MDG Colloquium 31
  • MDG31
    • Call for Proposals
    • Colloquium Host
    • MayDay Group Site
  • Schedule
  • Provocateurs
    • Vincent Bates
    • Aoife Chawke
    • Lori-Anne Dolloff
    • Sarah Dunne
    • Carol Friersen-Campbell
    • Crystal Gerrard & Donna Emmanuel
    • Scott Goble & Anita Prest
    • Juliet Hess & Deb Bradley
    • Karen Howard
    • Jason Huxtable
    • Marie McCarthy
    • Jennifer Mellizo
    • Gwen Moore
    • Regina Murphy & Francis Ward
    • Flávia Motoyama Narita
    • Mary Nugent
    • Orla O'Sullivan
    • John Perkins
    • Sean Robert Powell
    • Rebecca Rinsema
    • Thomas Regelski
    • J. Griffith Rollefson
    • Ed Sarath
    • Danielle Sirek
    • Brent C. Talbot
    • Nan Qi & Tiago De Quadros Maia Carvalho
    • Janice Waldron & Kari Veblen
    • Hakim Mohandas Amani Williams
  • Travel
  • Accommodations
  • Registration
SARAH DUNNE
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Sarah Dunne is a musician, artist and educator working in Ireland.  With a background in Music and Fine Art, Dunne works across two fields of practice, fusing sound and spatial relationships.  She completed a PhD in 2012 through GradCAM and NCAD.  In 2017 she completed a second MA in Music Education at TCD focusing on the altermodernist turn within music pedagogy.  Dunne is a secondary school teacher in Belvedere College Dublin.  She lectures on the Diploma in Community Music at the RIAM.  Sarah is an editor at Interference, a trans-disciplinary online journal in association with GradCAM.

Musicking in the digital age: Is the medium still the message?
Christopher Small’s ‘Musicking’ (1998, p.9) encompassed any activity related to the music making process.  However, with the increased digitisation of the classroom in the twenty-first century, he could not have anticipated the significant expansion towards music educations digital capacity.  Developing the postmodernist notion of technology acting as more than a medium of preservation but concerned with the principles of sound/music, this transdisciplinary, mixed methods, practice based empirical research explores the role of recording technologies and its effect on composing, performing and listening in the twenty-first century.
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