The Interface between Traditional Music and Art Music in Ireland: A Multimodal Art-Practice Research Study.
Bibliographic record
Abstract
This PhD project was undertaken at the Dundalk Institute of Technology, commencing in 2019 until submission in 2023. Work on Famine Odyssey began in the summer/autumn of 2020 and the current version was completed in the spring of 2023. It is a study based on the interface, or boundary area, between traditional music and art music in Ireland. The interface is where two musical genres meet and influence each other and, as such, is continuous throughout history. Musical influences can cross the interface in one, or in both directions. This thesis describes activity on the interface. It also seeks to explore this boundary, first with a recital which contrasts music from two selected sub-periods of the interface and, secondly, by means of a new composition which is located on the interface. The recital contrasts music from the great Collections of Irish traditional music in the 18. and 19. centuries, music which is mostly if not entirely pre-Famine, with that of the Nationalist school of art-music composers, which commenced in the final quarter of the 19. century. The great Collections represent a fusion of folk music and art music (harper music) in Ireland since the Middle Ages, or earlier. The recital contrasts this with art music, compositions and arrangements, with folk music and folk-cultural influences, up to the early 1960s. After that, one can observe a qualitative change in art-music composition on the interface - the postNationalist period. The second artistic endeavour is a large-scale musical composition, Famine Odyssey. It is an original work which seeks to arrive at a partial synthesis of art music and traditional music and, as such, is post-Nationalist. It is an art-music composition, imbued with features of Irish traditional music, sean-nós singing, traditional instruments and Irish idiom. The work is based on a true story of flight from Ireland to Canada in 1847 to escape the Great Famine.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.011 | 0.015 |
| Meta-epidemiology (narrow) | 0.000 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.003 | 0.003 |
| Science and technology studies | 0.007 | 0.011 |
| Scholarly communication | 0.012 | 0.006 |
| Open science | 0.002 | 0.010 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.006 | 0.001 |
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; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
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".