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Cawleyj Phd2013.Pdf UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes Author(s) Cawley, Jessica Publication date 2013 Original citation Cawley, J. 2013. The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2013, Jessica Cawley http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1548 from Downloaded on 2021-10-07T04:02:29Z The Musical Enculturation of Irish Traditional Musicians: An Ethnographic Study of Learning Processes Jessica Cawley, B.M., M.A. Thesis submitted for award of PhD National University of Ireland, Cork School of Music and Theatre June 2013 Dr. Mel Mercier, Supervisor and Head of School of Music & Theatre Dr. Jonathan Stock, Head of Department of Music 1 Table of Contents Page Declaration 5 Acknowledgements 6 List of Images 8 List of Tables 9 Abbreviations 10 Abstract 11 Chapter 1 – Exploring the Enculturation of Irish Traditional Musicians: Introduction, Literature Review, and Methodology 13 Introduction 13 Structure of Thesis 18 Literature Review 21 Ethnomusicology 22 Education 26 Situated Learning and Communities of Practice 29 Irish Traditional Music 34 Methodology 36 Fieldwork 39 Participant-observation 43 Interviews 49 Learning to Perform as a Research Tool 55 Interpretation and Analysis 58 Interpretation and Identity 61 Ethical Considerations 64 A Pattern of Multiple Learning Experiences 69 Chapter 2 – Unstructured Learning Experiences 73 Interacting with a Community of Practitioners 75 Mentors 79 Peers 82 2 Family Influences 87 Parents 90 Early Exposure to Music 97 Siblings 102 Members of the Extended Family 105 The Influence of ‘Non-Musicians’ 109 Irish Traditional Music Sessions 116 Characteristics of Irish Traditional Music Sessions 118 Historical Context 121 Types of Sessions 122 Acquiring Repertoire and Technique 127 Enculturation and Sessions as Social Events 133 Some Concerns 141 Concluding Thoughts 148 Other Music-Making Contexts 151 Concluding Thoughts 154 Chapter 3 – Learning Experiences in Organized Settings 156 Learning Experiences in Schools 159 Extra-Curricular Tuition 169 Individual and Group Tuition 171 Comhaltas Ceoltóirí Éireann 176 Pipers’ Clubs 181 Tuition and Enculturation 183 Summer Schools and Workshops 187 Scoil Samhraidh Willie Clancy 192 Scoil Éigse 199 Irish Traditional Music Festivals 202 Fleadh Cheoil na hÉireann 207 Competitions 211 Concluding Thoughts 225 3 Chapter 4 – The Use of Technology during the Enculturation Process 227 Technology and Musical Life: An Introduction and Literature Review 229 Technology, Learning, and Education 233 Technology and Irish Traditional Music 236 Written Sources 239 Notation 241 Collections 247 Instrumental Tutors 251 Some Concerns 253 Phonographic Technology 260 Commercial Recordings 262 Repertoire 264 Style 266 Enculturation 270 Radio 274 Non-commercial Recordings 277 Video Recordings 283 Internet 289 Emerging Technologies 306 Concluding Thoughts 311 Chapter 5 – Patterns of Enculturation in Irish Traditional Music Culture 315 Summary 316 Patterns of Musical Enculturation 320 Longevity of Participation 322 Multiple Learning Experiences 326 Appendix A: Glossary 329 Appendix B: Interviews and Personal Communications 332 Appendix C: Fieldwork Locations and Experiences 339 Appendix D: Interview Questions 347 Bibliography 349 Discography 391 4 Declaration I, Jessica Cawley, declare that this thesis is my own independent research and writing, except where appropriately acknowledged in references in the text. This is the only publication of this work, and it has not been submitted for any other degree at National University of Ireland, Cork or any other institution. ..………………………….. ..…………………………….. Jessica Cawley Date: 5 Acknowledgements This thesis and research could not have been possible with the help and support of a network of people. Because my research relies on interviewing and field observations, I am especially grateful to all the Irish traditional musicians and organizers who helped me throughout my field research. Twenty musicians openly and kindly offered their time, learning experiences, stories, and opinions. I have learned much from these musicians (musically, personally, and academically), and I extend my warmest thanks to: Mary Bergin, Matt Cranitch, Mick Daly, Cormac De Frein, Liz Doherty, James Duggan, Helen Gubbins, Aoife Granville, Hammy Hamilton, Martin Hayes, Ciara Ní Fhearghail, Geraldine O’Callaghan, Tomás Ó Canainn, Connie O'Connell, Conal Ó Gráda, Lisa O'Sullivan, Michael O'Sullivan, John Reid, Seamus Sands, and Niall Vallely. On numerous occasions, several of these musicians contacted me about my research to provide