REFERENCES
Ahern, P. (1996). ‘Fiche Blian ag Flás: a personal account of twenty years of change and tradition’ in T. F Vallely, H Hamilton, E Vallely, L Doherty. Crosbhealach an Cheoil: The Crossroads Conference 1996: Tradition and Change in Irish Traditional Music. Dublin: Whinstone Music, 15-19.
Arapura, J. G. (1975). The Upside down Tree of the Bhagavadgītā Ch. XV: An Exegesis. Numen, 22(Fasc. 2), 131-144.
Attali, J. (1985). Noise. Minnesota Press.
Aubert, L. (2007). The music of the other New challenges for ethnomusicology in a global age. Ashgate.
Avtar, R. (2006). Theory of Indian Ragas. Pankaj Publications.
Bagchee, S. (1998) Nad: Understanding Raga Music. Eeshwar.
Bagchee, S. (2006) Shruti: a Listener's Guide to Hindustani Music. Rupo and Co.
Bakan, M. B. (1999). Music of death and new creation: Experiences in the world of Balinese gamelan beleganjur. University of Chicago Press.
Bakan, M. (2007) World Music: Traditions and Transformations. McGraw-Hill.
Bakhle, J. (2005) Two Men and Music: Nationalism in the Making of an Indian Classical Tradition. Oxford University Press.
Barthes, R. (1972). Critical essays. Northwestern University Press.
Barz, G. & Cooley, T.J. (editors). (2008). Shadows in the Field: A new perspective for
fieldwork in Ethnomusicology. Oxford University Press.
Basegmez, V. (2005). Irish scene and sound: Identity, authenticity and transnationality among young musicians. Doctoral thesis, Stockholm University.
Bateson, G. (1972). Steps to an ecology of mind. University of Chicago Press.
Becker, J. (1994). "Music and trance." Leonardo Music Journal 41-51.
Becker-Blease, K. A. (2004). Dissociative states through new age and electronic trance music. Journal of trauma & dissociation, 5(2), 89-100.Becker, Judith. "Music and trance." Leonardo Music Journal (1994): 41-51.
Bennett, A. (1997). Bhangra in Newcastle: Music, ethnic identity and the role of local knowledge. Innovation: The European Journal of Social Science Research, 10(1), 107-116.
Bhatkhande, V. N. (2004 [1984]) A Comparative Study of Some the Leading Music Systems of the 15th,16th, 17th and 18th Centuries. Low Price Publications
Blacking, J. (1973). How musical is man? University of Washington Press.
Blacking, J. (1987). Identifying processes of musical change. The world of music, 28(1), 3-15.
Blacking, J. (1995). Music, Culture, Experience. University of Chicago Press.
Bhabha, H. K. (1985). Signs taken for wonders: Questions of ambivalence and authority under a tree outside Delhi, May 1817. Critical inquiry, 12(1), 144-165.
Bhabha, H. (1990). The third space: interview with Homi Bhabha. Identity: Community, culture, difference, 207-221.
Bhabha, H. K. (1994). The location of culture. Psychology Press.
Bhabha, H. K. (2006) “Cultural Diversity and Cultural Differences,” The Post-Colonial Studies Reader, ed. B. Ashcroft, G. Griffiths, H. Tiffin, Routledge, New York 2006, p. 155–157
Bohlman, P. ( 2002). A very short introduction to World music. Oxford University Press.
Born, G., & Hesmondhalgh, D. (Eds.). (2000). Western Music and Its Others: Differrence, Representation, and Appropriation in Music. University of California Pr.
Bor, J. (2002). The raga guide: A survey of 74 Hindustani ragas. Nimbus records.
Bourdieu, P. (2011). The forms of capital.(1986). Cultural theory: An anthology, 81-93.
Bose, S. (1990) Indian Classical Music. Vikas Publishing House.
Booth, A. (2010) Performing in the West: Adding Value through Fusion [online]. In: Brunt, Shelly, D (Editor); Zemke, K. (Editor). What's it Worth?: 'Value' and Popular Music: Selected Papers from the 2009 IASPM Australia New Zealand
Conference. Dunedin, N.Z.: International Association for the Study of Popular Music, 2010: 16-21. Availability: http://search.informit.com.au/documentSummary;dn=060459287156745;res=IELHSS> ISBN: 9780958149723. [cited 06 Jun 16].
Breathnach, B. (1977). Folk music and dances of Ireland. Mercier Press.
Burr, C. S. (1922). America's Race Heritage: An Account of the Diffusion of Ancestral Stocks in the United States During Three Centuries of National Expansion and a Discussion of Its Significance. National Historical Society.
Byrne, D. (2012). How music works. Canongate Books.
Carolan, N. (1996). ‘Irish music to 1600AD-traditions and innovations’ in T. F Vallely, H Hamilton, E Vallely, L Doherty. Crosbhealach an Cheoil: The Crossroads Conference 1996: Tradition and Change in Irish Traditional Music. Dublin: Whinstone Music, 45-52.
Caroll, J. (2013). Many strings to his bow: Martin Hayes on finding inspiration. Irish Times, August 16, 2013.
