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Flynn 2011 Participatory Music Making and Affinity

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Flynn 2011 Participatory Music Making and Affinity ABSTRACT Title of Document: PARTICIPATORY MUSIC MAKING AND AFFINITY IN WASHINGTON, DC IRISH SESSIONS Erin Michele Flynn, M.A., 2011 Directed By: Professor J. Lawrence Witzleben, Department of Ethnomusicology The Washington, DC metropolitan area hosts a vibrant Irish music scene. Like those in many Irish sessions found throughout the world, the District’s network of musicians plays traditional dance tunes at local Irish pubs. This research, centered on ten weekly Irish sessions, explores how DC participants navigate authenticity and develop their skills within a social community. Musicians of varying skill levels perform together and include both those of Irish descent and those with no Irish heritage. Issues such as degrees of strictness with regard to tunes played, instruments permitted, and session etiquette demonstrate each session’s unique characteristics. This thesis discusses the influence of participatory music making and affinity, since Irish session musicians perform primarily for themselves. Based on field research through participant-observation and interviews, and expanding upon recent discussions of tradition and imagination in sessions worldwide, I analyze Irish sessions in DC in terms of participatory music making and socializing. PARTICIPATORY MUSIC MAKING AND AFFINITY IN WASHINGTON, DC IRISH SESSIONS By Erin Michele Flynn Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2011 Advisory Committee: Professor J. Lawrence Witzleben, Chair Professor Robert C. Provine Visiting Assistant Professor Fernando Rios © Copyright by Erin Michele Flynn 2011 Dedication To Linda, Tim, David, Lauren, and Kevin for their endless patience, support, and love. ii Acknowledgements Dozens of musicians contributed to the experiences I had at Irish sessions in Washington, DC. In particular, I owe Rebecca, Bob E., Mike, Steve, Maureen, Jacob, Bob S., Phil, and Deirdre a great deal of gratitude for their generosity, enthusiasm, and the craic as I became a better fiddler with their encouragement. This project could not have been completed without the guidance and support of Dr. Larry Witzleben, Dr. Robert Provine, and Dr. Fernando Rios. Finally, many thanks to Bill, Craig, Eric, and Betsy for introducing me to the world of Irish music over a decade ago, and for all the great music we shared. iii Table of Contents Dedication.................................................................................................................ii Acknowledgements ..................................................................................................iii Table of Contents .....................................................................................................iv List of Figures ..........................................................................................................vi Chapter 1: Introduction..............................................................................................1 Joining the Session ................................................................................................1 Methodology .........................................................................................................4 Literature Review..................................................................................................8 Definitions of Irish Music..................................................................................8 Commodifying “Celtic”...................................................................................12 Irish Traditional Music and Sessions................................................................15 Participatory Performance and Affinity............................................................17 Diaspora ..........................................................................................................20 Goals and Significance ........................................................................................26 Chapter 2: Irish Sessions .........................................................................................29 Instruments..........................................................................................................29 Harp ................................................................................................................29 Fiddle ..............................................................................................................30 Uilleann Pipes..................................................................................................31 Flute and Whistle.............................................................................................32 Button Accordion and Concertina....................................................................34 Guitar, Bouzouki, Mandolin, and Banjo...........................................................35 Piano and Hammered Dulcimer .......................................................................37 Bodhrán and Bones..........................................................................................38 Repertoire............................................................................................................40 Instrumental Dance Tunes ...............................................................................40 Songs...............................................................................................................47 Aesthetics and Etiquette.......................................................................................48 The Session Musician ......................................................................................48 The Session Sound...........................................................................................49 Etiquette ..........................................................................................................52 iv Chapter 3: Sessions in Washington, D.C.................................................................. 56 The Session Scene ...............................................................................................56 Overview.........................................................................................................56 Beginner Sessions................................................................................................57 Ireland’s Four Provinces ..................................................................................57 The Auld Shebeen ...........................................................................................59 Principles Behind Beginner Sessions ...............................................................62 Intermediate Sessions ..........................................................................................62 Nanny O’Brien’s Irish Pub...............................................................................62 The Royal Mile Pub.........................................................................................63 McGinty’s Public House – Silver Spring..........................................................64 P. Brennan’s Irish Pub and Restaurant .............................................................65 Advanced Sessions ..............................................................................................68 McGinty’s Public House – Arlington...............................................................68 Ri-Ra...............................................................................................................73 Daniel O’Connell’s Bar and Restaurant ...........................................................74 O’Sullivan’s Irish Pub .....................................................................................76 Closed Sessions and House Sessions....................................................................79 A Closed Session at The Limerick Pub ............................................................79 A Closed Session at The Irish Inn ....................................................................80 House Sessions and House Concerts ................................................................81 Céili, Festivals, and Concerts...............................................................................83 Céili.................................................................................................................83 MAD for Trad Week and CCÉ Irish Folk Festival ...........................................85 Concerts and Competitions ..............................................................................87 Chapter 4: Case Study of Nanny O’Brien’s Session.................................................90 The History of Nanny O’Brien’s Session.............................................................90 Methods of Transmission.....................................................................................95 Private Music Lessons ....................................................................................... 101 Chapter 5: Analysis ............................................................................................... 105 Participatory Music Making and Affinity Groups .............................................. 105 Notions of Authenticity ..................................................................................... 110 Chapter 6: Conclusion ........................................................................................... 118 Appendix..............................................................................................................
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