The Transmission of Traditional Fiddle Music in Australia
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The University of Sydney Copyright and use of this thesis This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's moral rights if you : • fail to acknowledge the author of this thesis if you quote sections from the work • attribute this thesis to another author • subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services Telephone: 02 9351 2991 • e-mail: [email protected] The Transmission of Traditional Fiddle Music in Australia Jane Brownlee A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Music Education) Sydney Conservatorium of Music Sydney University 2009 Statement of originality The investigations described in this thesis are my own original work and have not been submitted to any other institution for the award of a degree. 9·~ee- Jane Brownlee 2009 Abstract This study investigates the teaching and learning of traditional fiddle music in Australia by analysing formal, semi-formal and informal ways that the transmission of fiddle music occurs. The trends and attitudes that exist in contemporary society toward traditional music are identified. Traditional fiddle music is transmitted in a variety of contexts, using a variety of methods, including formal instruction, master-classes and informal sessions. Definition of traditional music session is discussed in Chapter One. As a result of the revivalist movement in traditional and folk music in Australia from the 1950s, there has been a movement of formalisation in the learning processes of traditional fiddle musics. However, aural method has currency in contemporary teaching and learning of traditional fiddle music, and remains the cornerstone of learning the repertoire and stylistic features of traditional fiddle music. The juxtaposition of conventional aural methodology with highly sophisticated contemporary pedagogy practices and use of technologies means that the transmission of traditional fiddle music is an organised and detailed field of study. This study has implications for music education in other genres and contexts. 11 Acknowledgments I would like to thank my supervisor Dr Peter Dunbar-Hall. He has been enthused about my topic and I have appreciated the journey we have taken together. Thank you to all of the participants, without whom I would not have been able to complete this work. Some of these wonderful fiddlers and musicians were: Mark Anderson, Adrian Barker; Kevin Burke; Bridie Burke; Chris Duncan; Liz Doherty; Sean Casey; Andrew Clermont; David De Santi; Ernie Gruner; Gino Lupari, Marcus Holden; Mary Mcevily, Ben Macatamney; Lindsay Martin; Alan Musgrove; Laura O'Grady; Greg O'Leary; Sam Proctor; Ben Stephenson; Anna-Wendy Stephenson; Chris Stone; Caroline Trengrove; Judy Turner; George Washingmachine; Louisa Wise; Rhoie Wise; Ruth Wise; Pria Z. To the many collectors of Australian traditional music and those who work in the field of preservation thank you. Of note are three collectors whose body of work has had a significant impact on the choices I have made as a musician and a researcher. These men are John Meredith, Norm O'Connor and Rob Willis. To the many musicians from the Australian Folk Music scene: thanks for your support and tunes. To the organisations/institution and festivals that have assisted me I am truly grateful. Some of these are: • The National Library of Australia, especially the Oral History Department • The Sydney Conservatorium of Music, Music Education Faculty • The National Folk Festival - and many other festivals. To the staff of the Conservatorium High School: I have greatly appreciated your support over the past three years and it has been a great pleasure working with you. To the students of the Conservatorium High School: thanks a million. To my dear friend Jenny Bryant: without your gentle push I may never have gotten over the line. I am truly indebted to you. I am greatly indebted to JiII Stubington who not only provided highly constructive feedback but also inspired me to continue. Lastly without the support of my family and friends this thesis would not have been possible. Thanks Rex, Teresa, Hana and James Brownlee. David, Tania, and Samuel De Santi thank you for all you have done! Samuel you are a great inspiration. Dave I really do appreciate helping me make steel! Special thanks to my mother Bev Brownlee and my late father Barry Brownlee. To my many wonderful fiddle playing friends, thanks for the tunes. Hope to have a session with you sometime soon. Jane III TABLE OF CONTENTS Page Statement of originality Abstract ii Acknowledgments iii Table of contents iv List of appendices vi