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THE PARADOX of the PERIPHERY Evolution of the Cape Breton Fiddle Tradition C1928-1995 Elizabeth Anne Doherty Phd University of L

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THE PARADOX of the PERIPHERY Evolution of the Cape Breton Fiddle Tradition C1928-1995 Elizabeth Anne Doherty Phd University of L THE PARADOX OF THE PERIPHERY Evolution of the Cape Breton Fiddle Tradition c1928-1995 Elizabeth Anne Doherty PhD University of Limerick Supervisor: Professor Micheal O Suilleabhain Submitted to the University of Limerick, May 1996. THE PARADOX OF THE PERIPHERY' EVOLUTION OF THE CAPE BRETON FIDDLE TRADITION c1928-1995 Elizabeth A. Doherty During the eighteenth and nineteenth centuries hundreds of Highland Scots traversed the Atlantic Ocean to escape social, politcal, and religious repression or simply in search of better opportunities in the New World. Cape Breton Island, Nova Scotia, became home to many of these emigrants. The vast numbers of Highland Scots who settled in this isolated area successfully maintained much of their Gaelic culture, such as the language, music, song and dance. Ironically, while the old ways were strictly adhered to in the peripheral enclave which was Cape Breton, rapid change was shaping the culture, particularly the music, in the homeland. Under the influence of James Scott Skinner the fiddle music tradition underwent irrevocable changes, separating from the dance, becoming dependent on literate sources, and moving onto the concert platform. As such, Cape Breton may be regarded as a marginal survival, maintaining the old traditions, specifically the 18th Highland fiddle music in a new geographic location, while at the original centre these old traditions were being replaced by the new. With the arrival of the twentieth century, specifically the 1920s, the outside world began to impinge noticeably on Cape Breton. The recording industry, radio, television, travel opportunities, out-migration, the building of the Canso Causeway linking the island to the Nova Scotian mainland were all factors which were significant in stimulating a social and cultural awakening in Cape Breton. No longer merely a refuge for remnants of a Highland Scottish past, a new energy emerged within Cape Breton and began to reshape this heritage, creating that paradoxical situation wherein what was once peripheral becomes a new centre. In musical terms this process involved redefining the 18th century Highland fiddle tradition, which w~ str.ong~y.influenced by the bagpipes and the Gaelic language. into a new style which IS distinctly Cape Breton. This new voice in Scottish music certainlv owes m~ch of its style and repertory to its Highland origins, and to its ongoing connection ~Ith the ~ance tradition. Nevertheless significant changes have occurred, not least the introduction of the piano as the requisite accompanying instrument, characterised by a technique developed indigenously. New tunes, composed locally or adopted from related traditions such as the Irish, have been integrated into the repertory and old techniques have been polished and developed upon. Certainly the opportunities afforded to the younger generation of fiddlers has allowed them to become much more eclectic in terms of style and repertory, causing much consternation among the old school who are concerned that the Gaelic heritage is in danger of being lost to new trends. The evolution of the music of 18th century Highland Scotland into a distinct Cape Breton sound is the subject of this thesis. Based largely on fieldwork conducted there over the period 1992-1993 and 1995 it explores the problem currently creating anxiety within the tradition itself, that of the changing Cape Breton fiddler, and suggests that this phenomenon is not a recent development as is often implied but is one which has been significant since the 1920s. Dedicated to the memory a/Tic Butler CONTENTS Contents 1 Acknowledgements 5 Glossary of Terms and Phrases 9 List of Abbreviations 11 List of Figures 12 List of Illustrations 13 SECTION ONE - THE HI~TORICAL DIMENSION Chapter One From the Old World to the New 15 1.1 From Whence They Came' - Transplanting the People 17 1.2 'The Blood is Strong' - Settling Cape Breton 21 1.3 'My Heart's in the Highlands' - Transplanting the Culture 26 Chapter Two A New Voice in Scottish Music? 31 2.1 A Marginal Survival 31 2.2 ANew Voice 35 SECTION TWO - THE SOCIAL DIMENSION Chapter Three Change and Identity - The Central issues 41 3.1 An Overview of Socio- Musical Change in Cape Breton 42 3.2 Towards a Cape Breton Musical Identity 50 (a) Scottish, Cape Breton Scottish or Cape Breton Fiddling? 51 - A Shifting Musical Identity (b) Reflecting or Generating a Cape Breton Cultural Identity? 