Carson, C. (1986). Irish traditional music. Belfast: Appletree Press.
Carson, C. (1996). Last night's fun: in and out of time with Irish music. North Point Press.
Chang, H. (2008). Autoethnography as Method. Walnut Creek, CA: Left Coast Press.
Clarke, D. and Kini, T. (2011) ‘North Indian classical music and its links with consciousness: the case of dhrupad’ in Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press.
Clayton, M. (2000 ) Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance. Oxford University Press.
Clayton, M. (2007). Time, Gesture and Attention in a" Khyāl" Performance. Asian Music, 38(2), 71-96.
Clayton, M. (2007a). Observing entrainment in music performance: Video-based observational analysis of Indian musicians' tanpura playing and beat marking. Musicae Scientiae, 11(1), 27-59.
Clayton, M. (2009). The social and personal functions of music in cross-cultural perspective. The Oxford handbook of music psychology, 35-44.
Clayton, M., & Leante, L. (2011). Imagery, melody and gesture in cross-cultural perspective. New perspectives on music and gesture, 203.
Clayton, M. (2015). Logos Seminar Series. Irish World Academy, University of Limerick, April 23 2015.
Crang, M. (2003). Qualitative methods: touchy, feely, look-see?. Progress in human geography., 27(4), 494-504.
Crehan, J. (2006). Martin Junior Crehan- Musical compositions and Memories. Self-published by Angela Crotty.
Connell, J., & Gibson, C. (2004). World music: deterritorializing place and identity. Progress in Human Geography, 28(3), 342-361.
Cooper, D. (2005). Chapter Eleven On Imagining the Mediterranean. The Mediterranean in Music: Critical Perspectives, Common Concerns, Cultural Differences, (3), 207-229.
Corcoran, S. (1997). ‘Concepts of Regionalism in Irish Traditional Music’ in Smith
et al (eds) Blas: the local accent in Irish traditional music.
Cornwell, G. H. (1999). Cosmopolitan or mongrel? Créolité, hybridity and'douglarisation'in Trinidad. European Journal of Cultural Studies, 2(3), 331-353.
Cousins, J. H. (1922). The Cultural Unity of Asia. Theosophical Publishing House.
Coward, H. G., & Goa, D. J. (2004). Mantra: Hearing the divine in India. Columbia University press.
Cowdery, J. R. (1990). The melodic tradition of Ireland. Kent State University Press.
Curtis, P. J. (1994). Notes from the heart: a celebration of traditional Irish music. Poolbeg Pr Ltd.
Damasio, A. R. (1994). The body-minded brain. Penguin.
Danielou, A. (1980). The Ragas of Northern Indian Music, New Delhi: Munshiram
Daniélou, A. (1995). Music and the power of sound: The influence of tuning and interval on consciousness. Inner Traditions/Bear & Co.
Dawson, A. (2007). Mongrel nation: diasporic culture and the making of postcolonial Britain. University of Michigan Press.
Delamont, S. (2007). "Arguments against auto-ethnography" In Paper presented at the British Educational Research Association Annual Conference. Vol. 5, p. 8.
Derrida, J. (1982). Margins of philosophy. University of Chicago Press.
Derrida, J. (2004). Dissemination. A&C Black.
Dewey, J. (1934). Art as experience. GP Putnam's Sons.
Dictionary, C. C. E. (1995). Harper Collins
Dillane, A. and Noone, M. (2016). ‘Irish Music Orientalism’ New Hibernia Review/Iris Eireannach Nua, 20:1 , 121-137.
Dillon, M. (1947). CELTIC AND THE OTHER INDO‐EUROPEAN LANGUAGES. Transactions of the Philological Society, 46(1), 15-24.
DeNora, T. (2011). Music-in-action: Selected essays in sonic ecology. Ashgate.
DeNora, T. (1986). How is extra-musical meaning possible? Music as a place and space for “work”. Sociological theory, 4(1), 84-94.
Douglas, A. (1995). Terrible honesty: Mongrel Manhattan in the 1920s. Farrar, Straus, and Giroux.
Dowling, M. (1996). Communities, place, and the traditions of Irish dance music. Crosbhealach an Cheoil Tradition and Change in Irish Traditional Music, Dublin: Whinstone Music, 64-71.
Durrant, C. (2003). Cultural exchanges: contrasts and perceptions of young musicians. British Journal of Music Education, 20(01), 73-82.
Ellis, C. S., & Bochner, A. (2000). Autoethnography, personal narrative, reflexivity: Researcher as subject. Handbook of Qualitative Research.
Farley, C. (2010). The new age and indigenous spirituality: Searching for the sacred Doctoral dissertation, Murdoch University.
Farrell, G. (1997). Indian music and the west. Oxford University Press
Feehan, F. (1982). ‘Suggested links between Eastern and Celtic music’ in O’ Driscoll, R. (ed) Celtic Consciousness, George Braziller, New York, 311-333.
Feld, S. (1996). Pygmy Pop: A Genealogy of Schizophonic Mimesis. Yearbook for Traditional Music 28:1-35.
