DOCSLIB.ORG

The Highland Bagpipeiits Histonr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Highland Bagpipeiits Histonr Cornell University Library ML 980.M28 litera The Highland bagpipeiits histonr. , 3 1924 022 329 993 CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILUAMS SAGE ^^SIC LIBRARY DATE DUE -m Intern irary toil! CAYLOrtO PHINTEDIN U S.A The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022329993 The Highland Bagpipe I o < z o o o lu z I- The Highland Bagpipe Its History, Literature, and Music WITH SOME ACCOUNT OF THE Traditions, Superstitions, and Anecdotes Relating to The Instrument and Its Tunes BY • W. L. MANSON Tke tune -with the river in it, the fast river and the courageous^ that kens no't stop nor tarry^ that runs round rock and over fall with a good humour, yet no mood for anything but the way before it. —Neil Munro. ALEXANDER GARDNER puiUc^n to %tt latr iSlafeists ®.uttv. Ftctorta PAISLEY; and 26 PATERNOSTER SQUARE, LONDON 1901 TO A. DEWAR WILLOCK EDITOR OF THE Glasgow Weekly Herald WHO JUDICIOUSLY BLUE-PENCILLED THE FIRST ISSUE OF THESE AKTICLES AND ENCOUEAGED THE WHITER TO GIVE THEM TO THE PUBI,IC IN THIS MORE PERMANENT FORM — Preface. This book was not written on a preconceived plan, drawn up from the beginning of the work. It " growed." It had its inception in a commission to write for the Weekly Herald half-a-dozen biographical articles on famous pipers. The necessary investigation produced a mass of material too interesting to be left unused, and the half-dozen articles of the original commission became twenty-seven, with very little of the biographical in them. These, after being finally recast, revised, and in several cases re-written, are now in the form of a book flung at an unoffending public. If the volume interests any one—well. If not well. There is nothing more to be said on that point. It were vain to attempt to acknowledge indebtedness to books or to men. Every available book bearing on the subject even in the most indirect way has been consulted, in many cases read. A great deal of the material used is of course common to all Highland literature, and one book cannot be quoted more than another. With men it is equally impracticable to give names. So many have helped, so many have written giving additional bits of information or suggesting improvements, so many have, in reply to requests, kindly supplied matter dealing with phases of the viii. Preface. subject on which they have intimate knowledge, that one could not do justice to all without naming all. Still, while this may not be done, I cannot possibly refrain from saying that without the assistance given by Mr. Henry Whyte ("Fionn'") in matters of Highland history and questions connected with the Gaelic language, the book could hardly have been published; while Mr. John Mac Kay, editor of the Celtk Monthly, in throwing open to me his valuable library of Celtic literature, did very much to lighten my labours. This, I think, is all I can safely say. If I said more, I would have to say so very much. W. L. M. Glasgow, Ayril 27, 1901. — Contents. PAGE CHAPTER I.—Tuning up, 9 " A Hundred Pipers "—Scotland becoming CoBmopolitan—The War spirit of the Pipes—Regiments, not Clans—Annual Gatherings —Adaptability of Pipes—Scots folk from Home—An aged Enthusiast—Highlands an Extraordinary Study—Succession of Chiefs—Saxon introduced—Gaelic printed—Highlands in 1603 —The Mac Neills of Barra—Highland hospitality. CHAPTER II.—Harpers, Bards, and Pipers, ... 18 Ancient musical instruments—Priestly harpers—Hereditary harpers —Irish versus Scottish harpers—Royal harpers—Use of harp universal—Welsh sarcasm—Mary Queen of Scots' harp—The last of the harpers—^" The Harper of Mull"—From harp to pipes—Tlie clarsach—Pipes supplanting bards—The last clan bard—Bardic customs— Bards' jealousy of pipes — The bard in battle—Duncan Ban Mac Intyre—Two pipers scared—When the pipes became paramount—The fiery cross—The coronach. CHAPTER III.