The British folk scene: Musical performance and social identity

Forbes, Anne‐Marie

doi:10.1080/08145857.1994.10415254

Cited by 2 publications

(2 citation statements)

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“…Furthermore, and significantly for our purpose, many clubs also prioritised participation (e.g., 'chorus songs') irrespective of whether they were of traditional or contemporary origin. While some clubs specialised in either traditional or contemporary material, many accepted a wide range of songs, and most folk clubs (of whichever type) maintain the expectation that all or most people present will join in performances in some way during the evening [31,20,26,27].…”

Section: The Setting-traditional Folk Clubsmentioning

confidence: 99%

Producing Liveness

Benford

Mansfield

Spence

2021

Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems

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The global pandemic has driven musicians online. We report an ethnographic account of how two traditional folk clubs with little previous interest in digital platforms transitioned to online experiences. They followed very different approaches: one adapted their existing singaround format to video conferencing while the other evolved a weekly community-produced, pre-recorded show that could be watched together. However, despite their successes, participants ultimately remained unable to 'sing in chorus' due to network constraints. We draw on theories of liveness from performance studies to explain our findings, arguing that HCI might orientate itself to online liveness as being co-produced through rich participatory structures that dissolve traditional distinctions between live and recorded and performer and audience. We discuss how participants appropriated existing platforms to achieve this, but these in turn shaped their practices in unforeseen ways. We draw out implications for the design and deployment of future live performance platforms. CCS CONCEPTS • Human-centered computing • Human computer interaction (HCI) • Empirical studies in HCI

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Section: The Setting-traditional Folk Clubsmentioning

confidence: 99%

Producing Liveness

Benford

Mansfield

Spence

2021

Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems

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“…At a vernacular level of understanding, perceptions of music and community often align with the idea that music situated at the community level is somehow more organic and authentic than imported mainstream music. Significantly, work such as that of McKinnon (1994) on the British folk music scene has demonstrated that such vernacular understandings of music are often as fabricated as those that pertain to understandings of more popular music forms as tied to place. Indeed, descriptors such as folk, although seemingly expressive of more long-standing, pre-modern musical traditions often encompass recent historical developments (in the case of British folk, the 1960s folk revival movement).…”

Section: Music and Communitymentioning

confidence: 99%

Music and Place

Bennett¹

2015

Seismographic Sounds: Visions From a New World

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The British folk scene: Musical performance and social identity

Cited by 2 publications

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Producing Liveness

Producing Liveness

Music and Place

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