Feld, S. (1994). ‘From schizophonia to schismogenesis: On the discourses and practices of world music and world beat.’ Music Grooves, edited by Charles Keil and Steven Feld. Chicago University press, p. 257-289
Feld, S. (1988). Aesthetics as iconicity of style, or' Lift-up-over Sounding': Getting into the Kaluli groove. Yearbook for Traditional Music, 20, 74-113.
Feld, S. (2000). A sweet lullaby for world music. Public culture, 12(1), 145-171.
Flood, W. G. (1906). A history of Irish music. Browne and Nolan.
Flynn, D. (2010). Traditional Irish Music: A Path To New Music, Ph.D Dissertation. Dublin Institute of Technology, Dublin, Ireland.
Foucault, M. (1982). The subject and power. Critical inquiry, 8(4), 777-795.
Friedson, S. M. (1996). Dancing Prophets: Musical experience in Tumbuka Healing.
Friedson, S. M. (2009). Remains of Ritual. University of Chicago Press. University of Chicago Press
Frith, S. (2000). The discourse of world music. Western music and its others: Difference, representation, and appropriation in music, 305-22.
Frith, S. (2007). Taking Popular Music seriously- Selected Essays. Ashgate Publishing.
Glassie, H. (1995). Tradition. The Journal of American Folklore, 108(430), 395-412.
Glissant, É., & Wing, B. (1997). Poetics of relation. University of Michigan Press.
Greenwell, B. (2002). Energies of transformation: A guide to the Kundalini process. Motilal Banarsidass Publishe.
Guilbault, J. (1993). Zouk: world music in the West Indies. University of Chicago Press.
Guilbault, J. (1997). On redefining the" local" through world music. The World of Music, 35(2), 33-47.
Guneratne, A. R. (1998). The Chronotopes of mongrel literatures: Rushdie, Ondaatje, Naipaul and the problems of postcoloniality. Journal of Postcolonial Writing, 37(1-2), 5-23
Hall, S. (1998) 'New Ethnicities' in Donald, J., & Rattansi, A. (Eds.). (1992). Race, culture and difference (Vol. 1). Sage, Milton Keynes.
Halpern, M. (2000). Pranayama, Yoga, and Ayurveda. International Journal of Yoga Therapy, 10(1), 37-43.
Hardt, M., & Negri, A. (2001). Empire. Harvard University Press.
Hart, M. "with Jay Stevens. (1990)." Drumming at the Edge of Magic. Harper.
Heaney, S. (1997). The Spirit Level: Poems. Macmillan.
Hennessy, J. J. (2008). Fiddle Grooves: Identity, Representation, and the Sound of Cape Breton Fiddle Music in Popular Culture.
Hernández, F. (2010). Bhabha for architects. Routledge.
Hijleh, M. (2012). Towards a global music theory: practical concepts and methods for the analysis of music across human cultures. Ashgate Publishing, Ltd.
Holryde, P. (1964). Indian music. George Allen and Unwin Ltd.
Johnson, R. A. (1991). Owning your own shadow: Understanding the dark side of the psyche. Harper.
Hood, M. (1960) ‘The challenge of bi-musicality’,in Ethnomusicology 4, pp.55-59.
Iyer, V. (2004). Improvisation, temporality and embodied experience. Journal of Consciousness Studies, 11(3-4), 159-173.
Johari, H. (2000). Chakras: Energy centers of transformation. Inner Traditions/Bear & Co.
Jairazbhoy, N. (2011 [1971]) The Rags of North Indian Music: Their Structure and Evolution, Mumbai: Popular Prakashen PVT.
Jairazbhoy, N. (2008). ‘What Happened to Indian Music Theory? Indo-Occidentalism?’, in Cooley Timothy J. (ed.) Journal For the Society for Ethnomusicology Vol. 52, No. 3, Fall 2008 University of Illinois Press.
Karoblis, G. (2012). Trial of the concept of hybridity: Halling and dance studies. DancingMosaic: Issues On Dance Hybridity,Malaysia
Kartomi and Blum. (1994). Musical Cultures in Contact: Convergences and Collisions. Gordon and Breau.
Kapchan, D. A., & Strong, P. T. (1999). Theorizing the hybrid. Journal of American Folklore, 239-253.
Kaufman, W. (1968). The Ragas of North India. Indiana University Press.
Kaul, A. R. (2009). Turning the tune: Traditional music, tourism, and social change in an Irish village (Vol. 3). Berghahn Books.
Kearney, R. (1988). Transitions: Narratives in Modern Irish Culture. Manchester University Press.
Kearney, D. (2009). Towards a regional understanding of Irish traditional music (Doctoral dissertation, National University of Ireland, Cork).
Keegan, N. (2010).The Parameters of Style in Irish Traditional Music Volume 1, Issue 1.[online] http://www.irishworldacademy.ie/inbhear/volume-1/n-keegan/pdf/Inbhear-V1-I1-Keegan.pdf [accessed 02/09/2016].
Keil, C. (2004). Groovology and the magic of other people’s music. Artigo, Music Grooves. Disponível em< http://www. musicgrooves. org/articles/GroovologyAndMagic. pdf>(acesso em 20 de janeiro de 2008).
Keil, C. (1987). "Participatory discrepancies and the power of music." Cultural Anthropology 2, no. 3, 275-283.
