Abstract
I report on two years of participant observation of traditional musicians in Dublin, Ireland. In Irish traditional music, players from all walks of life gather at pub sessions to play tunes together. Due to the ethos of traditional music, the representation of tunes is a constant aesthetic concern. Drawing on the aesthetics of reception, I show how arriving at the proper “text” of a tune poses unique challenges. Rather than simply reading notes on sheet music, traditional musicians must imaginatively read the creative text on a “virtual space” to create art. Making music involves a nuanced process of learning, knowing, and retaining a tune. The tune is not a static entity but one dynamically shaped by its social context and provenance. The social life of tunes suggests that technologies ought to support the practice of practicing seamlessly across the performance-oriented session and the solitary pursuit of skill, while allowing novices a way to conceptualize the historical flexibility of the tune. I will outline a new agenda of surveilling tradition to represent the aesthetics of reception. With the burgeoning interest in the collaborative work of tradition, this work provides new perspectives into the creative processes involved in representation.
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Acknowledgment
I am grateful for Danny Diamond, Bryan Duggan, Brendan Knowlton, and Padraic Lavin’s invaluable assistance in data collection. Leslie S. Liu and Lisa Shields provided helpful feedback on my drafts.
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Su, N.M. (2013). The Social Life of Tunes: Representing the Aesthetics of Reception. In: Bertelsen, O., Ciolfi, L., Grasso, M., Papadopoulos, G. (eds) ECSCW 2013: Proceedings of the 13th European Conference on Computer Supported Cooperative Work, 21-25 September 2013, Paphos, Cyprus. Springer, London. https://doi.org/10.1007/978-1-4471-5346-7_11
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