Putting down roots: playing Irish and Newfoundland music in St. John’s
Bibliographic record
Abstract
To many people, traditional music originates from and belongs to particular places. 2 In particular, traditional Irish music is oen tied to its origins in Ireland and its performance seen as a definitive expression of 'Irishness'.These connections are made as the music is envisioned to be the same as that played across Ireland's rural countryside since past centuries. 3Similarly, traditional Newfoundland music is oen tied to its history in Newfoundland.It is seen as the music that was introduced to the island by early European selers and that has changed over generations to reflect the character of the place and its people.Although 'Irish' music has a long history in Newfoundland, some musicians argue that it is 'Newfoundland' music and belongs to the island, as opposed to 'Irish' music, which belongs to Ireland.These associations between music and place have a significant influence on how musicians interpret and experience the music they play.Numerous scholars have explored how, through romantic ideas of Irish music's place in rural Ireland, the performance of traditional Irish music in places outside Ireland oen serves as a means to identify with and create a connection to a nostalgic homeland in Ireland. 4 Through these associations, musicians also negotiate different ways of conceiving and representing Newfoundland as a place. 5Some argue that 'Newfoundland' music is distinct from 'Irish' music in order to counter the widely held notion that traditional music in Newfoundland is a reflection of its Irish heritage and that Newfoundland is a definitively 'Irish place'.Interestingly, in this popular conception of Newfoundland and its music, Irish music continues to be tied to an expression of 'Irishness' through the idea of an Irish Newfoundland.This focus on musical origins, applied by musicians and scholars alike, however, overlooks the local and personal connections that musicians create through playing traditional music.This article explores the multiple associations with place that musicians in Newfoundland's capital city of St. John's form through playing traditional Irish and Newfoundland music. 6It is based on fieldwork conducted among these musicians during the spring and summer of 2009.The
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.000 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.003 | 0.001 |
| Science and technology studies | 0.004 | 0.003 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".