Community-based Traditional Music in Scotland

List of Figures

List of Music Examples

Acknowledgements

Preface






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




'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




'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




'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

Ceilidh dances

Member-led groups

Notes




'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




'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




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