The Litany of the Saints: Musical Quotations and Influences in the Music of Tommie Potts.

Works Cited

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Ennis, Séamus (1972) The Liffey Banks, Tommie Potts. Sleeve notes. Dublin: Claddagh Records.

Heaney, Seamus (1995) The Redress of Poetry, London: faber and
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Mitchell, Pat (1976) The Dance Music of Willy Clancy, Dublin and Cork: Mercier.

Ó Mórdha, Seán (1982) The Blue Note, Television film. Dublin: Radio Teilifis Eireann.

O’Neill, Francis (1907) The Dance Music of Ireland: 1001 Gems. Chicago. Reprint, Dublin: Waltons 1965.

Ó Súilleabháin, Mícheál (1981) 'Irish Music Defined', The Crane
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Ó Súilleabháin, Mícheál (1982) ‘My Love is in America - Melodic Deviation and the Programmatic in the fiddle playing of Tommie Potts’, An Fhidil Ghaelach, vol.1, no. 1. Caoimhin MacAoidh, ed. Cork.

Ó Súilleabháin, Mícheál (1984) The Bodhran: A Practical Introduction, Dublin: Walton’s Publishing.

Ó Súilleabháin, Mícheál (1987) Innovation and Tradition in the Music of Tommie Potts, Ph.D. thesis, Department of Social Anthropology, Queen's University Belfast.

Ó Súilleabháin, Mícheál (1990) 'Creative Process in Irish Traditional Dance Music', in Gerard Gillen and Harry White, Irish Musical Studies 1: Musicology in Ireland. Dublin: Irish Academic Press.

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Ó Súilleabháin, Mícheál (2004b) ‘Listening to Difference: Ireland in a World of Music’, in Harry Bohan and Gerard Kennedy, eds. Global Aspirations and the Reality of Change, Dublin: Veritas.

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Potts, Tommie (1972) The Liffey Banks, Dublin: Claddagh Records.

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End Notes

[i]

A fieldwork technique where a recording is made of the response of the musician to a previously made filed tape of his own playing. In this case, ‘fieldback’ consisted of an audio recording of Potts and I viewing a video tape I had made of his playing the previous day. I encouraged him to have his fiddle to hand, and on occasion I paused the video tape to allow him to comment (and play as a further means of elucidation) on some aspect of his music. ‘Fieldback’ was the key that allowed Potts to unlock the information concerning his musical borrowing.

 

[ii]

Defined in Ó Súilleabháin 1987:82 and 135 as: “Certain motifs which tend to remain unchanged, or to undergo little change, in the various settings of a piece in the tradition”.

 

[iii]

See Ó Súilleabháin 1996: 175 –199 for details of the concept of ‘alteration’ as distinct from ‘variation’ and ‘deviation’.

 

[iv]

See Ó Súilleabháin 1996:175 –199 for a detailed analysis of this piece