Bruce Jackson's Chapter In Interviewing From The Classroom

Following the instrumentalists’ workshop, we went to lunch. We walked through the town center. There were children in school uniform wandering all over the town square. I assumed they got out of school early because it was a Friday. We went through a door on the side of the street and walked down a hall to the restaurant. As soon as I was in the hall, delightful smells wafted over me. After a scrumptious lunch of turkey, carrots, and potatoes, we went back to Siamsa Tíre and the instrumentalists met the musical director, Tom Hanafin. He gave a brief overview of the kinds of musical projects that take place at Siamsa Tíre and the original compositions from the theatre, then split us up into two separate groups to work two young teachers. My group’s teacher gave us sheets of pieces in letter notation. This visual instruction only provided me with what notes I should be playing. It did not offer any
Dr. Foley asked Jonathan questions that required a detailed answer and her follow up question would generally be relevant to what Jonathan had discussed. I was also aware that while Dr. Foley knows Jonathan well and has probably heard his story before, she was attentive and interested in what he had to say. I do believe that there was some code-switching that took place during this interview, simply because this interview took place in front of a live audience and had a performative atmosphere about it (Jackson 1987). After the interview, we said goodbye to Siamsa Tíre and walked to Brogues Inn for dinner. I had a nice time chatting with Dr. Foley and my classmates. While we were waiting for our food, one of the Inn’s employees began playing the serenading us with popular song (all tending to be in a minor key) on an old, mellow-sounding piano. When going to pay for my food, I saw that he was playing off of lead