List of figures vii List of tables viii List of photographs ix CHAPTERS 1. THE NATURE AND SCOPE OF THE RESEARCH Introduction 1 Pedagogy 13 Organisation of formal groups 14 Some historical perspectives 15 Research questions 19 Justification 20 Outline of the thesis 22 2. REVIEW OF RELATED LITERATURE Introduction 23 Fiddle technique and violin pedagogy 24 Variation - regional styles, ornamentation 28 Creativity - composition, improvisation, ornamentation 32 Transmission, informal and formal 33 Aural and oral transmission 37 The influence of media and other technologies 40 The impact of notation 43 Locating traditional fiddle repertoire in Australia 44 Festivals 46 Folk music revival 47 Summary 48 3. CONDUCTING THE RESEARCH Introduction 49 Research questions and design 49 Archival research 50 Case study 50 Recording - sound and image 51 Questionnaire and interview 52 Observation 53 Procedures and data analysis 54 Ethical considerations 55 Conclusion 56 IV 4. TEACHING Introduction 57 Historical perspectives 58 Transmission through imitation 65 Lineage 74 Festival influence 80 Structured pedagogy 85 Technology 89 Conclusion 93 5. LEARNING Introduction 95 Types of learners 98 Self-directed learning 102 Learning by listening, copying, imitation 110 Exchange of knowledge and skills 121 Technology 123 Creating networks 128 Memorisation of repertoire 129 Conclusion 130 6. ANALYSIS AND CONCLUSIONS Introduction 134 Synopsis 134 Findings 136 Implications 142 Addendum 144 References 146 Appendices 159 v List of appendices Page Appendix A Definitions 159 Appendix B Interviewees List 173 Appendix C Maps 177 Appendix D Letter of introduction 183 Appendix E Research questions 184 Appendix F Questionnaire 185 Appendix G Interview questions 188 Appendix H Ethics approval 190 Appendix I Folk Club newsletter 191 VI List of figures and tables Page Figure 1. Fiddle ornamentation 68 Example of mordent roll Figure 2. Fiddle ornamentation 68 Example of turn Figure 3. Fiddle ornamentation 68 Example of bowed triplet Figure 4. Fiddle ornamentation 69 Example of Irish cut Figure 5. Fiddle ornamentation 69 Example of Irish roll with cut vu List of tables Page Table 1. List of Australian and International Folk Festivals 83 Table 2. List of Interviews 173 Vlll List of photographs Page 1. The hardanger fiddle 29 2. The stroh fiddle 108 3. Portrait of Joe Cashmere 108 Taken Sylvania NSW 1955 by John Meredith. Permission granted by the National Library of Australia Meredith Collection. Notes included with the photograph: Joe Cashmere was 85 when photographed in 1955 with his battered old fiddle. He came from Booligal where he worked as a shearer and later as a bullock teamster. 4. The Appalachian dulcimer 159 5. The bodhran 161 6. The bouzouki 162 7. The fiddle 164 8. The mandolin 166 9. The Northumbrian small pipes 168 IX Chapter One The nature and scope of the research Introduction This study investigates ways in which fiddle (words appearing in bold are clarified in Appendix A - Definitions) music is taught and learnt in Australia. For the purpose of this study, fiddle music is defined as the music performed by fiddlers. Often associated with traditional musics, such as Irish, Scottish or Celtic, fiddle music is also derived from a variety of musical styles that are often classified as popular music, for example bluegrass. The study investigates the pedagogy of fiddle music and the characteristics of its formal, semi-formal and informal teaching and learning experiences. In doing so this study explores the transmission of fiddle music in Australia and considers how teaching and learning methods have evolved. The styles and genres of fiddle music are important to this study only as a means to investigate transmission processes. In examining the transmission of traditional fiddle music, genres and styles of fiddle music need to be identified. As previously stated fiddle music is derived from a variety of musical styles, and there is a direct correlation between traditional fiddle music and folk music. Fiddle music is most commonly thought of as folk music. What constitutes folk music is contentious, and this is especially true of Australian folk music. There exist multiple fiddle traditions in Australia and each of these has relevance. A common opinion offered during this research considered that folk music is 'music of the people' (SF 2006, PZ 2006, TT 2006, C SWE 2005, see Appendix B for coded information of interviewee list). By this definition numerous genres would fall into the category of folk music. Folk music in Australia was described as: Australian Folk Music is a combination of festivals, folk clubs, networks, musiCians, poets and singers.