ICTM Ireland Annual Conference 27Ú Feabhra — 1Ú Márta 2015 Ceol Oirghialla Section of Music Institiúid Teicneolaíochta Dhún Dealgan
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ICTM Ireland Annual Conference 27ú Feabhra — 1ú Márta 2015 Ceol Oirghialla Section of Music Institiúid Teicneolaíochta Dhún Dealgan Fáilte Ba mhaith liom Fáilte Uí Cheallaigh a chur róimh go léir anseo inniu go hInstitiúid Teicneolaíochta Dhún Dealgan. Is cúis mór áthais dúinn go bhfuil an tOllamh Christopher J. Smith in ár dteannta le haghaidh an ócáid speisialta seo. On behalf of Dundalk Institute of Technology may I extend a warm welcome to members of the International Council for Traditional Music. We are honoured also to welcome our distinguished guest speaker Professor Christopher J. Smith of Texas Tech University. The discipline of music through Ceol Oirghialla plays a major role in the life and work of the Institute, and music is a primary focus of our ongoing DkIT Research Strategy. It is therefore a great pleasure to host the 2015 ICTM Ireland Annual Conference here in DkIT. The Conference is a celebration of the excellence and diversity of research in traditional musics in Ireland and around the world, and it is through occasions such as this that we have an opportunity to share knowledge and ideas among the wider community. I thank the Institute’s ICTM Ireland Conference 2015 organising committee, under the convenorship of Dr Daithí Kearney, for the excellent organisation and planning of this special occasion. I also thank all our presenters and session chairs, and I congratulate everyone involved in contributing to the success of the Conference. Comhghairdeas libh go léir. Denis Cummins Uachtarán Institiúid Teicneolaíochta Dhún Dealgan 2 Fáilte I extend a very warm welcome to you all to this annual international music conference of ICTM Ireland, being held for the first time in Dundalk Institute of Technology. The conference is taking place in the PJ Carroll Building, home to the Section of Music (Ceol Oirghialla), which is part of the multi- disciplinary School of Informatics and Creative Arts. Music education and research has been an integral and well-established part of the Institute for over a decade. There is now a comprehensive suite of undergraduate and postgraduate taught and research programmes in place, catering for close to 200 music students. Music has been one of the most active disciplines in developing a research profile and is now recognised as a prioritised thematic area in the Institute’s research strategy. Since its foundation, Ceol Oirghialla has always emphasised the importance of traditional music and has been particularly aware of its important role in preserving and promoting the strong and precious musical and cultural heritage of the Oriel region. Additionally, engagement with the local and regional community as well as the creation of national and international links has always been a key strategic objective. This has resulted in the development of a network of partnerships, which has led to many prestigious events and performances. The MA in Traditional Music Studies has been developed and the ethnomusicological study of folk and traditional musics has been a leading research theme within the centre for Music research, Ionad Taighde Ceoil. Ba mhaith liom comhghairdeas a dhéanamh le gach duine a chabhraigh leis an comhdháil a eagrú, go háirithe Dr Daithí Kearney, Dr Adèle Commins, Ciara Moley agus na mic léinn a bhí páirteach sna hullmhúcháin. Gabhaim buíochas leo go léir as an obair a rinneadh agus an tiomantas a taispeánadh. Mar fhocal scoir, guím gach rath ar an gcomhdháil agus tá súil agam go mbainfidh sibh sult as bhur gcuairt anseo ar an Scoil agus Institiúid. Dr Gerard (Bob) McKiernan, Ceannasaí Scoil na Faisnéisíochta agus na nEalaíon Cruthaitheach Head of School of Informatics and Creative Arts 3 Conference Programme Friday 27 February 2pm Registration Postgraduate Forum Chair: Professor Christopher J. Smith· 2.30pm Preparing a Conference Presentation· First Steps Towards Publishing· 9pm Seisiún Ceol Tradisiúnta, Crowne Plaza Hotel Saturday 28 February 9am Registration 9.30am Welcome, Dr Adele Commins, Head of Section of Music, DkIT Session 1A: New Tracks Session 1B: Music and Migration 9.45am Chair: John O'Flynn Chair: Suzel Reilly Michalis Poupazis John Millar Transnational Zorbas and Kebabs: (In)Authentic Country: Recreating Selective-Ethnogenesis and the Authentic in Country Music Ethnophaulisms Amongst the Cypriot Diaspora in Birmingham Lonán Ó Briain J. Griffith Rollefson Constructed Traditions: “Straight Outta B.C.”: Juice A Comparative Survey of Hmong Aleem’s Precolonial Critique Musician Vietnam 10.45am Tea Coffee Session 2A: Festival and Drama Session 2B: Instruments 11.15am Chair: Ioannis Tsioulakis Chair: Helen Lawlor Liz Mellish Daithí Kearney Bulgarian Tracks: The Road to the Joining In: The Guitar in the Sliabh Koprivshtitsa Festival (and back Luachra Soundscape again) Darren James Fenn Threase Kessie st The Bandoneon in the 21 Affirming Cultural Identity Through Century: Reverential, Referential or Music and Folk Drama Radical? Robbie Cambell Carrie Dike Dyslexia and Sensory-Perceptial Articulating a Theoretical Perspec- Learning Processes in Music: A tive on the Social Life of Irish Tra- Case Study of Chopi timbila ditional Singing Xylophone Music in Mozambique 4 Saturday 28 February cont. Lunch with music provided by members of the DkIT Ceol 12.45pm Oirghialla Traditional Music Ensemble 1.45pm Address, Denis Cummins, President, DkIT 2pm Film: Coppers and Brass: Irish Travellers and Irish Traditional Session 3A: National Identity Session 3B: Hybrid Tracks 3pm Chair: Méabh Ní Fhuartháin Chair: Tony Langlois Svend Kjeldsen Deirdre Ní Chonghaile Mancunian Irish: Urban Ethos, Róisín Dubh: Anthem of Cultural Intimacy and Musical Insurrection Hybridization Matthew ‘Mattu’ Noone Róisín Ní Ghallóglaigh Reclaiming the Mongrel, Third From the Erotic to the Space Theory and Transforming Sovereign: Women and Traditions: Irish Traditional and National Image in An Sean Northern Indian Classical Bhean Bhocht Musical Explorations Eibhlís Farrell She Moved Through the Fair: The Creative Restructuring of Tradition 4.30pm Tea/ Coffee Keynote, Professor Christopher J. Smith 4.45pm Anglo-Celtic and Afro-Caribbean Meetings in 19th century America: Historical Musicology, Ethnomusicology, and Ethnochoreology, 6.30pm AGM, Crowne Plaza Hotel 7.30pm Conference Dinner 5 Sunday 1 March 9am Registration Session 4A: Reading the Pasts: Session 4B: Changing Places 9.15am Music, Memory and Identities Chair: Deirdre Ní Chonghaile Chair: Andrea Harris Jordan Andrea Harris Jordan Sean McElwain Looking for the ‘Old Songs’: ‘The Stray Sod’: Changes in the Attitudes Towards the Past in In- Musical Culture of the Sliabh stitutional Music and Song th Beagh Region (1950–1975) Collecting in 20 Century Ireland Síle Denvir Karin Erikson The Space Between: Continuity Translating Musical Pasts: The and Creativity in Irish language Zorn Auditions Traditional Singing Mikaela Minga Aoife Granville Remembering the Past: West Kerry Soundscapes and “Listening” Memory, The Case of Repertoires Spanja Pipa Gianpaolo Chiriacò Aidan O’Donnell Performances of Removed Getting Back on Track: A Memories: The Atse Tewodros Re-Evaluation of Spatial Project and its Reception in Post- Metaphors as Apparent in the colonial Italy Fiddle Tradition of Co. Donegal 11.15am Tea / Coffee Session 5A: Belfast Session 5B: Sources 11.30am Chair: Aoife Granville Chair: Daithí Kearney Conor Caldwell Christopher Mac Auliffe Belfast’s Traditional Music Who Collected the Music in the scene: A Narrative of Change and Patrick O’Neill Music Manuscript Development Collection? Kayla Rush Performing National and Angela Buckley Doctrinal Identities Between ‘A Diversity of Sources’: The Irish “Protestant” and “Catholic” in Pen- Music Manuscripts of John tecostal Devotional Music in West Edward Pigot (1822–1871) Belfast Sarah Jane Gibson Keeping a Tradition Alive: The Adèle Commins Queen’s Island Victoria Male Four Irish Dances: The Tracks of Voice Choir of Belfast, Northern Two Composers Ireland 1pm Close 6 Abstracts Session 1A (In)Authentic Country: Recreating the Authentic in Country Music John Millar Despite its American origins, country music as a genre is one that has become an established part of the musical life of the city, its lyrical themes and musical tropes adopted and adapted in a variety of ways. By looking at the experiences of some of the genre’s practitioners, their musical practices and sites of performance, this paper will explore how the identity markers and associations that have come to define the genre have been appropriated and re-purposed in a new geographic and cultural context. Questions of authenticity shape any discussion of country music; this paper will show how rather than being a property inherent in a musical product or performance, it is rather a quality negotiated in each performance. At any given time, what is judged as being authentic is so judged in relation to a socially and culturally agreed-upon set of signifiers. As the music has absorbed the influences of the culture and society in which it is practiced, so the understandings of what it means to be authentic have altered. For musicians playing country in Dublin, in each performance, in myriad ways at the intersection of production and reception, their musical practice is re-authenticated. “Straight Outta B.C.”: Juice Aleem’s Precolonial Critique J. Griffith Rollefson On the track “Straight Outta B.C.” the MC Juice Aleem situates himself in a conceptual space-time that is both glocal and interhistorical. On the track, “B.C.” signifies both Aleem’s physical