additional stories and insights. A few, such as Seamus Sands, Mary Bergin, and Matt Cranitch, went above and beyond, and offered valuable feedback on drafts of my writing. Seamus Sands deserves special recognition, as during the early stages of my fiddle playing, he provided me with much encouragement and advice. On several occasions at Seamus’s invitation, I went to his house to play tunes together and chat over cups of tea. I also joined Seamus and his family for dinner on a number of occasions. I learned so much about fiddle playing and Irish traditional music during these encounters, and I am grateful for the warm welcome I received from the Sands Family. I am also indebted to Fearghal MacGobhann and Aidan O'Halloran for talking to me about the history and the role music-making plays in their establishments. I would also like to thank Siobhán Ní Chonaráin, Barry Cogan, and the students, organizers, and teachers at the CCÉ Douglas Branch. I have particularly fond memories of playing sessions in the CCÉ Douglas Comhaltas Branch and participating in their end of year concerts. I am appreciative and thankful to numerous people at the University College Cork (UCC) who have influenced, supported, and aided my research and work. Firstly, my gratitude and thanks goes to my supervisor, Mel Mercier, who provided countless hours of patience, guidance, and feedback over the past four years. I would also like to thank Carmel Daly for her support and Paul Everett for 6 his advice on academic writing and for reviewing some of my work. At UCC, I also was fortunate to interact with a variety of postgraduate students, who provided support and encouragement along the way. I would like to thank my peers Sara Goek, Estelle Murphy, Michelle Finnerty, and Jessica Shine, for all their advice on writing, academic, and personal matters. In particular, I would like to thank Gráinne McHale, for her friendship and her musical, academic, professional, and personal support over the past few years. Lastly, I would like to express my gratitude to the undergraduate students in my Music Education course for their enthusiasm, which continues to inspire me as a teacher. Thanks also go to my good friends and musical comrades, Sarah Roach, Erin Dempsey, and Katie Kilroy. Additionally, I would like to thank Janice Waldron and Kari Veblen for their contribution to Irish traditional music scholarship, and for their advice and comments. Here, I would also like to acknowledge the Society for Musicology in Ireland for their award of a fieldwork scholarship. This was much appreciated, as I was able to enroll in workshops, summer schools, and classes as part of my field research. I would also like to express my thanks to the staff at the Irish Traditional Music Archive in Dublin for all their hard work and help over the years. On a personal note, I would like to thank my family for all the support and encouragement throughout the years. To my parents, Chris and Jackie Cawley, I am forever grateful for my education, all the music lessons, and support at concerts throughout the years. Without their encouragement this study would not have been possible. My warmest thanks also extend to the Mc Sweeney family for their kindness and making me feel so at home in Cork. Last but certainly not least, my warmest thanks and appreciation goes to Anthony Mc Sweeney for his encouragement, support, patience, and good-natured insight into life. 7 List of Images Page: Image 1: The Corner House 41 Image 2: Sin É 41 Image 3: Comhaltas logo and artwork 177 Image 4: Scoil Samhraidh Willie Clancy programme cover 188 Image 5: Scoil Éigse programme cover 188 Image 6: Ennis Trad Festival programme 205 Image 7: Gig-Rig at the Fleadh Cheoil na Éireann, Cavan 2011 224 Image 8: Example of ABC handwritten notation (fieldwork artefact) 242 Image 9: Example of staff and ABC notation from CCÉ tune book 243 Image 10: Cover of The Dance Music of Ireland, O’Neill’s 1001 249 Image 11: Old interface of www.thesesssion.org (2001-2012) 299 Image 12: New interface of www.thesession.org (December 2012-present) 299 Image 13: Interface of TradConnect 300 Image 14: Video content and comments field on TradConnect 301 Image 15: Video content on thesession 301 8 List of Tables Page: Table 1: Fieldwork Sites 40 Table 2: Interviews with Irish traditional musicians 51 Table 3: List of major Irish traditional music schools in Ireland 188 Table 4: List of major traditional music festivals 189 Table 5: Attendance at Scoil Samhraidh Willie Clancy 1973-2001 193 Table 6: List of major performance-based Irish traditional music festivals
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