Keil, C., & Feld, S. (1994). Music grooves (p. 98). Chicago, IL: University of Chicago Press.
Keil, C. (1994). Motion and feeling through music. Music grooves, 53-76.
Khan, A. (2004). Sacred Subversions? Syncretic Creoles, the Indo-Caribbean, and" Culture's In-between". Radical History Review, 89(1), 165-184.
Khan, A. A. and Ruckert, G. (2002). 2nd edition, The Classical Music of North India. Munshiram Manoharlal Publishers.
Kíla. (2011). Book of Tunes-Leabhar Foinn. Coiscéim
Kippen, J. (2005). The Tabla of Lucknow: A cultural analysis of a musical tradition. Manohar Publishers.
Kim, H., & Bianco, J. (2007). The affective turn: Theorizing the social. P. T. Clough, & J. Halley (Eds.). Duke University Press.
Kjeldsen, S. (2000). Lilting: The Tacit Knowledge in Irish Traditional Music, unpublished essay (M. A. Irish Traditional Music Performance) Irish World Academy of Music and Dance. University of Limerick.
Knapp, R. B., Jaimovich, J., & Coghlan, N. (2009). Measurement of motion and emotion during musical performance. In: International Conference on Affective Computing & Intelligent Interaction, 10-12 September 2009, Amsterdam, Netherlands.
Koch, C. (1987). The Lost Hemisphere.". Crossing the Gap: Memories and Reflections.
Korpela, M. (2010). A postcolonial imagination? Westerners searching for authenticity in India. Journal of ethnic and migration studies, 36(8), 1299-1315.
Korpela, M. (2010b). Me, myself and I: Western lifestyle migrants in search of themselves in Varanasi, India. Recreation and Society in Africa, Asia and Latin America, 1(1).
Ladd, M. (2002). The Arab Influence on Irish Traditional Music: Tracing connections between North African and Celtic culture, Journal of Music [online], Published on September 1. [accessed on 21/07/16].
Lakoff, G., & Johnson, M. (2008). Metaphors we live by. University of Chicago press.
Lavezzoli, P. (2006). The Dawn of Indian Music in the West. Continuum International Publishing Ltd.
Leavy, P. (2009). Method Meets Art. The Guilford Press.
Lennon, J. (2003). Irish Orientalism: An Overview. Ireland and postcolonial theory, 129-57.
Lennon, J. (2008). Irish Orientalism: a literary and intellectual history. Syracuse University Press.
Lomax, A. (1977). Appeal for cultural equity. Journal of Communication, 27(2), 125-138.
McCormick, F. (1999). Live in Seattle- Martin Hayes and Dennis Cahill (review) http://www.mustrad.org.uk/reviews/m_hayes.htm [accessed on 29/08/2016].
Mac Mahon, T. (1996) ‘Music of the powerful and majestic past’ in T. F Vallely, H Hamilton, E Vallely, L Doherty. Crosbhealach an Cheoil: The Crossroads Conference 1996: Tradition and Change in Irish Traditional Music. Dublin: Whinstone Music, 112-120.
McMeil, A. (2007). Improvisation as Conversation: A Cross Cultural Perspective, Journal of the Indian Musicological Society (38).
McNeil, A. (2004). Inventing the sarod: a cultural history. Seagull books.
McNeil, A. (1995). A MOUSE, A FROG, THE HAWAIIAN GUITAR AND WORLD MUSIC AESTHETICS Vishwa Mohan Bhatt and Ry Cooder Meet by the River. Perfect Beat, 2(3), 82-97.
Madden, A. (1989). Lilting in Ireland: a preliminary consideration (Doctoral dissertation, MA dissertation, Ethnomusicology, Queen’s University of Belfast).
Madison, G. (2006). "Experiencing groove induced by music: consistency and phenomenology." Music Perception: An Interdisciplinary Journal 24,2, 201-208.
Madison, G., Gouyon, F., & Ullén, F. (2009). Musical groove is correlated with properties of the audio signal as revealed by computational modelling, depending on musical style. In Proceedings of the SMC 2009: 6th Sound and Music Computing, Conference, 23-25 July 2009, Porto, Portugal.
Martin,D.C. (2008). Can Jazz be rid of the racial imagination? Creolization, radical discources and semiology of music. Psychology Press.
Massumi, B. (2002). Parables for the virtual: Movement, affect, sensation. Duke University Press.
Melrose, S. (2011). ‘A Cautionary Note of Two, Amid the Pleasures and Pains of Participation in Performance making as research’, Keynote Address presented at the Participation, Research and Learning in the Performing Arts Symposium, Centre for Creative Collaboration, London. [online], available: www.sfmelrose.org.uk/pleasure-pain, [accessed 20 June 2013].
Melrose, S. (2002). ‘Entertaining Other Options’, Inaugural Lecture. Middlesex University, web-published on www.sfmelrose.u-net.com/inaugural/ [Accessed 21 June 2012].
Merriam, A. (1964). The Anthropology of Music, Evanston, Northwestern University Press.
Meyer, L. B. (2008). Emotion and meaning in music. University of Chicago Press.
