The Transmission of Song Among the New York Irish

The Irish Arts Center in New York City provides a
rich context for the transmission (teaching and
learning) of song, dance, and instrumental music.
Classes in amhrán (song) include the basic class of
Irish Song with a Performance Class or Singers
Circle to follow. Classes in rince (dance) cover
couple dances and waltzes, céilí dance, set dance,
and the exhibitionistic step dance. Classes in ceol
(instrumental music) cover bodhrán, tin whistle,
fiddle, banjo, mandolin, bazouki, and guitar, with a
chance to play in house bands. This book describes
the author s experience teaching the Irish Song class
and Singer s Circle while in search of folk
pedagogy . Over thirty invited singers, mostly born
in Ireland, presented classes for IAC students and
the community. Ethnographic data from these singers
and their interactions with students, including
investigations of song parameters and processes of passing it on , are compared throughout. Four
narrative voices those of songs, singers, students,
and the author are interpreted toward capturing
meaning, feelingfulness, and Irish worldview embedded
in the processes of teaching and learning.

Autorentext

Jerry DeWayne Kerlin, PhD: Music Education Studies, New York
University.
Associate Professor, Music Department, Manhattanville College.
Founder and Director, Kodály Summer Institute, New York University.

Klappentext

The Irish Arts Center in New York City provides a
rich context for the transmission (teaching and
learning) of song, dance, and instrumental music.
Classes in amhrán (song) include the basic class of
Irish Song with a Performance Class or Singers'
Circle to follow. Classes in rince (dance) cover
couple dances and waltzes, céilí dance, set dance,
and the exhibitionistic step dance. Classes in ceol
(instrumental music) cover bodhrán, tin whistle,
fiddle, banjo, mandolin, bazouki, and guitar, with a
chance to play in house bands. This book describes
the author's experience teaching the Irish Song class
and Singer's Circle while in search of "folk
pedagogy". Over thirty invited singers, mostly born
in Ireland, presented classes for IAC students and
the community. Ethnographic data from these singers
and their interactions with students, including
investigations of song parameters and processes of
"passing it on", are compared throughout. Four
narrative voices-those of songs, singers, students,
and the author-are interpreted toward capturing
meaning, feelingfulness, and Irish worldview embedded
in the processes of teaching and learning.