Hybridity and national musics: the case of Irish rock music

Abstract

Introduction: Irishness and the ‘gift of song’ A key element in the range of stereotypes characteristically assigned to the Irish has been their natural proclivity for music and song, a feature of colonial discourse that can be traced back even to the Norman invasions of the twelfth century. However, the powerful link between the Irish and musicality (along with a host of other, considerably less attractive traits) was finally consolidated in the Victorian era at the height of the British imperial project (Curtis 1971; Busteed 1998). Irish music by this stage was constructed as a specific ethnic category based on the assumption that there was an identifiably Irish musical style that existed as an expression of the people, a reflection of their innate feelings and sensibilities. Music, therefore, became a feature of ‘race’, taking on properties for the coloniser that appeared to transcend the passage of time, that remained fixed and unchanging.

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