Moore, T. (1843). The history of Ireland. Baudry.
Morton, F. (2005). "Performing ethnography: Irish traditional music sessions and new methodological spaces." Social & cultural geography 6.5, 661-676.
Munnely, T. (1996) ‘Black pudding and bottles of smoke’ in F Vallely, H Hamilton, E Vallely, L Doherty .(1999). Crosbhealach an Cheoil: The Crossroads Conference: Tradition and Change in Irish Traditional Music. Dublin: Whinstone Music, 140-147.
Mujumadar, N. (2013). The Hindu Times- The original pioneer. August 9th, 2013.
Nettl, B. (1983). Ethnomusicology: definitions, directions, and problems. Musics of many cultures: an introduction, 1-9.
Nettl, B. (1992). Ethnomusicology and the teaching of world music.International Journal of Music Education, (1), 3-7.
Neuman, D. M. (1990). The life of music in North India-The organization of an Artistic tradition. University of Chicago Press.
Noone, M. (2016). Third Space Ensemble and the Bucks of Bangalore: An Ethnography of Irish-Indian Music Pedagogy. Journal of the Vernacular Music Center, 1(2).
Noone, M. (2016a). The Mongrel metaphor: an arts practice response to understanding musical hybridization. Ethnomusicology Ireland, 4 (August 2016).
Noone, M. (2016b). Reclaiming the Mongrel: A Practice Based Exploration of the Sympathies Between Irish and Indian music. In Bell, D. (ed.). Mind the Gap! Working papers on practice-based doctoral research in the creative arts and media. Distillers Press.
Noone, M. (2015). A way into India. Journal of music[online]. Published 5th May, 2015 [accessed 23 May 2016].
Noone, M. (2013). NORTH INDIAN CLASSICAL MUSIC AND THE KOLKATA EXPERIENCE: ALCHEMICAL SCHISMOGENESIS AND BEING-IN-THE-WORLD IN A MUSICAL WAY. Ethnomusicology Ireland 2/3 (July 2013).
O' Brien, D. (2014) The endless search for SA: spiritual ideology in Hindustāni music. PhD Thesis, University College Cork.
O' Boyle, S. (1977). The Irish song tradition. Macmillan of Canada.
Ó Canainn, T. (1978). Traditional music in Ireland. Routledge.
O' Connor, N. (2001). Bringing it all Back Home: The influence of Irish music at home and overseas. Merlin Pub.
O' Driscoll, R. (1982). The Celtic Consciousness. George Braziller.
O’Dwyer, P. (2001). The Irish and substance abuse. Ethnocultural factors in substance abuse treatment, 199-215.
O' Flaherty, W. D. (1979). Sacred cows and profane mares in Indian mythology. History of Religions, 19(1), 1-26.
O’ Flynn, John. (2009). The Irishness of Irish music. Ashgate.
O’ hAllmhurain, G. (1998). O'Brien Pocket History of Irish Traditional Music. O'Brien Press.
Ohlmeyer, J. (2015). Ireland, India and the British Empire. Studies in People's Histories.2,2 p. 169-188. SAGE: Los Angeles
Ó Laoire, L. (2003). Sean-nós Singing & Exoticism- A review of two new Connemara sean-nós CDs by Josie Sheáin Jeaic and Sarah Ghriallais, Journal of Music, Volume 3, No. 2.
O'Neill, F. (Ed.). (1907). The dance music of Ireland: 1001 gems: double jigs, single jigs, hop or slip jigs, reels, hornpipes, long dances, set dances, etc. Lyon & Healy.
O'Neill, F. (1910). Irish Folk Music: A Fascinating Hobby, with Some Account of Allied Subjects Including O'Farrell's Treatise on the Irish Or Union Pipes and Touhey's Hints to Amateur Pipers. Regan Print. House.
Ó Ríada, S., Kinsella, T., & Canainn, T. Ó. (1982). Our musical heritage. Dolmen Press.
O'Shea, H. (2008). The making of Irish traditional music. Cork University Press.
Ó Snodaigh, R. (2001). Nua Traditional / Ceol Nua Dúchasach. In Kíla (2011) Book of tunes. Coisceim.
Ó Snodaigh, R. (2011). Nua Traditional / Ceol Nua Dúchasach JMI: The Journal of Music in Ireland, Vol. 1 No. 3
Ó Súilleabháin, M. (1983). Bunting's Ancient music of Ireland. Cork University Press.
Ó Súilleabháin, M. (1981). Irish Music Defined. The Crane Bag, 5(2), 83-87.
Ó Súilleabháin, M. (1987). Innovation and tradition in the music of Tommie Potts (Doctoral dissertation, Queen's University of Belfast,).
Ó Súilleabháin, M. (1990). "The Creative Process in Irish Traditional Dance Music." Gerard Gillan and Harry White Irish Musical Studies. Dublin: Irish Academic Press, 117-130.
Ó Súilleabháin, M. (1994). ‘All our central fire ’Music, mediation and the Irish psyche. The Irish Journal of Psychology, 15(2-3), 331-353.
