Got a piping study approved-yee ha
Got a piping study approved-yee ha
I just got advisor approval to do an independent study on 'informal music education as it applies to u.pipes' at Irish Week/Augusta(which sort of makes up for not getting the go ahead on my dissertation idea). Ya just gotta love academia-not only am I gonna get course credit but I'm getting a small stipend to boot .......hope some of you out there on the board are planning on going- I'd love to get some interviewees lined up before Irish week starts.
-
jeff_lindblade
- Posts: 43
- Joined: Wed Jan 15, 2003 6:00 pm
-
j.hohl.kennedy
- Posts: 103
- Joined: Wed Oct 02, 2002 6:00 pm
- antispam: No
- Please enter the next number in sequence: 8
- Location: Galway, Ireland
Re: Got a piping study approved-yee ha
Janice,janice wrote:I just got advisor approval to do an independent study on 'informal music education as it applies to u.pipes' at Irish Week/Augusta(which sort of makes up for not getting the go ahead on my dissertation idea). Ya just gotta love academia-not only am I gonna get course credit but I'm getting a small stipend to boot .......hope some of you out there on the board are planning on going- I'd love to get some interviewees lined up before Irish week starts.
Is this something that you're doing out of a college or university?
*jonathan*
I'm doing my program at Michigan State...and yes, I'm planning to speak with both Jerry and Mick Maloney prior to the start of the week (I have to get clearance from my University ethics committee for all interviews before I go). What's really cool about all of this is that while there are academics out there who've studied the music from an ethno perspective (Mick's one, Larry McCullough is another) there are very few who have studied it from a music education point of view-and niether of those folks(Marie McCarthy and Kari Veblen) play the music, they've just studied the informal transmission of it. Informal music education is the next big thing in the music education field-I hope to be the first person who writes about informal music education from a Irish player's perspective. The aim is to have a publishable article when I'm done the week; it will be qualatative in nature, and so I'm going to need to get several different people's perspectives to be able to verify whatever it is that I find/conclude.
Either way, it will easily be the most enjoyable research that I will have done in my program so far.
Either way, it will easily be the most enjoyable research that I will have done in my program so far.
-
Patrick D'Arcy
- Posts: 3187
- Joined: Sun Aug 19, 2001 6:00 pm
- antispam: No
- Please enter the next number in sequence: 12
- Location: Los Angeles (via Dublin, Ireland)
- Contact:
Fintan Valelly on The Late Session
Hi Janice,
You should listen to the latest Late Session http://www.rte.ie/rams/radio/thelatesession.ram
In the second half of the show Áine talks to Fintan Vallely about the Crosbhealach an Cheoil-The Crossroads Conference 2003
http://www.cros2003.com
Have a look at their website and listen to the interview to find out what it's all about. Basically a debate among authorities on the topic of traditional Irish music in various realms. This year it is focusing on traditional Irish music in education... sounds like it'd be right up your alley?
Patrick.
You should listen to the latest Late Session http://www.rte.ie/rams/radio/thelatesession.ram
In the second half of the show Áine talks to Fintan Vallely about the Crosbhealach an Cheoil-The Crossroads Conference 2003
http://www.cros2003.com
Have a look at their website and listen to the interview to find out what it's all about. Basically a debate among authorities on the topic of traditional Irish music in various realms. This year it is focusing on traditional Irish music in education... sounds like it'd be right up your alley?
Patrick.
Thanks so much Patrick.....this will be really useful (not to mention extremely interesting). What's really intriguing are the arguments surrounding the whole 'acadefying' of traditional music...same thing is happening now in the jazz world-is it still the tradition if you learn it outside of its cultural context? Anyway-thanks again, this is just great stuff, I'll be able to take advantage of all the info.
-
jeff_lindblade
- Posts: 43
- Joined: Wed Jan 15, 2003 6:00 pm
I would be very interested in reading an insightful look at the role which culture plays in informal music education. In our case specifically Irish vs. Non-Irish success at learning the pipes.janice wrote:Informal music education is the next big thing in the music education field-I hope to be the first person who writes about informal music education from a Irish player's perspective.
