Community-based Traditional Music in Scotland: A Pedagogy of Participation

Contents

• 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