Ó Súilleabháin,. (1998). Around the House and Mind the Cosmos”: Music, Dance and Identity in Contemporary Ireland. Music in Ireland, 1848-1998: Thomas Davis Lectures, 17-26.
Ó Súilleabháin, M. (2003). An island sound: reflections on music, politics and identity in contemporary Ireland. Ireland in the New Century-Politics, culture and identity. Robert Savage Jr. Ed) Dublin: Four Courts Press.
Ó Súilleabháin, M. (2004). Listening to difference: Ireland in a world of music.Global aspirations and the reality of change-how can we do things differently? (Bohan and Kennedy Eds). Veritas.
Pine, R. (ed). (1999). 'Around the House and Mind the Cosmos - Music, Dance and Identity in Contemporary Ireland, Music in Ireland 1848-1998. Mercier Press: Cork.
Pelias, R. (2004). A Methodology of the Heart: Evoking Academic and Daily Life. AltaMira Press.
Petrie, G. (1855). Ancient music of Ireland. Holden.
Prasad, R. (2009). Alcohol use on the rise in India. The Lancet, 373(9657), 17-18.
Porter, J. (2001). "Mode §IV: Modal Scales and Traditional Music". The New Grove Dictionary of Music and Musicians, second edition. Macmillan Publishers.
Prajnanananda, S. (1997 [1963]) A History of Indian Music. Ramakrishna Vedanta Math.
Quaye, J. (2007) ‘Voice of the Researcher: Extending the Limits of What Counts as Research’ Journal of Research Practice, Vol.3, Issue 1, [online], available:
http://jrp.icaap.org/index.php/jrp/article/view/60/129 [accessed 9 October 2009].
Quigley, C. (2012). Tradition as a generative process- An example from European/ Euro-American fiddling, Pál Richter (ed). Musical Traditions Discovery, Inquiry, Interpretation, and Application XXVI European Seminar in Ethnomusicology Institute of Musicology, Budapest, 45-55.
Quinn, B. (2003). A response Bob Quinn, the maker of the Atlantean films, which traced connections between Ireland and North Africa,to 'Sean-nós singing and exoticism', a review by Lillis Ó Laoire of two sean-nós singing CDs, which appeared in the Jan/Feb issue of JMI. Journal of Music, Volume 3, No. 3.
Quinn, B. (2005). The Atlantean Irish: Ireland's Oriental and Maritime Heritage. Lilliput Press Ltd.
Rahaim, M. (2012). Musicking Bodies: Gesture and Voice in Hindustani Music. Wesleyan University Press
Rathjen, F. (2002). Silence, Migration, and Cunning: Joyce and Rushdie in Flight. James Joyce Quarterly, 39(3), 553-558.
Rice, T. (1994). May if fill your soul: Experiencing Bulgarian music. University of Chicago Press.
Rice, T. (2010). Ethnomusicological Theory. Volume 42. Yearbook for traditional music. International Council for Traditional Music.
Rimmer, J. (1962). The Irish Harp. Mercier Press.
Riley, S. R. (2004). Embodied perceptual practices: Towards an embrained and embodied model of mind for use in actor training and rehearsal. Theatre Topics, 14(2), 445-471.
Rodriguez, G. (2003). Mongrel America. Atlantic Monthly, 291(1).
Rowell, L. (1992). Music and Musical Thought in Early India. University of Chicago Press.
Ruckert, G. (2004). "Music in North India." Experiencing Music, Expressing Culture .
Rushdie, S. (1991). Imaginary homelands: essays and criticism 1981-1991. London:Grant
Rushdie, S. (2010). Midnight's children. Random House.
Rushdie, S. (2011). The satanic verses. Random House.
Said, E. (1978). Orientalism. Pantheon Books.
Said, E. (1993) Culture and Imperialism. Vintage.
Sandercock, L., & Lyssiotis, P. (Eds.). (2003). Cosmopolis II: Mongrel cities of the 21st century. A&C Black.
Sandercock, L. (2006). Cosmopolitan urbanism: a love song to our mongrel cities. Cosmopolitan urbanism, 37-52.
Schechner, R. (2002). Performance Studies-An Introduction. Routledge.
Schechner, R. (2003). Performance Theory, revised ed. Routledge.
Schery, R. W. (1972). Plants for man. Prentice Hall.
Schatzki, T., Knorr Cetina, K. and Von Savigny, E., eds.(2001). The Practice Turn in Contemporary Research. Routledge.
Schiller, R. (2002). The Lambeg and the Bodhrán: drums of Ireland. Institute of Irish Studies.
Schippers, H. (2007). ‘The Guru Recontextualized? Perspectives on Learning North Indian Classical Music in Shifting Environments for Professional Training’, in Asian Music, vol. 38, no. 1, Society for Asian Music.
Schippers, H. (2010). Facing the music: Three personal experiences, five historical snapshots, seven conceptual shifts and twelve continua as an accessible pathway to understand different approaches to cultural diversity in music education. Finnish Journal of Music Education, Vol. 13(1), pp. 39-44.
Schultz, A. P. K. E. (1908). Race or Mongrel. Ayer Publishing.
Shankar, Ravi. (2000). Rag Mala. George Allen and Unwin Ltd.
