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706 UCC. The Department of Music at University College Cork has a long and respected association with Irish traditional music. Courses were introduced by Carl Hardebeck as part of the Bachelor of Music degree in 1923. Then Annie Patterson took over the curriculum,followed in 1935 by Seán Neeson. Seán Ó Riada took up the post in 1963 and, after his death,Tomás Ó Canainn continued the teaching until the appointment of Mícheál Ó Súilleabháin in 1975. Mel Mercier became a full-time lecturer in 1994, Liz Doherty joined in 1997, followed by Aileen Dillane who taught Irish traditional music and ethnomusicology. Since 2009 the department has been known as the School of Music,with Mercier as head; courses on traditional music are taught by Mercier, Matt Cranitch, Mary Mitchell-Ingoldsby and Aoife Granville. A number of well-known music, song and dance performers, including Bobby Gardiner, Connie O’ Connell, Colm Murphy, Niall Vallely and Peggy McTeggart, tutor in the school on a regular basis.Courses in traditional music ensemble are also offered, with workshops hosted by wellknown artists. The school promotes traditional music studies at undergraduate and postgraduate levels through scholarship and performance: it is part of both the BA and BMus degrees, and may be taken at postgraduate level for MPhil and PhD. Its study is aligned with the disciplinary approaches of ethnomusicology and is positioned alongside a diverse range of research and teaching activities, including seminars. Since 1996 the Seán Ó Riada International Conference has been held; a Traditional Music Society is organised by students, as is Triantán – the Irish Harp Society. From 1991 to 1995, a major event, ‘Éigse na Laoí’, celebrated Donegal Cape Breton and Shetland music, Irish music in America and in England, and Irish music worldwide with performances and recordings. archive. The traditional music archive here run by Mary Mitchell-Ingoldsby has audio and video tapes, periodicals, photographs and under- and postgraduate student projects and theses. It also has copies of the Henebry wax cylinders – some of Ireland’s oldest archival material – and publishes the annual Ó Riada memorial lectures. UCD. The School of Music at University College Dublin offers two primary degrees: the BMus and the BA with music as a major.Under head of school Thérèse Smith these undergraduate courses focus on four principal areas: musicology, ethnomusicology ,theory and analysis,and performance.From the first year, students take courses in Irish music and/ or ethnomusicology, these becoming more specialised in years three and four. The school also offers a taught MMus (with a significant research component ) with two streams: historical musicology and ethnomusicology; the pure research degrees of MLitt and PhD offer specialisations which reflect the research interests of staff. The school has a variety of performance ensembles which can be taken for credit, and the university overall has an active, cross-faculty traditional music society. Uí Cheallaigh, Áine (McPartland). (1959– ). Sean-nós singer. Born Belfast, 1959 to Póilín Nic Craith, a native Irish speaker from Ring, Co. Waterford and actor and singer Joe McPartland from Belfast. Her mother’s and Nioclás Tóibín’s singing were her earliest influences. She sang in English from an early age, performed in school choirs, learned classical violin and piano and studied music at UCD. She went on to teach in the Ring, Co. Waterford Gaeltacht in 1982, and studied Medieval Chant at UL.She won Comórtas na mBan and Corn Uí Riada at the Oireachtas in 1990 and the Uí Riada again in 1992, she has sung in concerts with the RTÉ Concert Orchestra at the National Concert Hall, with Hugh Tinney and with Anúna. She sang in the first Riverdance show (1995), later in the musical The Pirate Queen in Chigago and on Broadway. Her recordings are Idir Dhá Chomhairle/In Two Minds (1995) and Binneas Thar Meon (2009). uilleann pipes. Bellows-blown bagpipe with chanter, three drones and keyed melody pipes U uilleann pipes 707 capable of providing harmony simultaneous with the melody. Evolved from the pastoral bagpipe in the early 1700s, the instrument had taken its present structure by the beginning of the nineteenth century when it was widely known as the ‘’rish’or ‘union’bagpipe (as in O’Farrell’s 1804 and 1806 books), this instrument is the most complex of its kind. Essentially an indoor pipes – being relatively quiet compared to most other bagpipes – they are to be...


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