—The Tale of the Years, ... 30 The time of the Flood—Pipes in Scripture—In Persia—In Arabia In Tarsus—Tradition of the Nativity—In Rome—In Greece In Wales, Ireland, and Scotland—Melrpse Abbey—In France In England—At Bannockburn—Chaucer—In war—First auth- entic Scottish reference—Oldest authentic specimen—Became general—Rosslyn Chapel—Second drone added—At Flodden "A maske of bagpypes"—Spenser—Shakespeare—rJames VI. A poetical historian—Big drone added—The '45—Native to Scotland—The evolution of the Highlands, — ——A Contents. PAGE CHAPTER IV.—The Make of the Pipes, ... 59 The "Encyclopaedia" definition—The simple reed—Early forms Simple bagpipes — The chorus — The volynka — Continental pipes — British pipes — The Northumbrian —The Irish — The Highland—Tuning—Modern pipes—Prize pipes. CHAPTER v.—With an Eae to the Drone,... 73 Dr. Johnson—Inspiration of Scottish music—Professor Blackie Highland music simple—Scottish airs once Highland—Age of Highland music—Capability of the bagpipe—How it has suffered —Peculiarities of the pibroch—Pipe music not fitted for inside How it troubled the pressman—Chevalier Neukomm—Professor Blackie again—A Chicago jury's opinion^—An ode to the pipes. CHAPTER VI.—The " Language " of the Pipes, 87 Have the pipes a language 1 —A wild, fanciful notion—How it got a hold—How much of it is true ?—The reed actually speaking— powerful influence—The power of association—Neil Munro Descriptive Highland airs A Cholla mo run—Military stories —In South Africa—An enthusiastic war correspondent. CHAPTER VII.—The Liteeature of the Pipes, 98 Ancient music lost—Transmission by tradition—Druidical remains —Systems of teaching— No books— "Unintelligible jargon" Canntaireachd—The Mac Crimmon System—The Gesto Book A scientific system—A tune in Canntaireachd—Pipers unable to explain—Earliest printed pipe music—Mac Donald's Books More recent books—Something to be done. CHAPTER VIII.—The Pipes in Battle, ... 113 A CuUoden incident—Ancient Celts in battle—The harper and bard superseded—First mention of pipes ' in battle—First regimental pipers—In the navy—Prince Charlie's pipers—An " instrument of war "^A Mac Crimmon incident—Power of pipes in battle-^A Magersfontein incident—Byron's tribute Position in actual battle. — —— Contents. PAGE CHAPTER IX.—The Piper as a Hero, ... 126 One cowardly piper— At Philiphaugh—At Bothwell Bridge—At Cromdale—The Peninsular War—At Waterloo—At Dargai Eeay Country pipers—At Candahar—At Lucknow—In America —In Aslianti—In the Soudan—In South Africa. CHAPTER X.—The Regimental Piper, ... 136 Preserving the pipes—Regimental bands—Pay of army pipers—The seven pipers of Falkirk—Duties of regimental pipers—The meaning of "Retreat"—A story of Napoleon—In a social capacity—An army wedding ^—A military funeral — At the officers' mess—Awkward incidents—" Boberechims." CHAPTER XI.—The Piper as a Man of Peace, 146 Clan pipers—Chief's retinue—At weddings—Pipers prohibited In sorrow—At funerals—Queen Victoria's funeral—To lighten labour—The harvest dance—The shepherd's pipe—In church architecture—In church services—As a call to church—Minis- — ters and the pipes—Falling into disrepute " As proud as a piper''—Jealousy of the old masters—"As fou as a piper" An Irish piper. CHAPTER XII.—The Burgh Pipers of Scotland, 168 Royal pipers—In France—At the English court— The Edinburgh Piper—Dumbarton—Biggar—Wigtown — Glenliice — Dumfries —Linlithgow—Aberdeen —Perth—Keith— Dalkeith — Dundee —Peebles—A weird story—Falkirk— " Gallowshiels " pipers' combat—The Hasties of Jedburgh — Habbie Simson of Kil- barchan— Bridgeton—Neil Blane of Lanark — The Piper of Northumberland. CHAPTER XIII. From the Seat of the Scorner, 192 Poking fun at the pipes—English caricature—Mixed metaphor Churchism and pipes—Fifteenth century satire—A biographical sneer—Thackeray—Bitter English writers—Testimony of a Jew —Home sarcasm—The bards—Joanna Baillie—A Frenchman's opinion—William Black—Ignorance breaking its shins—Im- ported sportsmen—The duty of Highlanders. — —A xii. Contents. PAGE CHAPTER XIV.