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Cited by

• 2017Heritage Passions, Heritage Convictions, and the Rooted L2 Self: Music and Gaelic Language Learning in Cape Breton, Nova Scotia74 cited
• 2017A brave new world: theory to practice in participatory culture and music learning and teaching61 cited
• 2002Beyond the commons : the expansion of the Irish Music Rights Organisation, the elimination of uncertainty, and the politics of enclosure35 cited
• 2008‘Country life’? Rurality, folk music and ‘Show of Hands’33 cited
• 2008The Irish Folklore Commission 1935-1970: History, ideology, methodology33 cited
• 2013Reeling in the Strathspey: The Origins of Scotland’s National Music22 cited
• 1999Beyond ‘plastic paddy’: A re‐examination of the second‐generation Irish in England21 cited
• 2004Resisting Cultural Standardization: Comhaltas Ceolt�ir� �ireann and the Revitalization of Traditional Music in Ireland17 cited
• 2018“Not just bow and string and notes”: Directors’ perspectives on community building as pedagogy in Celtic traditional music education organizations13 cited
• 2007Once the beat gets going it really grooves: Informal music learning as experienced by two Irish traditional musicians10 cited
• 2008‘Good man, Mary!’ Women musicians and the fraternity of Irish traditional music9 cited
• 2012Institutionalization in cultural industries6 cited
• 1999“It is new‐strung and shan't be heard”: Nationalism and memory in the Irish harp tradition