara, founder of the Schola Cantorum at St Finian’s College, Mullingar, who introduced me to the riches of western plainchant, and to Mícheál Ua Duinnín, who first brought me in contact with the song tradition of Cúil Aodha, and fostered throughout his lifetime the cultural links between the ancient baronies of Múscraí (West Cork) and Uíbh Ráthach (South Kerry). Thanks are due to Dr Katarina Livljanic (Sorbonne and University of Limerick) whose teaching and performing of chant as an orally-grounded musical tradition has been a significant influence. My thanks also to Professor Gerard Gillen, for his foresight in instituting at Maynooth University a pioneering PhD programme for professional performers, helping in this significant way to span the ancient chasm between cantor and musicus. I am grateful also to many others who contributed in various ways and at various crucial times in my research: Professor László Dobszay of the Liszt Ferenc Academy of Church Music, Budapest, and Professor Edward Nowacki of the University of Cincinnati; Professor Pádraig Ó Fiannachta of St Patrick’s College, Maynooth; Fr Placid Murray and Fr Senan Furlong of Glenstal Abbey; Dr Tomás Ó Canainn and Mr Ronan Mc Donagh; Fr Paul Kenny and Dr David Wright. I acknowledge with thanks the help provided by the staff of the Irish Traditional Music Archive, the National Centre for Liturgy and the library staffatMaynoothUniversity.AllÓRiadamusicexcerptsareherereproduced under license with Real World Works Ltd., and the accompanying recording THE MASSES OF SEÁN AND PEADAR Ó RIADA x was mastered by Paul Keegan of Retreat Studios. Thanks are due to The Board of Trinity College for the illustration featured on the front cover, also to Aoife Dowling (AIRO), Professor Jim Cowdery and the Estate of Tomás Ó Canainn for images reproduced in the body of the study. Such a labour could not have been undertaken without institutional encouragement and a recent period of sabbatical leave from St Patrick’s College and Maynooth University. It could not have been sustained, however, without the unwavering support of family, in particular that of my wife, Gráinne, whose generosity of spirit has, from the very beginning, animated and blessed the project. JOHN O’KEEFFE Maynooth October 2017 Cór Chúil Aodha at the Dublin Oireachtas, 1969. Seán Ó Riada is seated in the second row from back (on left), his son Peadar in front row (centre).© PEADAR Ó RIADA ARCHIVES Peadar Ó Riada with Cór Chúil Aodha in the parish church at Coolea, 2008.© PEADAR Ó RIADA ARCHIVES ...


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