Resisting Cultural Standardization: Comhaltas Ceoltoiri Eireann and the Revitalization of Traditional Music in Ireland

Fleming, Rachel C.

doi:10.1353/jfr.2005.0004

Cited by 12 publications

(14 citation statements)

References 4 publications

(5 reference statements)

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“…With Irish government sponsored classes and competitions [8], TuneTracker represents the encroachment of standardization in the one relatively untouched arena of trad music, informal sessions.…”

Section: Creativity and Homogenizationmentioning

confidence: 99%

TuneTracker

Duggan²

2014

Proceedings of the 2014 Conference on Designing Interactive Systems

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We describe the design and deployment of the first system ever to dynamically track and publish records of folk music playing. TuneTracker is a software system that has been, at time of writing, deployed at a pub in Dublin, Ireland for five months. It captures, stores, and posts the names of tunes played in Irish traditional music sessions on a public website. This paper makes two contributions: (1) drawing from a two year ethnographic study of trad musicians, it details the design and development of a system to track and publish traditional musicians' practices while respecting the ethos of tradition, and (2) it presents a discussion of professional musicians' reactions to having their music practices surveilled. This latter fieldwork revealed divergent viewpoints on the effect that TuneTracker would have on local sessions and the process of tradition.

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Section: Creativity and Homogenizationmentioning

confidence: 99%

TuneTracker

Duggan²

2014

Proceedings of the 2014 Conference on Designing Interactive Systems

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“…For example, O'Shea's (2008) study mentions recordings only in passing and focuses on how one gradually becomes accepted as a "regular" in a session. Work by Fleming (2004) examines the controversy over the institution of government-supported competitions in Irish trad music. Titon (2001) gives a personal account of fiddle jams and their spontaneity but without detail of how musicians bridge solo and session playing.…”

Section: Occurrences Of Other Genres Ofmentioning

confidence: 99%

Calendars: Time Coordination and Overview in Families and Beyond

Bødker

Grönvall

2013

ECSCW 2013: Proceedings of the 13th European Conference on Computer Supported Cooperative Work, 21-25 September 2013, Paphos, C

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ECSCW 2013 received 82 competitive paper and note submissions. After extensive review, 15 were selected to form the core of the traditional single-track technical programme for the conference. These are supplemented by exciting workshops and masterclasses that cover a broad range of topics and allow for wider and more active participation. These additional contributions will be published in the Volume 2 Proceedings, together with the expanded selection of demonstrations, videos, and work in progress.Work in progress has been introduced as a new peer reviewed category for ECSCW 2013, and those papers will be included in the Volume 2 Proceedings that will be available online.The technical program this year focuses on work and the enterprise as well as on the challenges of involving citizens, patients, and others into collaborative settings. The papers embrace new theories, and discuss known ones. They challenge the ways we think about and study work and contribute to the discussions of the blurring boundaries between home and work life. They introduce recent and emergent technologies, and study known social and collaborative technologies. Classical settings in computer supported cooperative work are looked upon anew. With contributions from all over the world, the papers in interesting ways help focus on the European perspective in our community.Many people have worked hard to ensure the success of this conference, and we briefly acknowledge them here: all the authors who submitted high quality papers; all those who contributed through taking part in workshops, masterclasses, demonstrations, and the new category of work in progress; the 64 members of a global programme committee, who dedicated time and energy to reviewing and discussing individual contributions and shaping the programme; the people who helped organise the programme: the workshop and masterclass chairs, the chairs of demos and videos, work in progress, student volunteers, and various other practical arrangements. Finally, we acknowledge the student volunteers who provided support throughout the event; and we thank the sponsors and those who offered their support to the conference. Abstract. The title of this paper comes from comments made by an 'angry' ethnographer during a debriefing session. It reflects his frustration with a certain analytic mentality that would have him justify his observations in terms of the number of times he had witnessed certain occurrences in the field. Concomitant to this was a concern with the amount of time he had spent in the field and the implication that the duration of fieldwork somehow justified the things that he had seen; the implication being that the more time he spent immersed in the study setting the more valid his findings and, conversely, the less time, the less valid they were. For his interlocutors, these issues speak to the grounds upon which we might draw general insights and lessons from ethnographic research regarding the social or collaborative organisation of human activities. However, the strong i...

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“…For example, O'Shea's (2008) study mentions recordings only in passing and focuses on how one gradually becomes accepted as a ''regular'' in a session. Work by Fleming (2004) examines the controversy over the institution of governmentsupported competitions in Irish trad music. Titon (2001) gives a personal account of fiddle jams and their spontaneity but without detail of how musicians bridge solo and session playing.…”

Section: Prior Workmentioning

confidence: 99%

The Social Life of Tunes: Representing the Aesthetics of Reception

Su¹

2013

ECSCW 2013: Proceedings of the 13th European Conference on Computer Supported Cooperative Work, 21-25 September 2013, Paphos, C

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I report on two years of participant observation of traditional musicians in Dublin, Ireland. In Irish traditional music, players from all walks of life gather at pub sessions to play tunes together. Due to the ethos of traditional music, the representation of tunes is a constant aesthetic concern. Drawing on the aesthetics of reception, I show how arriving at the proper ''text'' of a tune poses unique challenges. Rather than simply reading notes on sheet music, traditional musicians must imaginatively read the creative text on a ''virtual space'' to create art. Making music involves a nuanced process of learning, knowing, and retaining a tune. The tune is not a static entity but one dynamically shaped by its social context and provenance. The social life of tunes suggests that technologies ought to support the practice of practicing seamlessly across the performance-oriented session and the solitary pursuit of skill, while allowing novices a way to conceptualize the historical flexibility of the tune. I will outline a new agenda of surveilling tradition to represent the aesthetics of reception. With the burgeoning interest in the collaborative work of tradition, this work provides new perspectives into the creative processes involved in representation.

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Resisting Cultural Standardization: Comhaltas Ceoltoiri Eireann and the Revitalization of Traditional Music in Ireland

Cited by 12 publications

References 4 publications

TuneTracker

TuneTracker

Calendars: Time Coordination and Overview in Families and Beyond

The Social Life of Tunes: Representing the Aesthetics of Reception

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