IrishMusicInfo
The Sunday Tribune Weekly Traditional Music Column by Fintan Vallely
990124
Traditional music practice is possibly now at its strongest since the 1890s. A century of historical scrutiny has illuminated the 'keeper' role it has acted out by containing the remnant of the indigenous classicism of the 17th century Irish harpers, and their 18th century heirs the uilleann pipers. This has informed state recognition of the 'Traditional' as an art form, leading to Arts Council funding and inclusion on school and university curricula. Taking this further, earlier this year the London College of Music instituted the first educational 'grading' system in Irish Traditional instrumental music performance. But as of the 14th December this has been matched by CCƒ and the Royal Irish Academy of Music's 'Traditional Irish Music Syllabus' (wrongly claimed in its PR as 'first of its kind'). Some will argue that 'grades' will destroy the music, that it is not at home in classrooms or printed pages. Facts are however that most music is taught formally, most players are literate, and the greatest initial incentive is competition. Traditional music is already a Leaving Cert option but teaching of it is abysmally inadequate. 'Grading' recognises all of this and is long overdue, CCƒ and RIAM are to be congratulated. A glance at their Syllabus shows an emphasis on listening, a recommended, but flexible repertoire, and reasonable achievement targets - all of which demonstrate the teaching and examination experience of its major instigator M’che‡l î hEidhin. Some of it may seem rather esoteric - with such as hand-clapping of rhythms suggesting detachment of the 'ear' and the body from the oral process. But recommendation of derivative collections (such as Bulmer and Sharpley) as definitive source material is questionable, and the jumbling of performer names, albums and books among this seems atrociously careless. Nevertheless this is all new, and small deficiencies can be righted by common sense on the ground. The syllabus's list of 'Advised Topics For Written Submissions' however has significant absences. Na P’obair’ Uilleann and the harping bodies are not included, nor is the country's most comprehensive - and State-sponsored - material resource in the music - the Irish Traditional Music Archive. Non-inclusion in a syllabus, to a student indicates 'not favoured', 'inappropriate', 'unacceptable'. In a committee-guided document such as this, those critical omissions are not just careless, but irresponsible decision. They seriously demean what is an important and laudable project. They contradicts the spirit of 'artistic enthusiasm' cited by Senator Labhr‡s î Murchœ in the Syllabus preface, and undermine confidence in John O'Connor and the RIAM. With the other matters, all this should be seriously righted before the document can be responsibly distributed to, or accepted by, schools. In enthusiastically launching the Syllabus, President McAleese made a generous act of faith. It seems demeaning of her support to use her approval as seal on such silly partisanship - particularly since it was her predecessor who launched ITMA in 1991.
©Fintan Vallely, IrishMusicInfo.com
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