Papers by Simon Keegan-Phipps
Performing Englishness examines the growth in popularity and profile of the English folk arts in ... more Performing Englishness examines the growth in popularity and profile of the English folk arts in the first decade of the twenty-first century. In the only study of its kind, the authors explore how the folk resurgence speaks to a broader explosion of interest in the subject of English national and cultural identity. Combining approaches from British cultural studies and ethnomusicology, the book draws on ethnographic fieldwork, interviews with central figures of the resurgence and close analysis of music and dance as well as visual and discursive sources. Its presentation of the English case study calls for a rethinking of concepts such as revival and indigeneity. It will be of interest to students and scholars in cultural studies, ethnomusicology and related disciplines.
Manchester University Press eBooks, Apr 1, 2015
Manchester University Press eBooks, Apr 1, 2015
Manchester University Press eBooks, Apr 1, 2015
Ethnomusicology Forum, Jun 1, 2010
... on the revival periods of the late nineteenth and twentieth centuries, and on the processes o... more ... on the revival periods of the late nineteenth and twentieth centuries, and on the processes of revival itself (Boyes 19931. Boyes, Georgina. ... of British social history.Simon Keegan-Phipps University of Sheffield Simonkeegan_phipps@yahoo.co.uk © 2010, Simon Keegan-Phipps. ...
Oxford University Press eBooks, Dec 16, 2013
F scholars of “folk” or “traditional” music, an understanding of the processes by which material ... more F scholars of “folk” or “traditional” music, an understanding of the processes by which material is disseminated has been a central and definitive concern since the earliest identifications of the genre. Attempts to discover or list universal features shared by musics thus categorized have now largely given way to a widespread recognition that the terms’ meanings are multiple and context specific.1 Despite this recognition, however, the concept of oral transmission is one of few characteristics still regularly cited as a common (although, of course, not universal) feature of folk and traditional musics. Whether as an exclusive means to a music’s transmission (as implied by Oxford English Dictionary’s definition: “Folk music . . . is transmitted orally from generation to generation”; Hanks 1998:713) or to a music’s evolution (as in the International Folk Music Council’s Sao Paulo resolution: “the product of a musical tradition that has evolved through the process of oral transmission”; IFMC 1955:23), orality (or aurality, in the case of instrumental traditions) has in some cases played a significant role in musicians’ conceptualization of their music and culture. This is likely to be particularly significant where that music culture is identified in necessary contradistinction to a dominant performance culture that is based on notation literacy. The importance of an unwritten transmissive mode in distinguishing folk musics from art music in Euro-American society is a strong case in point. In this article, I shall examine the case of instrumental folk music sessions in North East England as an example of a music culture where the ongoing development of a musical tradition has involved
Yearbook for Traditional Music, 2007
In a nation on the periphery of Europe, in a region most distant from the capital, the country... more In a nation on the periphery of Europe, in a region most distant from the capital, the country's indigenous musical traditions are undergoing a process of institutionalization. A large proportion of the nation's population fears the loss of their ancient customs and national identity to the ever rising tide of foreign cultural influences. The locality itself, however, enjoys both a strong regional identity and a unique musical repertory, a repertory that plays a central role in both the text and context of the institutionalization in question. The resultant institution is multifaceted—its activities include: the collation and publication of music recordings and transcriptions; the promotion of performances by locally and nationally revered folk musicians; the creation and direction of a folk orchestra; and, most importantly, an extensive folk music education programme, culminating in a nationally recognized qualification. The organization has been quietly accused by other folk musicians of standardizing and formalizing the music it professes to support. Nonetheless, it receives financial support from the state departments for education and culture.
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Papers by Simon Keegan-Phipps