Mapping the use of Music in Contemporary Places of Detention
Prisons of Note aims to map the use, experience, and circumstance surrounding popular music in contemporary places of detention. My publications on this subject have so far appeared in journals Postcolonial Text(2014) and Torture (2013), and I’m currently completing my first monograph Dangerous Mediations: YouTube, Pop Music, and Power in a Philippine Prison Video for Bloomsbury Academic (2018).
Investigator: Áine Mangaoang
Funding: Institutt for Musikkvitenskap, Universitetet i Oslo (2016-’20); Institute of Popular Music, University of Liverpool (2010-’14)
Music, Place & Memory
Project: The Dublin Music Map / Mapping Popular Music in Dublin
Mapping Popular Music in Dublin was the first comprehensive research study on popular music in Dublin today, based at St Patrick’s College, Dublin City University and funded by Fáilte Ireland. Shortlisted for the Dublin City University President’s Award for Engagement, John O'Flynn and I carried out a twelve-month ethnography of Dublin's popular music experience, incorporating perspectives of fans (citizens and tourists), musicians, and music industry personnel. Results of this project are published in the Mapping Popular Music in Dublin Executive Report (2016) and the research-informed Dublin Music Map (2016). Media interviews and coverage of the project include The Irish Times On The Record and How Music Works.
Investigators: John O’Flynn (PI) & Áine Mangaoang (RF)
Funding: Fáilte Ireland’s Applied Research Grant (2015-’16) with additional support from St Patrick’s College and Dublin City University
Partners: Culture Night (Ireland), Hard Working Class Music Convention and Festival (Dublin)
Curating Music: Archives & Exhibits
Project: Music, Photographs, and Stories from the Archives
This research and public-engagement project examined popular music materiality. It culminated in a curated public exhibition of music memorabilia at the Open Eye Gallery (Liverpool). I also produced a short film documenting the project, called Music, Photographs and Stories from the Archives (2016).
Investigators: Sara Cohen (PI), Áine Mangaoang (RF), with Mike Jones and Les Roberts
Funding: Arts and Humanities Research Council Cultural Engagement Fund; Knowledge Exchange & Impact Award, Business Gateway, University of Liverpool
Project: Notes on Here Lies Love and the Politics of Disco-Opera
This research suggests a range of perspectives and discourses for understanding the relationships between pop music and politics through a case study of the disco-opera Here Lies Love (2013), based on the life of former First Lady of the Philippines, Imelda Marcos. Despite composer David Byrne’s claims of separating art from politics in Here Lies Love, my analysis demonstrates how the music is, through its various multimodal forms, fraught with overt socio-cultural and political significance, that can be read as an escalating revisionist, apologist text that operates in defense of Imelda. Initial findings from this on-going study are published in the Routledge Companion to Popular Music Analysis: Expanding Approaches, David Brackett, Kenneth Smith, & Ciro Scotto (eds.), Routledge (forthcoming, 2017).
Investigator: Áine Mangaoang
Funding: Staff Research Award, National University of Ireland (University College Cork)
Music, Media & Deaf Culture
Projects: Beyoncé, YouTube, and Sign Language Music Videos
Music is frequently perceived as an exclusively auditory phenomenon. Within the field of music studies, literature on hearing loss and deafness is noticeably scarce. Widely-held assumptions are that deaf culture is one without music -- a community silent to the experiences of music & sound. Media have been instrumental in shaping how hearing people perceive deaf individuals and Deaf culture. Over this past decade, thousands of amateur, user-generated videos featuring an individual or group interpreting or translating a select Beyoncé song into a recognised sign-language have emerged via YouTube. This research explores how YouTube’s platform provides an ideal conduit for the mediation and re-examination of the art of signed songs on the one hand, while on the other, problematises issues faced in attempts to devise inclusive and exhaustive interpretations of Beyoncé’s music through visual signs. Findings from this research-in-progress will appear in two book chapters:
Mangaoang, Á. Visualising Beyoncé: Pop Music, Remediation, and the Art of Signed Songs. In Beyoncé Knowles, Martin Iddon and Melanie Marshall (eds.), Indiana University Press (forthcoming, 2017)
Mangaoang, Á. “Listen”: Body Politics and Protest in Beyoncé’s Sign Language Music Videos, in Songs of Protest: A Companion, Aileen Dillane, Martin J. Power, Eoin Devereaux, and Amanda Haynes (eds.), Rowman and Littlefield (forthcoming, 2018)
I have life-long interests in community music, music as social integration, and inclusive music education. I worked with the Irish Chamber Orchestra’s community engagement programme Sing Out With Strings from 2014-’16. Established in 2008, the Irish Chamber Orchestra provides weekly workshops in singing, song-writing and violin tuition for 300 children across Limerick city, as a Community Engagement Programme working in Limerick primary schools. The Sing Out With Strings project addresses issues of inclusion, equality of access and provision and highlights the numerous benefits that a long-term project of this nature has on the children, staff, parents and the wider community. I am the author of two reports on Sing Out with Strings, commissioned the Irish Chamber Orchestra (2015 & 2016).
Investigator: Áine Mangaoang
Funding: Irish Chamber Orchestra
Partners: Galvone National School (now Le Chéile National School); St Mary’s National School; University of Limerick