The Highland Pipe and Scottish Society, 1750-1950: Transmission, Change and the Concept of Tradition
The Highland bagpipe has long been a central strand of Scottish identity, but what happened to the Highland bagpipe in the two centuries following Culloden? How was its music transmitted and received? This study presents much new contemporary evidence and uses a range of methods to recreate the changing world of the pipers as they influenced and were influenced by the transformations in Scottish society. It is intended for pipers exploring the achievements and musical concerns of their predecessors; for the general reader interested in a music whose history is akin to that of Scotland's poetry and song; and for all students of the process of tradition.
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Many a lonely hour I copied piobaireachds on the mountain side
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Alexander Ancient Martial Music Ancient Piobaireachd Angus MacKay Archibald Campbell Bagpipe Music Campbell's canntaireachd Celtic ceol beag Ceol Mor chanter Charles Bannatyne Clan Colin Cameron Collection competition competitors Compleat Theory composed culture Dalyell Donald MacDonald Dunvegan Edinburgh Edinr example Gaelic Gathering Gesto Glasgow Glen Highland Bagpipe Highland music Highland pipe Highland Society Ibid instrument Inverness J. P. Grant James John MacDonald John MacDougall John MacDougall Gillies John McLennan judges Kilberry laird Lament later Lond MacArthur MacCrimmon MacGregor MacKay's Mackenzie MacLean MacLeod Macpherson MacRae manuscript March Martial Music melody movement notes Oban oral Ossian Patrick performer community Pibroch Piobaireachd Society Pipe Band pipe music Pipe-Major pipers players prize published pupils record repertoire Ross Ross's Salute Scotland Scots Scottish Seton Gordon Skye Society of London Society of Scotland Society's song sources staff notation strathspeys style Taorluath and Crunluath taught Thomason tradition tunes variations written wrote