—The Humour of the Pipes, ... 205 Punch's joke—King Charles's heads—An amusing competition— Highlander's Irishism—Wedding experiences—A piper's fall— resourceful piper—A Cameron piper and his officer—Lochaber no more—An elephant's objection—Embarked in a tub Glasgow street scene—Bad player's strategy—What the wind did—A new kind of tripe—A Pasha and a piper—A Gordon nervous—A jealous piper—Dougal Mac Dougal's downfall. CHAPTER XV.—Demoniac Pipes and Pipers,... 223 Tam o' Shanter—The Devil's favourite instrument— "Sorcerers" burned—A bard's satire —Glasgow Cathedral story—A Hebri- dean Tam o' Shanter—Continental ideas—Reformation zeal Ghostly pipers—A " changeling " piper The Lost Pibroch— The Chisholm "enchanted" pipes—The Black Chanter of Clan Chattan. CHAPTER XVI.—Pipers and Fairies, 233 In fairies' hillocks—Stories with a common origin — Sutherlandshire version—Away for a year—Harris piper and the fairies—Seven years away—Fairies helping pipers—Helping the Mac Crimmons —A boy piper—How the music went from Islay to Skye—Faust- like bargains—A Caithness story—A fairy piper. CHAPTER XVII.—Pipers in Enchanted Caves, 247 Allied to fairy stories—Venturesome pipers—The Skye cave—The Mull version—The Argyllshire—The Ghostly piper of Dun- derave—"Wandering Willie's Tale"—A Sutherlandshire cave —A Caithness cave—Underground passages. CHAPTER XVIII.—The Hereditary Pipers, ... 257 Hereditary in two senses—When they ceased—The Mac Crimmons —A traditional genealogy—A Mac Gregor tradition—The Mac Crimmon College—Dr. Johnson—College broken up—An Irish college—Its system—A Mac Crimmon's escapades—Respect for the Mac Crimmons—The Rout of Moy—The last of the race How they excelled—The Mao Arthurs—The Maclntyres—The Mac Kays—The Rankins—The Campbells—The Mac Gregors, — —A Coidcids.
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Following the Science
    November 2020 Following the Science: A systematic literature review of studies surrounding singing and brass, woodwind and bagpipe playing during the COVID-19 pandemic Authors: John Wallace, Lio Moscardini, Andrew Rae and Alan Watson Music Education MEPGScotland Partnership Group MEPGScotland.org @MusicEducation10 Table of Contents Overview 1 Introduction Research Questions Research Method 2 Systematic Review Consistency Checklist Results 5 Thematic Categories Discussion 7 Breathing Singing Brass playing Woodwind playing Bagpipes Summary Conclusions 14 Recommended measures to mitigate risk 15 Research Team 17 Appendix 18 Matrix of identified papers References 39 Overview Introduction The current COVID-19 situation has resulted in widespread concern and considerable uncertainty relating to the position of musical performance and in particular potential risks associated with singing and brass, woodwind and bagpipe playing. There is a wide range of advice and guidance available but it is important that any guidance given should be evidence- based and the sources of this evidence should be known. The aim of the study was to carry out a systematic literature review in order to gather historical as well as the most current and relevant information which could provide evidence-based guidance for performance practice. This literature was analysed in order to determine the evidence of risk attached to singing and brass , woodwind and bagpipe playing, in relation to the spread of airborne pathogens such as COVID-19, through droplets and aerosol.
