ABSTRACT
Aesthetic political representations of the Irish spirit currently fluctuate between discourses of communitarian essentialism and the transcendental homelessness of a race of angels. Not only does the general category of Irish music enjoy a high level of exposure in international markets; related to this trend and of equal significance is the impact that broader notions of Irishness can have in transnational contexts. It could be said then that the potential global significance of 'Irish music' arises no less from its ideological packaging than it does from the actual music that is consumed – and to a lesser extent, produced – by non-Irish populations around the globe. A sense of reflexivity notwithstanding, the Irishness of Irish music is predominantly constructed with reference to sonic features and cultural phenomena that are considered unique, filtered out as it were from the totality of music identifications experienced across a range of social groups.
