Abstract
This article discusses the musical characteristics of the concept developed since 2001 by UNESCO of specific cultural traditions worthy of international recognition. The influence of Irish music goes far beyond the Irish diaspora and deserves our attention, despite its relative discretion and the intangible nature of music and of its study outside musicological circles: one of the consequences of its progressive deterritorialisation over the last few decades is now apparent in the Irish desire to repatriate it, notably through the inclusion on UNESCO’s List of Intangible Cultural Heritage of two emblematic instruments, the uilleann pipes and the harp.
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