Shankar, R. (2007 [1968]) My Music, My Life. Mandala Publishng.
Sharma, S., Hutnyk, J. & Sharma, A. (eds) (1996) Disorienting Rhythms – The Politics
Of The New Asian Dance Music. Zed Books.
Siddhartha (2004). ‘Our souls cannot keep pace’ in Agustí Nicolau Coll (ed) The Intercultural Challenge, Pipal Tree, 71-81.
Stewart, C., & Shaw, R. (1994). Syncretism/anti-syncretism: the politics of religious synthesis. Psychology Press.
Shusterman, R. (2000). Performing live: Aesthetic alternatives for the ends of art. Cornell University Press.
Siggins, L. (2013). Galway en fete with both arts and fringe festivals. Irish Times, July 16, 2013.
Simms, R. (1992). ‘Aspects Of Cosmological Symbolism In Hindustani Musical Forms’, in Asian Music, volume 24, number 1, Fall/Winter.
Simon, R. L. (1985). Spiritual Aspects of Indian Music. South Asia Books.
Small, C. (1998). Musiking: The Meanings of Performance and Listening. Middletown, CT.
Smyth, G. (2009). Music in Irish Cultural History. Irish Academic Press.
Solís, T. (2004). Performing ethnomusicology: Teaching and representation in world music ensembles. University of California Press.
Sommers Smith, S. K. (2001). Irish traditional music in a modern world. New Hibernia Review, 5(2), 111-125.
Stobart, H. (Ed.). (2008). The new (ethno) musicologies (No. 8). Rowman & Littlefield.
Stockhammer, P. W. (2012). Questioning hybridity (pp. 1-3). Springer Berlin Heidelberg.
Stokes, M. (Ed.). (1994). Ethnicity, identity, and music: The musical construction of place. Berg Pub Limited.
Stokes, Martin. (1994b). Music and the Global Order. Annual Review of Anthropology, Vol. 33, pp. 47-72.
Stokes, M., & Bohlman, P. V. (2003). Celtic modern: music at the global fringe (No. 1). Scarecrow Pr.
Stokes, M. (2003). Globalization and the Politics of World Music. The cultural study of music: A critical introduction, 297.
Stone, R. (2008). Theory for ethnomusicology. Prentice Hall.
Strangways, A. H. Fox (1914). The Music of Hindostan. Oxford University Press.
Stross, B. (1999). The hybrid metaphor: From biology to culture. Journal of American Folklore, 254-267.
Tansey, S. (1996). ‘Irish traditional music-the melody of Ireland’s soul; it’s evolution from the environment, land and people’ in F Vallely, H Hamilton, E Vallely, L Doherty. Crosbhealach an Cheoil: The Crossroads Conference 1996: Tradition and Change in Irish Traditional Music. Dublin: Whinstone Music, 211-214
Tariq A. (2012). What the Beatles Missed About Ravi Shankar. Counterpunch.
Taylor, T. D. (1997). Global pop: World music, world markets. Psychology Press.
Taylor, T. D. (2007). Beyond exoticism: western music and the world. Duke University Press.
Thompson, K. (2002). A Critical Discourse Analysis of World Music as theOther'in Education. Research Studies in Music Education, 19(1), 14-21.
Thompson, M., & Biddle, I. (Eds.). (2013). Sound, music, affect: Theorizing sonic experience. Bloomsbury Publishing USA.
Toop, D. (1995). Ocean of Sound: aether talk, ambient sounds and imaginary worlds. Serpent’s Tail.
Turino, T. (1999). Signs of Identity, Imagination and Experience: A Peircean theory for Ethnomusicology. Ethnomusicology 43, 221-255.
Turino, T. (2000). Nationalists, cosmopolitans, and popular music in Zimbabwe. University of Chicago Press.
Turino, T. (2008). Music as social life. University of Chicago Press.
Vallely, Hamilton, Vallely, Doherty (eds) (1999). Crosbhealach an Cheoil: The Crossroads Conference 1996: Tradition and Change in Irish Traditional Music. Dublin: Whinstone Music
Vallely, F., & Piggott, C. (1998). Blooming meadows: the world of Irish traditional musicians. Roberts Rinehart Pub.
Vallely, F. (Ed.). (1999). The companion to Irish traditional music. NYU Press.
Vallely, F. (Ed.). (2011). The companion to Irish traditional music 2nd edition. Cork University Press
Vallely, F. (2013). The Making of Irish traditional music, review in Discord notes-Dublin Book reviews, Issue 40, September 9th.
Van Der Meer, W. (1980). Hindustani Music in the 20th Century. Allied Publishers.
Van De Meer, W. (2005). Visions of Hindustani Music. the world of music, 105-118.
Van De Meer, W. (2006). The systematic approach in studying Hybridity of Music-cultures. Journal of the Indian Musicological Society, 17-29.
Van Der Meer, W. (2015). Gandhara in Darbari Kanada, the mother of all shrutis?.
Van Maanen, J. (1988). Tales of the Field: On Writing Ethnography. University of Chicago Press.
Vaughn, K. V. (1991). Perceptual and cognitive implications of the Tambura drone: figure-ground interaction with ten north Indian scale types (Doctoral dissertation, UCLA).
