The Highland Bagpipe (Ashgate Popular and Folk Music) by Joshua Dickson
By Joshua Dickson
The Highland bagpipe, generally thought of 'Scotland's nationwide instrument', is without doubt one of the such a lot well-known icons of conventional tune on the earth. it's also one of the least understood. yet Scottish bagpipe song and culture - rather, yet now not solely, the Highland bagpipe - has loved an unparalleled surge in public visibility and scholarly awareness because the Nineties. a better curiosity within the emic ended in a various photograph of the that means and musical iconicism of the bagpipe in groups in Scotland and in the course of the Scottish diaspora. This curiosity has resulted in the honour of either the globalization of Highland piping and piping as rooted in neighborhood tradition. It has given upward thrust to a reappraisal of resources that have hitherto shaped the spine of long-standing historic and performative assumptions. And revivalist study which reassesses Highland piping's cultural place relative to different Scottish piping traditions, comparable to that of the Lowlands and Borders, this day successfully demanding situations the suggestion of the Highland bagpipe as Scotland's 'national' software. "The Highland Bagpipe" presents an unheard of perception into the present country of Scottish piping reports. The individuals - from Scotland, England, Canada and the U.S. - talk about the bagpipe in oral and written historical past, anthropology, ethnography, musicology, fabric tradition and modal aesthetics. The e-book will entice ethnomusicologists, anthropologists, in addition to these attracted to foreign bagpipe stories and traditions.
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Extra resources for The Highland Bagpipe (Ashgate Popular and Folk Music)
Example text
Campbell, Kilberry Book of Ceol Mor, p. 9. 19 Pipe Major MacLean’s MS, based on Neil MacLeod’s Pibereach or pipe tunes, as taught verbally by the McCrimmen pipers in Skye to their apprentices (Edinburgh, 1828), is now in the library of Celtic and Scottish Studies, University of Edinburgh. 20 See the preface to Piobaireachd, a ... collection of ... tunes edited by Comunn na Piobaireachd, vol. 8. L. Manson, The Highland Bagpipe (Paisley: A. G. P. Grant, Music and Letters 6/1 (1925). 18 Pro blems o f No tating Pibro ch: a Study o f ‘Mao l Do nn’ 11 what was regarded as an instrument of war,22 while the general mood of depression that seems to have persisted throughout the Highlands for a generation was hardly conducive to such music-making.
Presumably the Society taught musical literacy to enable pipers to learn new pibrochs as well as to help them remember those they had been taught personally. Today many pipers learn the notes of a pibroch from a page and go along to a teacher later ‘to have the expression added’ or as a Uist piper put it – ‘to learn the song’. This presumably means that the pupil must learn to disregard some of the printed note values in favour of those suggested by his teacher. Clearly, considerable reliance is placed on the printed page today and especially on the publications of the Piobaireachd Society since nearly all of the earlier ones are now out of print.
Many of the Lowland gentry began engaging pipers to serve them in the way in which pipers had once served Highland lairds. The newly formed Highland Society also began to offer prizes to those who succeeded in setting down pibrochs ‘scientifically’ on the music staff. Did it do this because of a feeling that a great tradition needed to be rescued before it was too late, or was it to try and give an aura of respectability to what had sometimes been described as the music of untutored savages? One wonders what the music sounded like.