- 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 practices: between participatory ethos and individual musical trajectory