The medium is the message: cyberspace, community, and music learning in the Irish traditional music virtual community

2008 ◽  
Vol 1 (2) ◽  
pp. 99-111 ◽  
Author(s):  
Janice L Waldron ◽  
Kari K Veblen
2011 ◽  
Vol 19 (2) ◽  
pp. 238-240 ◽  
Author(s):  
Fintan Vallely

2020 ◽  
Vol 3 (2) ◽  
pp. 84
Author(s):  
Uyuni Widiastuti ◽  
Adina Sastra Sembiring ◽  
Mukhlis Mukhlis

The development of instructional media in this paper is the development of learning media used in learning Arts and Culture class X High School in Pangururan District, Samosir Regency. The learning media developed are invincible with the syllabus in class X, namely "presentation of musical works". The objectives of this study were to: (1) develop traditional Karo music learning videos; (2) Developing Karo traditional music learning textbooks. This research uses a Research & Development or research and development approach. The development of this learning media will be used by art teachers who are members of the MGMP (subject teacher deliberation) for Cultural Arts, especially art teachers in Pangururan District, Samosir Regency. The research conducted resulted in the development of instructional media in the form of learning videos for learning traditional Karo music and textbooks for learning traditional Karo music. The learning media developed in the form of learning videos for traditional Karo music includes the technique of playing Karo traditional music which is incorporated in the kulcapi drum ensemble whose instruments consist of kulcapi, keteng-keteng, and mangkuk. The next learning media is in the form of a textbook which contains the techniques for playing the kulcapi drum in the song Piso Surit and Terang Bulan. The two learning media that have been developed help the arts and culture teachers in carrying out the ethnicity of the ethnic North Sumatra.Keywords: Development, Learning Media, Ethnicity, North Sumatra 


Author(s):  
Tes Slominski

This chapter demonstrates that studying the experiences of queer musicians and dancers is vital to understanding the relationships among music, selfhood, and social identities in Irish traditional music. By breaking the silence around LGBTQ performers of Irish traditional music through ethnographic interviews with queer musicians in the United States, this chapter addresses the paradox that non-normative participants experience musical performance as simultaneously liberatory and confining. This chapter explores musicians’ feelingful experiences of “the music itself” as an escape and examines the issues queer musicians face in gaining recognition in the Irish traditional music scene. More broadly, this chapter begins a conversation about nationalist assumptions around sexuality, gender, ethnicity, and race still implicit in the (re)production of sounds and bodily practices considered “Irish.”


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