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Presents the history of the origins and music of the bagpipe - Scotland's most famous instrument. This book covers both Ceol Mor and Ceol Beag, Piobaireachd, dance music, martial music, music for competitions and music for pleasure, music for pipe bands as well as a commentary on the state of contemporary piping.
Originally published in 1975, and written by an authority on Scottish music, this book traces the evolution of the bagpipe whilst also narrating the fortunes of the ‘Great Highland Bagpipe’ itself. Exploring history and archaeology of civilizations as far removed from the Scottish Highlands as Egypt and Mesopotamia, Greece and Rome this book offers a unique full-length history of one of the world’s most interesting and ancient musical instruments. Appendices list the bagpipes of other countries and the materials used in the instrument’s manufacture as well as a comprehensive bibliography.
The Highland bagpipe, widely considered 'Scotland's national instrument', is one of the most recognized icons of traditional music in the world. It is also among the least understood. But Scottish bagpipe music and tradition - particularly, but not exclusively, the Highland bagpipe - has enjoyed an unprecedented surge in public visibility and scholarly attention since the 1990s. A greater interest in the emic led to a diverse picture of the meaning and musical iconicism of the bagpipe in communities in Scotland and throughout the Scottish diaspora. This interest has led to the consideration of both the globalization of Highland piping and piping as rooted in local culture. It has given rise to a reappraisal of sources which have hitherto formed the backbone of long-standing historical and performative assumptions. And revivalist research which reassesses Highland piping's cultural position relative to other Scottish piping traditions, such as that of the Lowlands and Borders, today effectively challenges the notion of the Highland bagpipe as Scotland's 'national' instrument. The Highland Bagpipe provides an unprecedented insight into the current state of Scottish piping studies. The contributors – from Scotland, England, Canada and the United States – discuss the bagpipe in oral and written history, anthropology, ethnography, musicology, material culture and modal aesthetics. The book will appeal to ethnomusicologists, anthropologists, as well as those interested in international bagpipe studies and traditions.
The definitive history of traditional Scottish Gaelic bagpiping.
A Performer's Guide to Medieval Music is an essential compilation of essays on all aspects of medieval music performance, with 40 essays by experts on everything from repertoire, voices, and instruments to basic theory. This concise, readable guide has proven indispensable to performers and scholars of medieval music.
The bagpipe is one of the cultural icons of Scottish highlanders, but in the twentieth century traditional Scottish Gaelic piping has all but disappeared. Few recordings were ever made of traditional pipe music and there are almost no Gaelic-speaking pipers of the old school left. Recording an important aspect of Gaelic culture before it disappears, John Gibson chronicles the decline of traditional Highland Gaelic bagpiping - and Gaelic culture as a whole - and provides examples of traditional bagpipe music that have survived in the New World. Pulling together what is known of eighteenth-century West Highland piping and pipers and relating this to the effects of changing social conditions on traditional Scottish Gaelic piping since the suppression of the last Jacobite rebellion, Gibson presents a new interpretation of the decline of Gaelic piping and a new view of Gaelic society prior to the Highland diaspora. Refuting widely accepted opinions that after Culloden pipes and pipers were effectively banned in Scotland by the Disarming Act (1746), Gibson reveals that traditional dance bagpiping continued at least to the mid-nineteenth century. He argues that the dramatic depopulation of the Highlands in the nineteenth century was one of the main reasons for the decline of piping. Following the path of Scottish emigrants, Gibson traces the history of bagpiping in the New World and uncovers examples of late eighteenth-century traditional bagpiping and dance in Gaelic Cape Breton, Nova Scotia. He argues that these anachronistic cultural forms provide a vital link to the vanished folk music and culture of the Scottish highlanders. This definitive study throws light on the ways pipers and piping contributed to social integration in the days of the clan system and on the decline in Scottish Gaelic culture following the abolition of clans. It also illuminates the cultural problems faced by all ethnic minorities assimilated into unitary multinational societies.
Emphasizing stylistic analysis and historical development, this unique book is the first to examine all major non-Western music styles, from reggae and salsa to the popular musics of non-Western Europe, Asia, Africa, and the Middle East.