    [Show full text]
  • Spring 2015 Vol. 44, No. 1 Table of Contents
    Spring 2015 Vol. 44, No. 1 Table of Contents 4 President’s Message Music 5 Editorial 33 Jimmy Tweedie’s Sealegs 6 Letters to the Editor 43 Report for the Reviews Executive Secretary 34 Review of Gibson Pipe Chanter Spring 2015 35 The Campbell Vol. 44, No. 1 Basics Tunable Chanter 9 Snare Basics: Snare FAQ THE VOICE is the official publication of the Eastern United 11 Bass & Tenor Basics: Semiquavers States Pipe Band Association. Writing a Basic Tenor Score 35 The Making of the 13 Piping Basics: “Piob-ogetics” Casco Bay Contest John Bottomley 37 Pittsburgh Piping EDITOR [email protected] Features Society Reborn 15 Interview Shawn Hall 17 Bands, Games Come Together Branch Notes ART DIRECTOR 19 Willie Wows ‘Em 39 Southwest Branch [email protected] 21 The Last Happy Days – 39 Metro Branch Editorial Inquiries/Letters the Great Highland Bagpipe 40 Ohio Valley Branch THE VOICE in JFK’s Camelot 41 Northeast Branch [email protected] ADVERTISING INQUIRIES John Bottomley [email protected] THE VOICE welcomes submissions, news items, and ON THE COVER: photographs. Please send your Derek Midgley captured the joy submissions to the email above. of early St. Patrick’s parades in the northeast with this photo of Rich Visit the EUSPBA online at www.euspba.org Harvey’s pipe at the Belmar NJ event. ©2014 Eastern United States Pipe Band EUSPBA MEMBERS receive a subscription to THE VOICE paid for, in part, Association. All rights reserved. No part of this magazine may be reproduced or transmitted by their dues ($8 per member is designated for THE VOICE).
    [Show full text]
  • The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality
    CASSANDRE BALOSSO-BARDIN,a AUGUSTIN ERNOULT,b PATRICIO DE LA CUADRA,c BENOÎT FABRE,b AND ILYA FRANCIOSIb The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality. hen interviewed about the technique as the Greek tsampouna or the Tunisian mizwid) to of the bag, bagpipe maker and award- a fully chromatic scale over two octaves (the uilleann winning Galician piper Cristobal Prieto pipes from Ireland and some Northumbrian small- Wsaid that. ‘the handling of the bag is one of the most pipes chanters). Bagpipes in their simplest form are important things. The secret of the bagpipes is how composed of a bag with a blowpipe and a melodic one uses the bag […] You need a lot of coordination: pipe (hereafter referred to as the chanter).2 Other blowing, fingers […] it depends on the arm, the pipes can then be added such as a second melodic pressure of the air. The [finger] technique is much pipe, semi-melodic pipes or drones.3 The blowpipe simpler. Everyone blows all over the place when they is usually, but not always, fitted with a small valve start to play. It’s like a car: you have to think how you in order to prevent the air from leaving the bag. In are going to do all of this at the same time. The use models without this system, the piper uses his/her of the bag is the most important aspect, even more tongue to prevent the air from escaping whilst s/he than the fingers, [or] velocity’.1 breathes in.
    [Show full text]
  • Woodwind Family
    Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute.
    [Show full text]
  • Handbook - Residence - 2019-20
    STUDENT SERVICES MISSION 1 WELCOME TO GREBEL A warm welcome to all who have decided to make Grebel their University of Waterloo ‘home’ for the next term or two or three! All of us – faculty, staff and administrators are thrilled to have you a part of this intentional community where we strive to create a residential experience that fosters: Opportunities for students to explore and engage with Christian faith, practice, history, and values particularly as they are understood in the Anabaptist-Mennonite tradition; Opportunities for students to engage in the ‘dialogue of life’ with people who have diverse world views and faith expressions; The exploration of life-meaning and value questions leading to action; Intellectually stimulating conversations that integrate textbook, classroom and life experiences; A respectful and enjoyable living environment that enables students to study, learn and grow to their full potential; Community practises such as: o Honesty and openness in personal relationships o Respectful interactions with all o Interaction and dialogue between students, faculty and staff o Interdependence of people and enduring friendships o Leadership development o The resolution of conflict through reconciliation and group counsel. Grebel is an affirming community and believes all people deserve to be treated with respect. We are guided by the Ontario Human Rights Code which states, “Every person has a right to equal treatment… without discrimination because of 2 race, ancestry, place of origin, colour, ethnic origin, citizenship, creed, sex, sexual orientation, gender identity, gender expression, age, marital status, family status or disability. (excerpt from Ontario Human Rights Code https://www.ontario.ca/laws/statute/90h19).