Viswanathan, G. "Ireland, India, and the poetics of internationalism." Journal of World History 15, no. 1 (2004): 7-30.
Wade, B. (2009). Thinking Musically. Oxford University press.
Wade, B. (2004 [1979]) Music in India: The Classical Traditions. Manohar Publishers.
Wallis, G., & Wilson, S. (2001). The Rough Guide to Irish Music. Rough Guides.
Wall, S. (2006). ‘An Autoethnography on Learning about Autoethnography’. International Journal of Qualitative Methods, Vol.5, No.2.
White, H. (1998). The keeper's recital: music and cultural history in Ireland, 1770-1970 (Vol. 7). Univ of Notre Dame Press.
White, H. (2008). Music and the Irish Literary Imagination. Oxford University Press.
Widdess, R. (1995). The Ragas of Early Indian Music: Modes, Melodies, and Musical Notations from the Gupta Period to c.1250. Clarendon Press.
Williams, S. (2004). Melodic Ornamentation in the Connemara Sean-nós Singing of Joe Heaney. New Hibernia Review, 8(1), 122-145.
Wilkinson, D. (2011). FROM DONEGAL TO SENEGAL: AN EXPERIENCE OF THE PROCESS OF COLLABORATION IN INTERCULTURAL ENSEMBLE PRACTICE. Ethnomusicology Ireland: Volume 1
Whitehead, A. N. (1968) Modes of thought. Vol. 93521. Simon and Schuster.
Yazdiha, H. (2010). Conceptualizing hybridity: Deconstructing boundaries through the hybrid. Formations, 1(1), 31-38.
Other Reference Materials
Audio recordings
AFRO CELT SOUND SYSTEM. (1996). Afro Celt Sound System: Volume 1: Sound Magic. Realworld.
Asian Dub Foundation. (2003). Enemy of the Enemy. Ffrr Records.
Bhatt, V. M. (1993). A Meeting by the River. Water Lily Acoustics.
The Bothy Band. (1975). Self-titled. Green Linnet.
Canny, P. and Hayes, P. J. (2004) All-Ireland Champions - Violin: Meet Paddy Canny & P.J. Hayes. Dublin Records.
Chandra, S. (1992). Weaving my ancestors’ voices. Realworld.
Clancy, W. (1994). The Minstrel from Clare. Green Linnet Records.
Crehan, J. (2006). The Last House in Ballymakea. Independent release.
Delhi 2 Dublin. (2013). We’re all Desi. Westward Records.
Dunster, C. Jamie, V. (1998). Celtic Ragas. New Earth Records.
Hayes, M. O Raghallaigh, C, & O’ Ríada, P. (2012). TríurArírs-Tráthann An Taoide. Independent release.
Hassell, J., & Eno, B. (1980). Fourth World Vol. 1: Possible Musics. Editions EG.
Hayes, M. and Cahill, D. (1999). Live in Seattle. Green Linnet.
Hayes, M., & Cahill, D. (2008). Welcome here again. Compass Records.
Hayes, T. & Noone, M. (2015). AnTara The space between. Independent release.
Khan, A. (1995). Traditional music of India. Prestige Records.
Khanda. (2007). A Tale of Five cities. Improvised Music Company.
Indo-Celt. (2005). Land of Dreams. IndoCelt Records.
The Gloaming. (2014). Self titled. Real World Records.
McLaughlin, J., Hussain, Z., & Shankar, L. (1991). Shakti with John McLaughlin. Sony Music.
Monsoon Trio. (2015). Pranaam. Independent Release.
Ó Súilleabháin, M. (1992) Gaiseadh/Flowing. Virgin Records
Potts, T. (1972) The Liffey banks. Claddagh Records.
Planxty. (1973). The well below the valley. Shanachie Records.
Sawhney, N. (1999). Beyond Skin. Outcaste Records/Zomba publishing
Interviews by the Author
Hayes, Martin (January 27, 2015) Flagmount, East Clare, Ireland: in Martin's kitchen.
Hayes, Martin (December 18, 2014) Agra, India: bus on route to the Taj Mahal
Hayes, Martin (December 16, 2014) Delhi, India: in Hotel
Cahill, Dennis (December 17, 2014) Delhi, India: in taxi
Cahill, Dennis (December 16, 2014) Delhi, India: in Hotel
Lal, Utsav (December 20, 2014) Mumbai, India: in Hotel
Tweedie, Alan (December 19, 2014) Mumbai, India: Liberty Hall (post-concert)
Nath, Paras (December 19, 2014) Mumbai, India: Liberty Hall (backstage)
Ó Suílebheánn, Micheál (April 15, 2013) Limerick, Ireland: Pavilion, University of Limerick
O' Ríada, Peadar (April, 2014) Cuíl Aodha, Co. Cork, Ireland: O' Ríada family home
Third Space Ensemble (April, 2013) Limerick, Ireland: Pavillion, University of Limerick
Hayes, Tommy (26 March, 2016) Co, Clare, Ireland: in my van on route to gig
Sanyal, Debojyoti (3 August, 2016) Faha, Co, Clare, Ireland: in my home studio