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Instrumental Music Learning in an Irish Bimusical Context

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Instrumental Music Learning in an Irish Bimusical Context Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2018-9 Instrumental Music Learning in an Irish Bimusical Context Mary Nugent Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Music Education Commons, Musicology Commons, and the Music Practice Commons Recommended Citation Nugent, M. (2019) Instrumental Music Learning in an Irish Bimusical Context , Doctoral Thesis, Technological University Dublin. This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Instrumental Music Learning in an Irish Bimusical Context Mary Nugent Submitted for the award of PhD Technological University Dublin Conservatory of Music and Drama September 2018 Supervisor: Dr Mary Lennon Advisory Supervisor: Prof. Marie McCarthy i ABSTRACT This study focuses on bimusical instrumental learning, exploring the perceptions, beliefs and musical practices of students who are simultaneously engaged in learning classical and Irish traditional musics. The literature on bimusicality addresses how it has evolved in various social and educational contexts. This research focuses on the bimusical learning processes and practices of students, aged sixteen to twenty years, as they cross between the different learning modes associated with these two musical traditions in an Irish context. This qualitative study adopts a collective case study approach, using a purposive sampling strategy. Data collected include: videotaped lessons, recorded practice/playing sessions, observations of a range of music-making activities, and interviews with the participants, their parents and teachers. The seven participants were chosen from various formal and informal learning contexts and represent a range of instruments: a saxophonist/traditional flute/uilleann piper; two violinist/fiddlers; a cellist/uilleann pipes/whistle player; a classical/traditional harpist/concertina player; a pianist/flute player; and a pianist/accordion player. The research findings highlight the individuality of these students’ bimusical practices and are suggestive of a more nuanced image of the natural bimusical musician than was perhaps indicated in earlier literature. There is evidence of different levels of immersion, participation, commitment and, to some extent, fluency in the participants’ involvement in the two traditions. The research illustrates how issues such as diversity, choice, ease and ownership are important to these students as they sustain their musical involvements in both traditions. The communal/social dimension of music making receives special attention, particularly in the context of group music making. Such concepts as tradition, innovation and identity also emerge as the thesis explores how these young musicians negotiate the many similarities, confluences and contrasts of their individual bimusical worlds. i DECLARATION I certify that this thesis which I now submit for examination for the award of PhD, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution. The work reported on in this thesis conforms to the principles and requirements of the DIT’s guidelines for ethics in research. DIT has permission to keep, lend or copy this thesis in whole or in part, on condition that any such use of the material of the thesis be duly acknowledged. Signature __________________________________ Date _______________ ii ACKNOWLEDGEMENTS I would firstly like to thank my supervisor, Dr Mary Lennon, for her endless patience, support and expertise throughout this research process. To Prof. Marie McCarthy, enduring gratitude for her timely advice and words of wisdom. I am also very grateful to all at DIT Conservatory of Music and Drama for their support and encouragement. I am indebted to and humbled by all of you who took part in this research, especially the students, parents and teachers. It has been privilege to work with you all. The generosity of spirit and the openess with which everyone engaged allowed this researcher a window into the musical worlds of these talented, bimusical and multi- skilled young musicians. My gratitude to all my education colleagues, especially those at Marino Institute of Education for their ongoing support, patience and understanding. A special word of thanks to the many friends in music and the arts who offered practical help, advice and encouragement during this process including Anne, Lorraine, Elizabeth, Patricia, Elaine, Michael, Gerry, Ciarán, Denis, Maurice, Tom, Danusia and Yvonne. Finally, I wish to thank my family, my husband Frank, daughter Mary and son Cormac whose enthusiasm and support has enabled this endeavour. Also my bothers Patrick and Michael, and sister, Josie, but most especially my mother Philomena, for her unfailing support and endless faith in me. iii ABBREVIATIONS ABRSM Associated Board of the Royal Schools of Music AEC Association of European Conservatories BA Bachelor of Arts BMus Bachelor in Music DYO Dublin Youth Orchestra ITMA Irish Traditional Music Archive INTO Irish National Teachers Organisation CCE Comhaltas Ceoltóirí Éireann CMC Contemporary Music Centre GAA Gaelic Athletic Association MEND Music Educational National Debate NPU Na Píobaírí Uilleannn NSO National Symphony Orchestra RIAM Royal Irish Academy of Music TG4 Teilifís na Gaeilge (The Irish public service broadcaster) TY Transition Year (intermediate year between secondary school junior and senior cycles at Secondary school) UCLA University of California, Los Angeles iv GLOSSARY ABC notation or ABCs refers to ‘the most common simple tune notation system which is alphabetic, using the letter A-G to represent the note pitches’ (Vallely, 2011). ‘Ag Seinm’ (translates as ‘playing’). In this study it also refers to a local Co Cavan community based initiative which encouraged young children’s involvement in learning Irish traditional music. Cáirde na Cruite (‘friends of the harp’) an organisation which has played a central role in the revival and development of interest in the Irish harp. Céilí refers to a ‘social evening’ or ‘Irish dancing session’ (Ó Dónaill, 1977). Céilí band originally accompanied céilí and/or set dancing. However, within contemporary culture these bands more often function as a purely performance ensemble akin to what Keegan describes as the ‘listening céilí band’ (Keegan and Vallely, 2011). Several students in this research attend regular céilí band practices, preparing for céili band competitions. Ceilihouse is a radio programme of Irish traditional music and song broadcast by Raidió Teilifís Éireann (RTÉ), the national public service broadcaster of Ireland. Comhaltas Ceoiltóirí Éireann (CCÉ) (‘association of Irish musicians’) (often referred to as Comhaltas) is an organisation which promotes Irish traditional music, song, dance, language and Irish cultural traditions, through a range of activities: weekly classes and activities at local community branch level; workshops, an annual summer school, competitions, tours of performance at national level. Education and community based music making is central CCÉ’s aims. Conradh na Gaeilge (‘Gaelic league’) is a ‘democratic forum for the Irish-speaking communities’ and is the main body promoting the Irish in every aspect of life in Ireland, through advocacy, education, empowering communities, entertainment / festivals.. Feis Ceoil (‘music festival’) is a competition / concert forum for Irish music and music in general in Ireland. The first Feis took place in 1897, set up by members of the v Literary Society and the Gaelic League. Since then many other Feiseanna were established, for example, Sligo Feis Ceoil (1903), Feis Átha Cliath (1904), Fermanagh County Feis (1905), Belfast Musical Festival (1908), Feis Maitiú, Cork, (1927), Feis Ardmhacha, Armagh (1932), Féile Luimnighe, Limerick (1944) (Nugent, 2011) Fleadh Ceoil (‘festival of music’) is an Irish traditional music festival with concerts, céilí/set dancing, and traditional sessions. At its core is the tiered competition system consisting of local (county/regional) and provincial level competitions (known as Fleadhs’) in music, song, language and dance. The culmination of these preliminary rounds or Fleadhs which take place over several months is Fleadh Cheoil na hÉireann (all-Ireland music festival). (Nugent, 2011). Gael-linn (‘Irish pool’) is an organisation, founded in 1953, to promote the Irish language and its heritage throughout Ireland as a living language and expression of identity, through a range of educational, language promotional schemes and through business (record publishing, concerts, drama, film making and language teaching). Geantraí is an Irish traditional music television series, broadcast by RTÉ, the national public service broadcaster of Ireland. Grupaí ceoil (music group) described on the CCÉ website as ‘mixed musical ensembles’. Music Manifesto is a UK government initiative which was set up
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