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 Cèilidh 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