Music (Peer-reviewed publications)
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Item type: Item , Flow, play, feel and creativity: some of the potential outcomes of playing by ear from a recording(GIA Publications Inc, 2017) Varvarigou, Maria; Green, LucyPlaying by ear from a recording is, in the history of human music-making, a relatively new activity, stemming as it does from only the last one hundred years or so, since the invention of audio recording and play-back technologies. It can be done within or outside a range of formal, non-formal and informal contexts, and with or without the presence of a teacher, other instructor or other music-makers. It can be a purely aural activity, as when the recording is an audio-only one, or it can be mixed with visual learning, as when the recording is an audio-visual one. How does this activity foster musicianship and the ability of children to be musical people? Playing by ear from a recording is not to be confused or conflated with playing by ear along with other live musicians, a live teacher or indeed any human being or group of human beings who are simultaneously participating in the activity. Rather, in the position usually occupied by a human co-musician or teacher, here we have the recording itself as the ultimate authority as well as the model. The recording may, to be sure, involve a video of a person teaching and may be specially designed for that purpose. But that is not the same thing as a live teacher. For one thing, the recording – whether it is purely audio or audio-visual – is under the control of the learner, who can turn it off, wind it back or forwards, and with the increasing sophistication of technology, change the tempo, manipulate individual voices and so on. For another thing, and somewhat conversely, when being used as a model to be copied, the recording exists at one level as an independent object, and thus, a much more inflexible teacher than any human being.Item type: Item , Pedagogy and professional development- research report for ETHNO(Jeunesses Musicales International, 2022-06-07) Creech, Andrea; Varvarigou, Maria; Lorenzino, Lisa; Čorić, AnaThe aim of the pedagogy and professional development research was to document local, national and global understandings of Ethno pedagogy, and to describe and theorize its processes in action, including the ways it was perceived to play a role in the professional development of Ethno stakeholders. The following research questions were addressed: • What are discourses concerned with Ethno World’s stated and unstated pedagogical and professional development tenets? • How are these understood and enacted in its activities at local, national and global levels? • How do the Ethno professional development structures develop, how are they reinforced and what are the implications of these structures for pedagogy? • What are the pedagogical principles and practices that are perceived as being transformational, within the context of Ethno gatherings? • What are the pedagogies that support amateur and professional music makers in developing multi-faceted musicianship and interdisciplinarity through Ethno gatherings?Item type: Item , Nurturing collaborative creativity through group playing by ear from recordings in formal music education(Springer Nature, 2019-07-12) Varvarigou, MariaThis chapter discusses research on informal learning (Green in How popular musicians learn. Ashgate Publishers, Aldershot, 2002) with a particular focus on playing by ear from recordings in groups and how it contributes to the development of music learners’ personal and collaborative creativity. Sawyer’s work (Group genius—The creative power of collaboration. Basic Books, New York, 2007) on collaborative creativity was used as a lens through which to examine and discuss four music programmes in the secondary school classroom and one in Higher Education that have adopted the approach. These programmes illustrate how group playing by ear from recordings in formal music education can nurture personal and collaborative creativity, enabling lifelong creative artists and advocating for arts centrality in educational policies globally. The chapter concludes with recommendations on the role of the music educator and the contribution of technology in facilitating music learners’ development of personal and collaborative creativity through group playing by ear from recordings.Item type: Item , Bringing different generations together in music-making – an Intergenerational Music Project in East London(Intellect, 2011-12-09) Varvarigou, Maria; Creech, Andrea; Hallam, Susan; McQueen, HilaryThis article describes an intergenerational music project that took place as part of a bigger project, entitled the Music for Life Project that explored the social and emotional benefits of music participation for people over 50. The intergenerational project was led by two music leaders from the Guildhall School of Music & Drama. The participants involved were pupils from two primary schools in East London and seniors from two housing schemes, also in East London. The