    [Show full text]
  • The Devolution of the Shepherd Trumpet and Its Seminal
    Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
    [Show full text]
  • History of the Bagpipe There Is No Instrument That Brings As Much Gravitas and Solemnity to a Remembrance Day Ceremony As the Bagpipe
    Arbourside Court Newsletter November 2016 The Arby The official News of Arbourside Court History of the Bagpipe There is no instrument that brings as much gravitas and solemnity to a Remembrance Day ceremony as the bagpipe. Although it is an instrument that we most closely associ- ate with the British Isles, it is of ancient origin that has become the symbol of war and its casualties. The evidence for pre-Roman era bagpipes is still uncertain but several textual and visual clues have been suggested. The Oxford History of Music says that a sculpture of bagpipes has been found on a Hittite slab at Euyuk in the Middle East, dated to 1000 BC. Several authors identify the Ancient Greek askaulos (askos – wine-skin, aulos – reed pipe) with the bagpipe. 1st Century writing records that a roman emperor, possibly Nero, could play a pipe (tibia, Roman reedpipes similar to Greek and Etruscan instruments) with his mouth as well as by tucking a bladder be- neath his armpit. Spread and development in Europe In the early part of the second millennium, bagpipes or its close cousins began to appear more frequently in artworks. The Cantigas de Santa Maria, written in Castile in the mid-13th centu- ry, depicts several types of bagpipes.Though evidence of bagpipes in the British Isles prior to the 14th century is contested, bagpipes are explicitly mentioned in The Canterbury Tales (written around 1380): A baggepype wel coude he blowe and sowne, /And ther-with-al he broghte us out of towne. Actual examples of bagpipes from before the 18th century are extremely rare; however, a sub- stantial number of paintings, carvings, engravings, manuscript illuminations, and so on survive.
    [Show full text]
  • Traditional Play of Hammered Dulcimer a Self-Study Book Traditional Play of Hammered Dulcimer
    AUŠRINE GARSONAITE TRADITIONAL PLAY OF HAMMERED DULCIMER A SELF-STUDY BOOK TRADITIONAL PLAY OF HAMMERED DULCIMER Turinys About the book ................................................................................................................................................................ 2 A Brief Overview of the History of Traditional Music: What Has Changed Over Time? .................................................................................................................... 3 The Dulcimer: Then and Now .................................................................................................................................... 7 Chapter One: General Knowledge and Striking Strings in a Row 1.1. Correctly Positioning the Dulcimer and Holding the Hammers; First Sounds ....................................... 10 1.2. Playing on the Left Side of the Treble Bridge 1.2.1. First Compositions in A Major ................................................................................................................. 15 1.2.2. Playing Polka in D ........................................................................................................................................ 17 1.3. Playing on the Right Side of the Treble Bridge 1.3.1. Performing Compositions You Already Know in D Major ............................................................. 20 1.3.2. Performing a Composition You Already Know in G Major ............................................................ 22 1.4. Playing on the Left Side of the Bass Bridge
    [Show full text]
  • Thesis&Preparation&Appr
    THESIS&PREPARATION&APPROVAL&FORM& & Title&of&Thesis:& Scottish&Fiddling&in&the&United&States:&Reviving&a&Tradition&and&Maintaining&a&Community& & & I. To&be&completed&by&the&Student:& & I&certify&that&this&document&meets&the&preparation&guidelines&as&presented&in&the& Style&Guide&and&Instructions&for&Preparing&Theses&and&Dissertations.&& & & _________________________________& &_______________& (Signature&of&Student)&& & (Date)& & & II. To&be&completed&by&thesis&advisor:& & I&certify&that&this&document&is&suitable&for&submission.