Community-Based Traditional Music in Scotland

This book examines the community-based learning and teaching of 'traditional' music in contemporary Scotland, with implications for transnational theoretical issues. The book draws on a broad range of scholarship and a local case study of a large organisation.

Autorentext

Josephine L. Miller is an ethnomusicologist and community musician based in Scotland. Her main research interest is the transmission of traditional music. She holds an MLitt from the University of Edinburgh and a PhD from the University of Sheffield. In 2017, she received the Hamish Henderson Award for Services to Traditional Music at the MG Alba Scots Trad Music Awards.

Klappentext

This book examines the community-based learning and teaching of 'traditional' music in contemporary Scotland, with implications for transnational theoretical issues. The book draws on a broad range of scholarship and a local case study of a large organisation.

Inhalt

List of Figures

List of Music Examples

Acknowledgements

Preface

1. Learning and teaching traditional music: Refocusing the questions ** Introduction

   Transmission and enculturation

   'Traditional' music

   Community-based settings

   A 'non-formal' setting?

   Communities of practice

   Masters and apprentices

   Family

   Oral tradition and music literacy

   Socialisation

   Researching the case study

   Methods and ethics

   Notes ****

2. 'A passport into a community': Setting the scene ** Learning and teaching: the revival and post-revival contexts

   Learning and teaching: formal education

   'Take off': community-based organisations

   Introducing Glasgow Fiddle Workshop

   Locality: a sense of place

   Introducing the tutors

   GFW in a stylistic community of practice

   Notes ****

3. 'I'm a better learner now': In the class ** Joining a class

   Learning the shared skills

   Learning and teaching a tune

   The role of listening

   Playing it through

   Varying, ornamenting and arranging tunes

   Dealing with notation

   Choosing repertoire

   Notes ****

4. 'Actually doing it': Participating in performance ** Participation or presentation?

   GFW sessions

   Slow session and pre-class warm-up

   Prepare for the pub

   Very slow session

   Islay Inn session

   Concerts

   Cèilidh dances

   Member-led groups

   Notes ****

5. 'You can make it your own': Individual musical trajectories and organisational constraints ** Encouraging agency at GFW

   Self-directed learning

   Making progress: reflecting on learning

   'Expressing' the tune

   'Learners' and 'musicians'

   Music as leisure and levels of involvement

   Non-participation and dissent

   Musical trajectories beyond GFW

   Notes ****

6. 'A sense of who we are': Creating a musical identity ** A GFW identity

   A community-based identity

   A traditional music identity

   Tensions and boundaries: 'who we are' vs. 'who we are not'

   Notes ****

7. Community-based learning and teaching: Towards a pedagogy of participation
   Learning and teaching traditional music in a post-revival landscape

The ethos of the 'community-based' organisation

Repertoire

Tutors

Learning and teaching practices: between participatory ethos and individual musical trajectory

Conclusion: A pedagogy of participation