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'Strung Out': Forging a New Path for the Cello Within Irish Traditional Music

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'Strung Out': Forging a New Path for the Cello Within Irish Traditional Music 'Strung Out': Forging a New Path for the Cello within Irish Traditional Music William Alec Brown Doctorate of Philosophy Irish World Academy of Music and Dance University of Limerick Student ID: 10067736 Supervisors: Dr. Sandra Joyce, Dr. Niall Keegan Abstract This practice-based research investigates the role of the cello in the context of Irish traditional music. Drawing from artistic practice as the primary method of investigation, the author analyses imagined spaces within the idiom of Irish traditional music presented through the development and presentation of two major performance works; Transcending Liminality: (Re)Locating Thebrowncello (2015) and Spreagadh: Inspiration (2016). This thesis consists of five chapters in which the research is situated as well as two performances and an audio CD. It resides under the umbrella of qualitative research, informing on the methodologies, theoretical concepts and creative processes of the author’s creative practice. The invention of an entity the author puts forth, entitled Thebrowncello, represents the manifestation of creativity between the author and his instrument in a variety of cultural and musical contexts. This entity is analysed and used throughout this work in order to examine concepts such as authenticity and imagined spaces within Irish traditional music, as well as concepts such as liminality and communitas and how they have facilitated in the status change of a non-native instrument within the tradition. Two audio/visual recordings of the author’s two major musical performance works and an audio CD containing a solo album accompany this thesis, which are analysed in separate chapters to address the central research questions of investigation: How can I integrate the cello into Irish traditional music as a melodic and accompaniment instrument? and, What is Irish traditional cello? What can it be? This research utilises various methods of investigation. These methods are primarily different forms of autoethnographic writing, personal journaling, narrative inquiry, ethnographic interviewing and literature reviews. These methods assist in creating a foundation of data with which to analyse the two major performance works. This thesis also includes data gathered from participants within the performance work and audience members in order to discover the impact of these works within the idiom of Irish i traditional music. The result of the analyses of these performances further connects the author with the entity known as Thebrowncello and informs on how this creative relationship can act as a window into the process of incorporating a new instrument into a tradition to which it is not native. The emergence of this entity and its effect on author’s creative practice, as well as the entity’s impact within the community of Irish traditional music illustrates the importance of this research within the field of arts-practice and Irish music studies. ii Declaration I hereby declare that the following thesis is my own original material. Prior to this submission, none of the materials have been used for publication, degrees, and/or awards from a university or Third Level Institution. The University of Limerick Ethics Committee has granted the permission for me to conduct the research herein, and all informants named have given their consent. Doctoral Candidate: William Alec Brown Signed: ___________________________________ Date: _________________________________ Course Director: Dr. Helen Phelan Signed: ___________________________________ Date: _________________________________ Supervisor: Dr. Sandra Joyce Signed: ___________________________________ Date: _________________________________ Supervisor: Dr. Niall Keegan Signed: ___________________________________ Date: _________________________________ iii Acknowledgements It would be impossible for me to mention the names of everyone who has impacted me on this Ph.D. journey. However, there are a specific few that I would like to give thanks to. First and foremost, my family who have been the most supportive people in the world. My mother and father, who have constantly provided support and encouraging words from half-way around the world, have supported this journey from the start and I cannot be more grateful for them. Both of my sisters and their partners have given me love, strength and laughter throughout my life and have done so throughout this endeavour. My late grandparents, who are always with me in spirit, were some of the most inspirational people in my life and they continue to inspire me to perform, create and to remain true to myself throughout it all. Over the last eight years I have spent in Limerick, I have acquired a unique family in the Irish World Academy at the University of Limerick. My supervisors, Dr. Sandra Joyce and Dr. Niall Keegan, and my Ph.D. course director, Dr. Helen Phelan, have been the most helpful and very patient mentors and I cannot thank them enough for the hours they have spent steering me in the right direction through this five-year journey. I appreciate all of the guidance, fellowship and the opportunities that have been given to me by you. I am also grateful to the rest of the staff, administrators and tutors who have helped me in various ways and who have stopped to have random chats during the day, providing me with encouragement and experiences that I will never forget. Finally, to all of my friends who have helped me in various ways throughout this process, your contribution to my life and my work is immeasurable. Musicians and friends that I have made at the Irish World Academy, housemates that I have lived with in Cappavilla, Briarfield, Brookfield, Curragh Birín and Hazelwood, and others that I have met on this long journey – I thank you so much for your support and love over the years. I may not have mentioned you by name, but your presence in my life and your help throughout this process will never be forgotten. With love, appreciation and gratitude, William Alec Brown iv Table of Contents Abstract .................................................................................................................................................... i Declaration ............................................................................................................................................. iii Acknowledgements ................................................................................................................................ iv Table of Contents .................................................................................................................................... v List of Figures ...................................................................................................................................... viii USB ........................................................................................................................................................ xi Audio CD ............................................................................................................................................... xi List of Appendices ................................................................................................................................ xii Introduction to the Research ................................................................................................................ xiii Research Question ........................................................................................................................... xiii Thesis Layout ................................................................................................................................... xiv Chapter One Methodology, Practice-Based Research and Situating Self ............................................. 1 Introduction ......................................................................................................................................... 1 Practice-Based Research ..................................................................................................................... 2 Performance ........................................................................................................................................ 5 Practice-Based Methodologies ............................................................................................................ 9 Narrative Inquiry ............................................................................................................................. 9 Autoethnography ........................................................................................................................... 11 Traditional Research Methods .......................................................................................................... 12 Ethnographic Interviews ............................................................................................................... 12 Irish Music Studies ....................................................................................................................... 15 Audio/Visual Recording ............................................................................................................... 16 Situating Self ..................................................................................................................................... 18 Chapter Two Identifying the Space ...................................................................................................... 35 Introduction ......................................................................................................................................
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