& & & _________________________________&& _______________& (Signature&of&Advisor)&& & (Date)& & III. To&be&completed&by&School&Director:& & I&certify,&to&the&best&of&my&knowledge,&that&the&required&procedures&have&been& followed&and&the&preparation&criteria&have&been&met&for&this&thesis/dissertation.&& & & _________________________________& &_______________& (Signature&of&Director)&& & (Date)& & & xc:&Graduate&Coordinator& SCOTTISH FIDDLING IN THE UNITED STATES: REVIVING A TRADITION AND MAINTAINING A COMMUNITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Deanna T. Nebel May, 2015 Thesis written by Deanna T. Nebel B.M., Westminster College, 2013 M.A., Kent State University, 2015 Approved by ____________________________________________________ Jennifer Johnstone, Ph.D., Advisor ____________________________________________________ Ralph Lorenz, Ph.D., Acting Director, School of Music ____________________________________________________
    [Show full text]
  • Book 2 of the Structured Learning Guide of the Royal Scottish Pipe Band Association
    SECOND EDITION 1993 PREFACE It is with very real pleasure that I introduce Book 2 of the Structured learning Guide of The Royal Scottish Pipe Band Association. The growing international popularity of Book 1 in the series is positive proof of the acceptance of the clear concise teaching methods being used in the education programme now introduced. Pipe band enthusiasts all over the world are due a debt of gratitude to the members of the team of diligent, talented personnel who have created and presented this comprehensive and imaginative learning aid. This debt will be amply repaid by the conscientious use of Books 1 and 2 and by the subsequent attainment of a higher standard of performance of Pipe Band Music. E. Sturgeon PRESIDENT - 1 INTRODUCTION The Music Board of the Royal Scottish Pipe Band Association is delighted to present Book 2 in the Structured Learning series which covers the revised curriculum of the Intermediate Certificate course. We believe that this second publication provides a well balanced and coherent framework of learning material against which students can further develop their musical competence in piping and drumming. The successful presentation format which was established in Book 1 has been continued and built upon to ensure continuity of the learning process. It also maintains the capability of the material for use in a distance learning mode where the student has limited or perhaps no access to formal instruction. A key objective of the Music Board is to offer musical education of the highest quality and to support this by the provision of appropriate learning resource material which will be available to the membership of the Association and to the many Affiliated Associations throughout the World.
    [Show full text]
  • (19) 11 Patent Number: 6031168
    US006031168A United States Patent (19) 11 Patent Number: 6,031,168 Damm (45) Date of Patent: Feb. 29, 2000 54 PRACTICE BAGPIPE CHANTER Encyclopedia Britannica, (15th edition), Encyclopedia Bri tannica, Inc., 1994, p. 795. 76 Inventor: Edward A. Damm, 24 Ledgelawn Ave., Bar Harbor, Me. 04609 Dearling, R. (ed): “The Illustrated Encyclopedia of Musical Instruments.” Carlton Books LTD, Dubai, 1996, pp. 185 and 21 Appl. No.: 09/207,308 187. 22 Filed: Dec. 8, 1998 (51) Int. Cl. ................................................. G10D 7100 Primary Examiner—David Martin 52) ... 84/380 B; 84/380 R; 84/465 Assistant Examiner Wesley Scott Ashton 58 Field of Search .............................. 84/380 A, 380 B, Attorney, Agent, or Firm-Michael J. Pebson; William B. 84/380 R, 381, 380 C, 465, 453; D17/10 Ritchie 56) References Cited 57 ABSTRACT U.S. PATENT DOCUMENTS The present invention is a practice chanter for Simulating a 152,554 6/1874 Gade ..................................... ssor bagpipe chanter. In its most basic form, the practice chanter D. 248,187 6/1978 Roe ... - - - - - - - D17/2 of the present invention includes a flexible airtube, a fipple 1,069,200 8/1913 Starck ... ... 84/380 B head attached to the flexible airtube, and a rigid whistle tube 1,498,280 6/1924 Izold ..... ... 84/380 R attached to the fipple head. In this basic embodiment, the 2,233,507 3/1941 Adamson 2,509,429 5/1950 Grow ........ E. whistle tube includes a plurality of holes disposed at pre 2,737,074 3/1956 Magnus. 84/375 determined locations along the length of the whistle tube 3,154,995 11/1964 Kuhn ........
    [Show full text]