Social and Cultural Aspects
The general session scheme is that someone starts a tune, and those who know it join in. Good session etiquette requires not playing if one does not know the tune, and waiting until a tune one knows comes along. In an "open" session, anyone who is able to play Irish music is welcome.
Most often there are more-or-less recognized session leaders; sometimes there are no leaders. At times a song will be sung or a slow air played by a single musician between sets.
The objective in a session is not to provide music for an audience of passive listeners; although the punters (non-playing attendees) often come for the express purpose of listening, the music is most of all for the musicians themselves. The session is an experience that is shared, not a performance that is bought and sold.
The sessions are a key aspect of traditional music; some say it is the main sphere in which the music is formulated and innovated. Further, the sessions enable less advanced musicians to practice in a group.
Socially, sessions have often been compared to an evening of playing card games, where the conversation and camaraderie are an essential component. In many rural communities in Ireland, sessions are an integral part of community life.
Read more about this topic: Irish Traditional Music Session
Famous quotes containing the words social, cultural and/or aspects:
“As blacks, we need not be afraid that encouraging moral development, a conscience and guilt will prevent social action. Black children without the ability to feel a normal amount of guilt will victimize their parents, relatives and community first. They are unlikely to be involved in social action to improve the black community. Their self-centered personalities will cause them to look out for themselves without concern for others, black or white.”
—James P. Comer (20th century)
“Theyre semiotic phantoms, bits of deep cultural imagery that have split off and taken on a life of their own, like those Jules Verne airships that those old Kansas farmers were always seeing.... Semiotic ghosts. Fragments of the Mass Dream, whirling past in the wind of my passage.”
—William Gibson (b. 1948)
“The power of a text is different when it is read from when it is copied out.... Only the copied text thus commands the soul of him who is occupied with it, whereas the mere reader never discovers the new aspects of his inner self that are opened by the text, that road cut through the interior jungle forever closing behind it: because the reader follows the movement of his mind in the free flight of day-dreaming, whereas the copier submits it to command.”
—Walter Benjamin (18921940)