project culminated in a concert at the Pit Theatre, the Barbican Centre. Interviews and written responses from pupils and senior participants, as well as one music leader and teaching staff from the two schools highlighted many benefits of the initiative that brought different generations together through music such as opportunities to socialise and collaborate, enhanced wellbeing, enjoyment in being challenged and in developing (new) musical skills and appreciation of each other’s role in the group.Item type: Item , Benefits experienced by older people in group music-making activities(Intellect, 2012-08-23) Varvarigou, Maria; Creech, Andrea; Hallam, Sarah; McQueen, HilaryThis article focuses on the reported benefits of participation in musical activities identified by people over the age of fifty, who participated in the Music for Life Project. The participants engaged in weekly musical activities offered in three locations; two centres in London and one in the northern of England. Their responses were collected through individual interviews and through written answers to open questions on two questionnaires that were filled in at the beginning of the project (October 2009) and again approximately nine months later. Thematical analysis of participant feedback showed that improvements in quality of life were attributed to active engagement with music and a wide range of cognitive, social, emotional and physical benefits were reported. This article offers an insight into what participants said about improved health, social interactions, emotional support and learning that occurred as a result of active involvement in music and proposes ways through which these reported benefits may be maximised.Item type: Item , Collaborative playful experimentation in Higher Education: a group ear playing study(Sage Publications, 2016-08) Varvarigou, MariaExploring how western classical musicians could develop their aural, improvisatory and creative musicianship skills through playing by ear is an area that has recently received noteworthy attention within Higher Education. This article describes a five-week Group Ear Playing (GEP) programme with first year, western classical undergraduate students. Data were collected through students’ weekly reflective logs, end-of-programme feedback forms and interviews. The students reported adopting a variety of learning strategies when they copied music by ear in their groups and particularly when they experimented with the musical material and improvised together. These strategies enhance our understanding of how playing by ear from recordings within a group setting could promote risktaking, peer learning and interaction, collaborative playful experimentation and improvisation enabling a lifelong creative practitioner.Item type: Item , A review of '"Ordinary Irish Life: Music, Sport and Culture" Méabh Ní Fhuartháin and David M. Doyle eds. (Pre-published version)(Cambridge University Press, 2014) Murphy, MichaelThis collection of nine essays, edited under the auspices of the Centre for Irish Studies at NUI Galway, seeks to broaden further the remit of Irish Studies by arguing for the place of sport, music and culture as central planks in that arena. Chapters 2, 3, 6 and 8 deal with music, chapters 4 and 7 with sport, while chapters 5, 9 and 10 range from explorations of ‘corner boys’, to radio talk shows, to Irish migrant workers in Cuba respectively. While the majority of the essays are concerned with 20th-century Ireland, the volume as a whole ranges from the late 18th century up to the present time. Some essays deal with specific centres (Belfast, Dublin, Lahinch, Miltown Malbay, Cuba, Massachusetts) while others are not geographically specific (corner boys were found in most Irish towns, radio talk shows tend to transcend the regional, while the peripatetic showbands were a national phenomenon). A casual glance at the chapter headings suggests that a broad purview and a broad definition of culture are at hand. But what about the ‘ordinary’? What does that mean for Irish Studies in general and for this volume in particular?Item type: Item , A review of "The Cambridge Companion to Schumann" Beate Perrey ed. (Pre-published version)(The Society for Musicology in Ireland, 2008) Murphy, MichaelItem type: Item , A review of "Reading Musical Interpretation: Case Studies in Solo Piano Performance" by Julian Hellaby (Pre-published version)(The Society for Musicology in Ireland, 2011) Murphy, MichaelItem type: Item , Item type: Item , Moniuszko and musical nationalism in Poland(Cork University Press, 2001) Murphy, MichaelItem type: Item , Introduction: musical constructions of nationalism(Cork University Press, 2001) Murphy, MichaelItem type: Item , The musical press in nineteenth-century Ireland(Four Courts Press, 2007) Murphy, MichaelItem type: Item , Race, nation and empire in the Irish music of Sir Charles Villiers Stanford(Mercier Press, 1998) Murphy, MichaelItem type: Item , Too cool for school? Musicians as partners in education (Pre-published version)(Taylor & Francis [Routledge], 2010) Kenny, Ailbhe