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Each part is played twice, and the entire tune is played three times AABB, AABB, AABB. The parts are referred to as the A-part, B-part, and so on. Tunes are typically binary in form, divided into two (or sometimes more) parts, each with four to eight bars. Mazurkas and hornpipes have a swing feel, while other tunes have straight feels. Many tunes have pickup notes which lead in to the beginning of the A or B parts. A common pattern is A Phrase, B Phrase, A Phrase, Partial Resolution, A Phrase, B Phrase, A Phrase, Final Resolution, though this is not universal mazurkas, for example, tend to feature a C Phrase instead of a repeated A Phrase before the Partial and Final Resolutions, for example. Irish dance music is isometric and is built around patterns of bar-long melodic phrases akin to call and response.
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Historically much old-time music of the USA grew out of the music of Ireland, England and Scotland, as a result of cultural diffusion. The international success of The Chieftains and subsequent musicians and groups has made Irish folk music a global brand. Irish showbands presented a mixture of pop music and folk dance tunes, though these died out during the seventies. The lush sentimental style of singers such as Delia Murphy was replaced by guitar-driven male groups such as The Dubliners.
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Following the success of The Clancy Brothers and Tommy Makem in the US in 1959, Irish folk music became fashionable again. The English Folk music scene also encouraged and gave self-confidence to many Irish musicians. Comhaltas Ceoltóirí Éireann (an Irish traditional music association) and the popularity of the Fleadh Cheoil (music festival) helped lead the revival of the music. From the end of the Second World War until the late fifties folk music was held in low regard. Irish traditional music has endured more strongly against the forces of cinema, radio and the mass media than the indigenous folk music of most European countries. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists. Important collectors include Colm Ó Lochlainn, George Petrie, Edward Bunting, Francis O'Neill, James Goodman and many others. There are several collections of Irish folk music from the 18th century, but it was not until the 19th century that ballad printers became established in Dublin. There is also evidence of the fiddle being used in the 8th century. These were the cruit (a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn ( hornpipes), the cuislenna ( bagpipes – see Great Irish warpipes), the stoc and sturgan ( clarions or trumpets), and the cnamha ( bones). Grattan Flood wrote that, in Gaelic Ireland, there were at least ten instruments in general use. Irish traditional music (also known as Irish trad, Irish folk music, and other variants) is a genre of folk music that developed in Ireland. Statues of traditional musicians, Lisdoonvarna