Teaching with Technology

This article maps the progression of interactive Web sites used to facilitate the teaching and learning of the Irish traditional virtual music community referred to as IrTrad.  Collectively, these sites provide information on performance and musical quality, performance practices, issues of authenticity, learning exercises, repertoire, and other areas related to learning the music of IrTrad as well as its corresponding instrument, the tin whistle. 

“A hundred years ago, the Irish traditional music community was geographically bound,            imbued with cultural significance. Individuals learned informally, a tune at a time from other players, playing music in kitchens and social gatherings; few outside of Ireland and the Irish diaspora played or even heard this music. Today, due in large part to emerging technologies, this music circulates unreservedly among people who may have no personal connection or knowledge of what it meant at one time” (p. 99). 

Essentially, it is an evolution of an Irish traditional music community through time and space into the virtual communities that facilitate a “reenactment” of these intimate musical gatherings.   Musicians from all over the world can engage in teaching and learning a unique tradition that was at one time bound by geography. 

The author refers to the idea that virtual communities are no longer defined by their geographical constraints, but rather by the relationships and social networks that are constructed from related interests and knowledge and shared projects and ideas.  As a result, the collaborative process of exchange is independent of any geographic proximity or institutional affiliation or agenda.  These communities of interest create a space within the digital realm that provides its users with a “home base” for directed creativity and learning.  This makes for a useful learning tool and reference point for teachers wishing to direct students to specific learning experiences that are supported by this type of global learning. 

Prior to the Internet, IrTrad was learned through informal musical gatherings in which musicians came together to share their latest variations and tunes with close friends and fellow musicians.  The scene was alive; thriving on the spontaneous creativity shared amongst those who were present.   The simple tunes came in a variety of versions, names, and histories, and those in attendance learned through listening and playing, or what we call observational learning today.  This collaborative aspect is responsible for the many variations and tunes we hear today.  These intimate interactions, then, are the essence of this tradition.  Without them, the isolated practice of tunes is nothing more than reading from a book, and this is where virtual communities dedicated to learning through observation and interaction becomes essential to the longevity of this particular musical tradition. 

Several sites facilitate this type of interactive and observational learning: 

• Brother Steve’s Tin Whistle Pages, a result of Canadian musician Stephen Jones’s years of experience teaching whistle to primarily adult learner http://www.rogermillington.com/siamsa/brosteve. Brother Steve’s site features standard notation with audio clips of examples as well as informative tips and explanations (p. 104).
• A site that offers paid and prescribed lessons via the Web is http://www.feadogonline.com/. Feadóg-Online is initiated by James Donohoe, musician and primary-school teacher who is based in Mount Temple, County Westmeath, Ireland – the learner does not interact directly with the teacher or other learners, but can receive feedback from the teacher via learner-directed e-mail questions (p. 104).
• Another free site, offered by the BBC, is the Virtual Session http://www.bbc.co.uk/radio2/r2music/folk/sessions/swf/folkmenu.html , which allows learners to play along, with standard notation, to excellent recordings of several well-known traditional musicians playing session standards (p. 105). 
• IrTrad performer, Michael Eskin, has a series of instructional videos posted on YouTube with links to his website. Examples of these may be seen at http://www.youtube.com/watch?v=6idv6eJA2IQ and http://www.youtube.com/watch?v=DgbiSxmtVwl.  Tunes are played by Eskin in tempo and then at half speed, and the camera remains on his fingers so that learners, in addition to learning ‘by ear’, can also learn through observation (p. 105).
• This site provides feedback on the Clips and Snips pieces, in which an interactive, synchronous or asynchronous, platform is perpetuated.  http://chiffboard.mati.ca/viewtopic.php?t=50523 (p. 106).
• A peer-directed site known as Whistle This! http://www.whistlethis.com provides its users with interactive opportunities for feedback and discussion opportunities. 

 The article lists several other sites, but I found these to be the most user-friendly and indicative of the progression of interactive Web sites used to facilitate teaching and learning of this musical tradition.

 Waldron, J. L., & Veblen, K. K. (2008).  The medium is the message:  cyberspace, community,

          and music learning in the Irish traditional music virtual community.  Journal of Music,

          Technology and Education.  (1)2,3, 99-111.  doi: 10.1386/jmte.1.2 and 3.99/1