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Barry Shears is a native of Glace Bay, Cape Breton, Nova Scotia, and an acknowledged expert on the history of traditional piping in Nova Scotia and its intrinsic connection to the Gaelic language, music and culture. An award-winning musician, Barry has performed at concerts and festivals throughout North America, as well as in Scotland and Europe. He has previously published several books of bagpipe music and history.
Angus MacKay (1812-1859) is one of the most important figures in piping history, though today he is best-known for having gone mad. He was the first piper to hold the position of Piper to the Sovereign, appointed early in Victoria's reign. This novel lets MacKay tell his story, from his childhood on the Isle of Raasay, to his rise to early renown and his marriage, to Buckingham Palace and Balmoral, and, finally, Bedlam. Rich in historic detail, following a man's journey from a humble background to the peak of fame, this novel is perfect for any lover of historic fiction.
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.
Scottish Dance Beyond 1805 presents a history of Scottish music and dance over the last 200 years, with a focus on sources originating in Aberdeenshire, when steps could be adapted in any way the dancer pleased. The book explains the major changes in the way that dance was taught and performed by chronicling the shift from individual dancing masters to professional, licensed members of regulatory societies. This ethnographical study assesses how dances such as the Highland Fling have been altered and how standardisation has affected contemporary Highland dance and music, by examining the experience of dancers and pipers. It considers reactions to regulation and standardisation through the introduction to Scotland of percussive step dance and caller-facilitated ceilidh dancing. Today’s Highland dancing is a standardised and international form of dance. This book tells the story of what changed over the last 200 years and why. It unfolds through a series of colourful characters, through the dances they taught and the music they danced to and through the story of one dance in particular, the Highland Fling. It considers how Scottish dance reflected changes in Scottish society and culture. The book will be of interest to scholars and postgraduates in the fields of Dance History, Ethnomusicology, Ethnochoreology, Ethnology and Folklore, Cultural History, Scottish Studies and Scottish Traditional Music as well as to teachers, judges and practitioners of Highland dancing and to those interested in the history of Scottish dance, music and culture.
"This is a work of great value to all who seek knowledge of Scottish-American events, and who wish to understand what surely must be one of the most interesting, colorful, and evident ethnic occurrences in the U.S." -W. R. McLeod vice-chairman, Dunvegan Foundation Clan McLeod "The author's enthusiasm for the Scottish Highland Games, and indeed her expertise, are reflected in this long-awaited work. All who are interested in the story of this enduring and popular festival will be grateful to Ann Donaldson for her conscientious research. It is a fine tribute to those Americans of Scottish descent who have contributed to keep this unique aspect of their culture vibrantly alive in the New World." -Gerald Redmond author of The Sporting Scots of Nineteenth Century Canada Discover the Scottish Highland Games, celebrated in over thirty U.S. states every year. Participants compete in the caber toss, Highland dancing, piping and drumming, fiddling, and many more competitive and non-competitive events. The Scottish Highland Games in America recognizes the players and events that keep the modern Games alive and exciting. Readers will discover the history of the Games, rooted in Scotland and celebrated in the United States, Canada, Australia, New Zealand, and other countries where Scots have settled. A complete state-by-state listing of the Games and their events is also provided. ABOUT THE AUTHOR Emily Ann Donaldson is a devoted Games fan, a participant in Scottish country dancing, and a member of several Scottish associations.
The work is the result of over thirty years of oral fieldwork among the last Gaels in Cape Breton, for whom piping fit unself-consciously into community life, as well as an exhaustive synthesis of Scottish archival and secondary sources. Reflecting the invaluable memories of now-deceased new world Gaelic lore-bearers, John Gibson shows that traditional community piping in both the old and new world Gàihealtachlan was, and for a long time remained, the same, exposing the distortions introduced by the tendency to interpret the written record from the perspective of modern, post-eighteenth-century bagpiping. Following up the argument in his previous book, Traditional Gaelic Bagpiping, 1745-1945, Gibson traces the shift from tradition to modernism in the old world through detailed genealogies, focusing on how the social function of the Scottish piper changed and step-dance piping progressively disappeared. Old and New World Highland Bagpiping will stir controversy and debate in the piping world while providing reminders of the value of oral history and the importance of describing cultural phenomena with great care and detail.
Abby O'Hurley, the widow of a notorious race car champion, hides her past from arrogant biographer Dylan Crosby, and professional dancer Maddy O'Hurley shows ruthless businessman Reed Valentine the importance of love.
This publication is intended for the Elder's of any community, educators, the young and old. More specifically, those individuals who are presently encountering difficulty in their transformational process in making productive career decisions, as well as, those who have reached the final stage of adolescence, in their quest for psycho-social development. The greatest experience that an individual can have is being empowered with knowledge of self, i.e., cultural awareness, which emanates into self-pride and confidence in one's ability to achieve success in all of their endeavors in life. Culture becomes the vessel that propels the individual into action in a conscious state of existence. Once bought into this state of consciousness, one is enabled to make proactive decisions in their lives, no longer allowing the media, environmental conditions, and others to become enablers for them. Each chapter represents different phases of mentally transforming instructive messages, thus, initiating a new way of listening, contemplating and reacting to the conditions of the Pied Piper. The order and arrangement of this book is a governing line of thought, all of which corresponds to the Pharonic mentality. As one synthesis the information of each proceeding chapters it embark the reader on a journey of self-exploration. This book heightens the individual's ability to convert words of power, into inner strength and spiritual ascendancy. This book is not to be read like a novel, but explored chapter by chapter as a mean of grasping the intricate nature of the subject matter. Also, it is an excellent introductory examination of the various facets involved in the Pied Piper Effect and the impact that music has on society as a whole. As my Grandmother use to say, "If You Dance To The Music, You Have To Pay The Piper."
The Pied Piper pipes the village free of rats, and when the villagers refuse to pay him for the service he exacts a terrible revenge.