58 1 Chapter Four The Changing Cape Breton Fiddler 63 4.1 Changing Patterns in Profiles, Numbers and Age Groups 65 4.2 Ethnic Background 72 4.3 Gender 77 4.4 Towards Professionalism 84 Chapter Five The Changing Environment of the Cape Breton Fiddler 89 5.1 The Home Environment 89 5.2 The Transmission Process 99 5.3 The Influence of the Church 102 5.4 Occasions and Venues 105 (a) The Ceilidh 106 (b) The Square-Dance 112 (c) Weddings 120 (d) Wakes and Funerals 123 (e) Contests 125 (f) The Picnic 132 (g) The Outdoor Concert 137 (h) Other Occasions: Cape Breton and Beyond 142 5.5 Radio and its Influence 146 5.6 Television and its Influence 152 5.7 The Recording Industry 154 5.8 Onto the World Stage - A Changing Audience 157 SECTION THREE - THE MUSICAL DIMENSION Chapter Six Repertory and Sources 164 6.1 The Oral and the Literate - A Dualism in the Cape Breton Tradition 164 (a) Introducing Published Collections 167 (b) The Impact of Literacy 171 6.2 Sources Past and Present 176 (a) Aural Sources 177 (b) Puirt-a-Beul 179 (c) The Highland Bagpipe Repertory 180 (d) Published Sources: Scottish Fiddle Music Collections 183 (e) Published Sources: Non-Scottish Collections 184 2 (e) Published Sources: Non-Scottish Collections 184 (f) Published Sources: Indigenous Tune Collections 185 6.3 The Parameters ofRepertory.................................................................. 188 (a) Type................................................................................................ 188 (b) Structuring the Repertory : Tune-Type Categories.......................... 199 (c) Re-Categorising Tune-Types 204 (i) Trans-Metre 207 (ii) Trans-Rhythm............................................................................ 207 (iii) Trans- Tempo 209 (d) Choice 216 Chapter Seven Performing the Repertory - Contexts and Practices................ 224 7.1 Changing Performance Contexts......................................................... 224 (a) 'Dance Players'............................................................................... 226 (b) 'Listening Players'........................................................................... 236 (c) Syncretic Players............................................................. 240 7.2 Changing Performance Practices.................. 242 (a) Tune Sequences 243 (b) Tonal Sequences 248 (c) Grouping of Players........ 251 (d) Instrumentation............................................................................... 257 (e) Body Movements.......................... 261 Chapter Eight The Limits on Style.................. 265 8.1 Defining Style in the Context of Cape Breton Fiddle Music................. 265 8.2 The Issue ofCorrectness..................................................................... 271 8.3 Correctness and the Model.................................................................. 274 8.4 Correctness and the 'Flavour'............................................................... 285 Chapter Nine The Changing Style of the Cape Breton Fiddler 288 9.1 The Changing Style of the Cape Breton Fiddler................................... 291 - A New Phenomenon? 9.2 Towards Stylistic Change...................................................................... 294 (a) The Changing Environment and its Consequences on Style............. 294 3 (e) The Influence of the Dance 311 (f) Accompaniment and its Influence 318 Chapter Ten "...And Their Sound is Cape Breton" - The Elements of Style 328 10 .1 Left-Hand Embellishments 329 (a) Grace Notes 330 (b) Rolls 337 (c) Vibrato 338 (d) Slides 340 (e) 'Doublings' 341 10.2 Intonation 342 (a) Tuning 343 (b) Drones 345 (c) High Bass 349 10.3 Expanding Techniques 350 10.4 Tempo and Timing 356 10.5 Bowing 366 Conclusion The Paradox of the Periphery 376 Appendix A Tune Transcriptions Appendix B Published Collections Appendix C Discography AppendixD Fieldwork Recordings Bibliography Videography 4 ACKNOWLEDGEMENTS On April 12, 1992, I left Shannon airport - me, a fiddle, and a DAT recorder. I knew was 'Heading for Halifax' and that a man with a grey beard would meet me there. What would happen for the next three months was anybody's guess! That was just over four years ago, and since then I've passed through Halifax airport many times, en route to Cape Breton - now my second home. To mention everyone who helped me along the way would be a bit like including the Cape Breton telephone directory. Nevertheless, there are several individuals who must be named. Otherwise, I hope a big thank you will suffice. The man with the grey beard was Denis Ryan, originally from Newport, Co. Tipperary. Denis and his wife, Muriel, housed me for a week, introduced me tc some important contacts - now great friends - and drove me to Cape Breton, where they had arranged my family. Thanks Denis and Muriel for everything - especially for giving me to Tic and Emily. Tic and Emily Butler are my adoptive parents in Cape Breton, and are the best in the whole world. Thanks a million for giving me a home - I hope I didn't give you too many grey hairs when I didn't come home on the bus! Thanks indeed to the whole Butler family for welcoming
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