This thesis examines 'transformations' of Irish traditional music represented
in speech, notation and writing in historical and contemporary contexts.
Instances of these three modes of transformation are examined, and their
structure, role and motivations in the context of Irish traditional dance
music are interrogated, drawing on cognitive linguistics, structuralist and
post-structuralist discourse. The thesis illustrates the way that the
community supporting this set of performance practices engages in the
creative use of language and signs to frame their own music making.
Fundamental to these processes is the use of metaphor, as understood in the
tradition of scholars such as George Lakoff, Mark Turner and Mark
Johnston.
The development and use of these transformations by traditional musicians
occur in a context dominated by the power of language and symbols. This
development is motivated by a number of societal and aesthetic factors as
well as the contemporary need to frame this music culture in the
contemporary world. The way in which the nature of these transformations
frames and shapes the discourses of the music community, as well as the
music itself, is highlighted and examined