The sound of whiteness: early music vocal performance practice in Britain

American Musicological Society annual meeting, San Francisco, 10 Nov. 2011

National, inter-institutional, graduate modules – blended learning approaches for PhD education in Ireland

This paper is a case study that describes the design and delivery of national PhD lectures with 40 PhD candidates in Digital Arts and Humanities in Ireland simultaneously to four remote locations, in Trinity College Dublin, in University College Cork, in NUI Maynooth and NUI Galway. Blended learning approaches were utilized to augment traditional teaching practices combining: face-to-face engagement, video-conferencing to multiple sites, social media lecture delivery support – a live blog and micro blogging, shared, open student web presence online. Techniques for creating an effective, active learning environment were discerned via a range of learning options offered to students through student surveys after semester one. Students rejected the traditional lecture format, even through the novel delivery method via video link to a number of national academic institutions was employed. Students also rejected the use of a moderated forum as a means of creating engagement across the various institutions involved. Students preferred a mix of approaches for this online national engagement. The paper discusses successful methods used to promote interactive teaching and learning. These included Peer to peer learning, Workshop style delivery, Social media. The lecture became a national, synchronous workshop. The paper describes how allowing students to have a voice in the virtual classroom they become animated and engaged in an open culture of shared experience and scholarship, create networks beyond their institutions, and across disciplinary boundaries. We offer an analysis of our experiences to assist other educators in their course design, with a particular emphasis on social media engagement.

Intersections: proceedings of the youth work and music education symposium

The ‘Intersections: Youth Work and Music Education’ Symposium took place on Friday, 27th June 2014 in University College Cork. This event, held in association with the Institute of Social Sciences in the 21st Century (ISS21), was made possible thanks to funding from UCC’s Strategic Research Fund. The principle aim of this seed funding is to generate new research interests and this presented the ideal opportunity for developing collaborative relationships between youth work and music education lecturers, researchers and practitioners across the island of Ireland. This led to the formation of a new ‘Intersections’ research cluster, comprising representatives from four third-level institutions, each of which offers both youth work and music education undergraduate and/or postgraduate programmes, namely: University College Cork; National University of Ireland, Maynooth; Dundalk Institute of Technology; and, University of Ulster. This document presents some preliminary findings from primary research conducted through each of the participating institutions in their local areas. Data was also collected during the symposium, through engaging in small group discussions populated by the event’s participants. The publication and dissemination of this document was included in the original Strategic Research Fund proposal. Its intended audience includes youth workers, music educators, community-based practitioners, policy-makers and academics who are motivated and enthused by the possibilities of music-oriented youth work in Ireland and beyond.

'Lines of flight': digital musical instruments, inclusive music bands, meaningful engagement in music-making and learning

In this study I examine the development of three inclusive music bands in Cork city. Derived from Jellison’s research on inclusive music education, inclusive music bands involve students with disabilities coming together with typically developing peers to make and learn music that is meaningful (Jellison, 2012). As part of this study, I established three inclusive music bands to address the lack of inclusive music making and learning experiences in Cork city. Each of these bands evolved and adapted in order to be socio-culturally relevant within formal and informal settings: Circles (community education band), Till 4 (secondary school band) and Mish Mash (third level and community band). I integrated Digital Musical Instruments into the three bands, in order to ensure access to music making and learning for band members with profound physical disabilities. Digital Musical Instruments are electronic music devices that facilitate active music making with minimal movement. This is the first study in Ireland to examine the experiences of inclusive music making and learning using Digital Musical Instruments. I propose that the integration of Digital Musical Instruments into inclusive music bands has the potential to further the equality and social justice agenda in music education in Ireland. In this study, I employed qualitative research methodology, incorporating participatory action research methodology and case study design. In this thesis I reveal the experiences of being involved in an inclusive music band in Cork city. I particularly focus on examining whether the use of this technology enhances meaningful music making and learning experiences for members with disabilities within inclusive environments. To both inform and understand the person centered and adaptable nature of these inclusive bands, I draw theoretical insights from Sen’s Capabilities Approach and Deleuze and Guatarri’s Rhizome Theory. Supported by descriptive narrative from research participants and an indepth examination of literature, I discover the optimum conditions and associated challenges of inclusive music practice in Cork city.

Legends as music: new composition in the traditional Irish idiom

Engaging Ireland’s rich heritages of traditional music, story-telling, song, dance, and language, this doctoral composition project is a unique undertaking in the amalgamation of native art forms and the narrative realisation of Irish legends. The centrepiece of the project comprises of two collections of compositions inspired by the legends Oidhe Chloinne Lir (the tragic fate of the children of Lir) and Loinges Mac nUislenn (the exile of the sons of Uisliu). An interdisciplinary approach of traditional research and creative practice was employed in the development of this project, which informed and supported the formulation of personal and distinctive recensions of the chosen narratives, and the composition of over three hundred new works. Grounded in Irish traditional music, the compositional voice speaks in the familiar styles and structures of the idiom, and also resonates in contemporary and singular spaces. The Irish harping tradition is continued and extended in this research through the composition and recording of new music which is particularly suited to the instrument. Outputs include contextual, critical, and creative writings, recordings, video materials, musical scores, and storyboard and performance design artwork.

'Corkonian exceptionalism': identity, authenticity and the emotional politics of place in a small city's popular music scene

Drawing from ethnographic research on Cork city’s popular music scene, this article explores meanings of ‘authenticity’ as constructed through geographical, social and ideological referents. It unpacks local music producers’ position-takings within the local field of cultural production, and locates their narrative claims to authenticity with respect to the city’s strong sense of cultural identity. Their authenticating discourses are revealed as complex, often produced through building imagined communities of ‘us’ (in Cork) versus ‘them’ (in Dublin). The analysis indicates local actors’ deep sense of emotional attachment to place and to others within the music-making community, which impacts on their self-conception as creative labourers, sustains DIY, collaborative practices, and promotes a solidaristic ethos within the local music scene.

Human-Computer interaction methodologies applied in the evaluation of haptic digital musical instruments

Recent developments in interactive technologies have seen major changes in the manner in which artists, performers, and creative individuals interact with digital music technology; this is due to the increasing variety of interactive technologies that are readily available today. Digital Musical Instruments (DMIs) present musicians with performance challenges that are unique to this form of computer music. One of the most significant deviations from conventional acoustic musical instruments is the level of physical feedback conveyed by the instrument to the user. Currently, new interfaces for musical expression are not designed to be as physically communicative as acoustic instruments. Specifically, DMIs are often void of haptic feedback and therefore lack the ability to impart important performance information to the user. Moreover, there currently is no standardised way to measure the effect of this lack of physical feedback. Best practice would expect that there should be a set of methods to effectively, repeatedly, and quantifiably evaluate the functionality, usability, and user experience of DMIs. Earlier theoretical and technological applications of haptics have tried to address device performance issues associated with the lack of feedback in DMI designs and it has been argued that the level of haptic feedback presented to a user can significantly affect the user’s overall emotive feeling towards a musical device. The outcome of the investigations contained within this thesis are intended to inform new haptic interface.