U Pipes being about as traditional "Irish" an instrument as you could find, it seems like this would be a great test case to use. Apparently there is a music competency portion of the national examination process that Irish young people are compelled to complete. I understand that only a small portion of the people pick traditional instruments to play/study for this exam. (most pick keyboards or piano) I wonder who among them is doing the exam on the pipes? Also I wonder how their success is evaluated?
I suppose the resurgence of the pipes in the US has created a sub-culture of American learners/teachers. I wonder if there are commonly accepted education practices (which probably mirror the culturally formed educational background of the particular instructor eg. inclusion, process based evaluations, etc. ) in the US at tionols or workshop weeks (like Augusta), that diverge from or overlap their Irish counterparts? For example, it is interesting to hear the anecdotal stories of American pipers exposed to the WC week class placement process. I've never been (yet!) but I've promised myself I will be on top of my game before I go.
I'm trying to decipher for myself the subtle ways which cultural differences affect music etiquette- particularly in the context of a session. I still feel like I have a lot to learn.
jeff
Hi Janice,
You might get some interesting perspectives from sean-nós singing; we're just starting to see it taught in a classroom situation in addition to the informal community setting.
The fact that the singing is in the Irish language intensifies the cultural aspects--a person learning in the traditional community is singing in his/her mother tongue, about familiar events, people, places, etc. Beside a community-taught native, then, a "formally" taught singer can sometimes sense acutely his/her own cultural deficit and disconnectedness from the song.
In the instrumental world, we sometimes tend to view a tune as just a tune--there are no lyrics involved, so we don't feel as inclined to worry overly about its cultural trappings. To hear the old musicians tell it, though, the history and lineage of a tune are every bit as important as for a song; indeed ballad-playing, at least, certainly used to demand a thorough and heartfelt knowledge of the lyrics.
I think it's possible that formal learners will often have a culturally-foreign "accent" then, to their playing, even if they become very technically proficient, though I'm selfish enough to think that perhaps with really hard work and committment even this can be overcome.
Formal vs. community learning is a very hot topic in the sean-nós world right now--the past 7 years or so have seen classroom results ranging from hideously botched to quite decent. If you're at all interested I'd be (obviously!) happy to rant on, and to put you in touch with fellow teachers/ranters.
BC
You might get some interesting perspectives from sean-nós singing; we're just starting to see it taught in a classroom situation in addition to the informal community setting.
The fact that the singing is in the Irish language intensifies the cultural aspects--a person learning in the traditional community is singing in his/her mother tongue, about familiar events, people, places, etc. Beside a community-taught native, then, a "formally" taught singer can sometimes sense acutely his/her own cultural deficit and disconnectedness from the song.
In the instrumental world, we sometimes tend to view a tune as just a tune--there are no lyrics involved, so we don't feel as inclined to worry overly about its cultural trappings. To hear the old musicians tell it, though, the history and lineage of a tune are every bit as important as for a song; indeed ballad-playing, at least, certainly used to demand a thorough and heartfelt knowledge of the lyrics.
I think it's possible that formal learners will often have a culturally-foreign "accent" then, to their playing, even if they become very technically proficient, though I'm selfish enough to think that perhaps with really hard work and committment even this can be overcome.
Formal vs. community learning is a very hot topic in the sean-nós world right now--the past 7 years or so have seen classroom results ranging from hideously botched to quite decent. If you're at all interested I'd be (obviously!) happy to rant on, and to put you in touch with fellow teachers/ranters.
BC
Thanks for the info, Bok-I'd be very interested in any information that you'd care to pass along.....
Again, this is shaping up to be a fascinating study.....I just finished purusing Marie McCarthy's book, "Passing It On". The book was her doctoral dissertation; in it she discusses the history of music education/culture in Ireland. Sounds dry, but full of relevant information about the transmission of traditional music within the culture. I highly recommend it.
Again, this is shaping up to be a fascinating study.....I just finished purusing Marie McCarthy's book, "Passing It On". The book was her doctoral dissertation; in it she discusses the history of music education/culture in Ireland. Sounds dry, but full of relevant information about the transmission of traditional music within the culture. I highly recommend it.