The Scottish Pipe Band in North America: Tradition, Transformation, and Transnational Identity
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University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 The Scottish Pipe Band in North America: Tradition, Transformation, and Transnational Identity Erin F. Walker University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Walker, Erin F., "The Scottish Pipe Band in North America: Tradition, Transformation, and Transnational Identity" (2015). Theses and Dissertations--Music. 45. https://uknowledge.uky.edu/music_etds/45 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. 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Walker, Student Diana Hallman, Major Professor David Sogin, Director of Graduate Studies THE SCOTTISH PIPE BAND IN NORTH AMERICA: TRADITION, TRANSFORMATION, AND TRANSNATIONAL IDENTITY DISSERTATION A document submitted in partial fulfillment of the requirements for the degree of Doctor of Musicology/Ethnomusicology in the College of Fine Arts at the University of Kentucky By Erin Walker Director: Diana Hallman, Associate Professor of Music Lexington, Kentucky 2015 Copyright © Erin Walker 2015 ABSTRACT OF DISSERTATION THE SCOTTISH PIPE BAND IN NORTH AMERICA: TRADITION, TRANSFORMATION, AND TRANSNATIONAL IDENTITY For Scots and non-Scots alike, the sounds of the bagpipes and the pipe band serve as a cultural metaphor for Scottish identity: the skirl of the pipes, the crisp sound of the snare drums, and the unique lilt of the music conjure an imagined Scotland of fierce, kilted clansmen and rugged, picturesque Highland scenery. This nearly global association appears to have been constructed on a series of transformations of cultural practices within Scotland itself, as well as throughout greater Britain and the lands of the Scottish diaspora, that began with the early “kiltophiles” in the late eighteenth century. Then, in the nineteenth century, its appeal was rendered greater by the romanticization of the Highlander in British literature, Queen Victoria's affinity for summer holidays at Balmoral Castle, expanded pipe band use in the British Army, and the formation of Scottish heritage societies embracing Highland dress, music, and sport. The turn of the twentieth century saw the pipe band move beyond military spheres to serve a range of civic and social purposes within Scotland, and throughout the subsequent hundred-plus year period, pipe bands as community musical ensembles have spread throughout the lands of the Scottish diaspora and other areas of the globe. Although there were and are a range of organizations, practices, and trends that offer insight into cultural developments within Scotland and the Scottish diaspora, the primary goal of this dissertation is to study the role of the pipe band in the construction and transformation of Scottish identity through an examination of the meanings, values, and musical practices that are built into ideas of "Scottishness" from the mid-nineteenth through the twenty-first century in the British Isles and North America. In its consideration of late twentieth- to twenty-first-century North American pipe bands, it will cast special light on selected bands of the Southeast and Ohio Valley regions, using two ensembles, the Kentucky United Pipes and Drums and the Knoxville Pipes and Drums, and one Highland festival, the Scotland County Highland Games, as case studies of present-day practices, but also as windows into identity formation within and through bands of the past. KEYWORDS: Pipe band, Bagpipes, Scottishness, Identity, Diaspora Erin Walker Student’s Signature July 22, 2015 Date THE SCOTTISH PIPE BAND IN NORTH AMERICA: TRADITION, TRANSFORMATION, AND TRANSNATIONAL IDENTITY By Erin Walker Diana Hallman Director of Dissertation David Sogin Director of Graduate Studies July 22, 2015 Date DEDICATION This dissertation is dedicated to my grandmother, Cleo Crooks MacArt, who has been cheering for me to finish it for years. ACKNOWLEDGMENTS This document could not have been completed without the support of my family, friends, colleagues, and professors, and without the members of the Kentucky United Pipes & Drums and the Knoxville Pipes & Drums. I greatly appreciate the guidance of the director of this project, Diana Hallman, and the huge number of hours she spent reading and editing on a tight deadline. I would like to thank the other members of my doctoral committee, Ron Pen, Donna Kwon, Lance Brunner, Kevin Holm-Hudson, and James Norton, and my outside reader, Allan Richards, for their insight and direction. I am deeply grateful to my husband, Andy Bliss, my parents, Jim and Sally Walker, and my mother-in-law, Dianne Bliss, for their assistance and patience throughout the writing process. iii TABLE OF CONTENTS Acknowledgments………………………………………………………………………..iii List of Figures…………………………………………………………………………….iv Chapter One: Introduction………………………………………………..……………….1 1.1 Overview and Objectives…….….……………………………..……………….1 1.2 Central Questions and Limitations……………………..………..…………….10 1.3 Theoretical Framework and Terminology………………..………..……….….17 1.4 Overview of Source Literature………………..………..……….………..……23 1.5 Methodology…………………...………………..………..……………………29 1.6 Outline of Chapters..…………………………………………..……………….32 Chapter Two: Patterns of Scottish Identity Creation and Cultural Retention in Scotland and Throughout the Lands of the Scottish Diaspora….………………………….………38 2.1 Introduction……………………………………………………………………38 2.2 Origins and Early Manifestations of Scottish Identity Construction…………..41 2.3 Reasons for and Patterns of Emigration to North America……………………53 2.4 The Growth and Proliferation of Scottish Culture, and Appropriation of Scottish Identity, in North America…………………………………………………………57 2.5 Conclusion…………………………………………………………….……….65 Chapter Three: A Brief History of the Pipe Band, its Instruments, and their Relationship to Scottish Identity……………………………………………………………………….69 3.1 Introduction……………………………………………………………………69 3.2 History of the Bagpipes………………………………………………………..70 3.3 The Late Eighteenth- and Early Nineteenth-Century Proliferation of the Bagpipes…………………………………………………………………….……..78 3.4 The Foundation and Standardization of Military Pipe Bands……………..…..87 3.5 The Formation of Civilian Pipe Bands……………………………………..…96 3.6 Conclusion……………………………………………………………………101 Chapter Four: Contemporary Pipe Bands: Tradition and Identity Creation Through Instrumentation, Repertoire, and Dress……………………….…..……………………103 4.1 Introduction…………………………………………………………………..103 4.2 Sections of the Ensemble….……………………….…………………………104 4.3 Pipe Band Repertoire….……………………….……………………………..117 4.4 Significant and Symbolic Songs in the Pipe Band Repertoire……………….130 4.5 Dress….……………………….…………………………………….………..136 4.6 Conclusion….……………………….………………….…………………….140 Chapter Five: Ethnographic Case Studies of the Kentucky United Pipes and Drums and the Knoxville Pipes and Drums…………………………………………………..….…141 5.1 Introduction…………………………………………………………………..141 5.2 History and Operational Overview of the Kentucky United Pipes and Drums and the Knoxville Pipes and Drums………………………………………...……143 5.3 Characteristics of KUPD and KPD Members………………………….…….147 5.4 Methods of Learning and Rehearsal Structures in KUPD and KPD…………163 5.5 Contexts and Venues of Performance……………………..………………….172 5.6 Conclusion……………………………………………………...….…………178 Chapter Six: An Ethnographic Case Study of the 2014 Scotland County Highland Games…………………………………………………………………………………..181 6.1 Introduction…………………………………………………………………..181 6.2 About the Scotland County Highland Games…………………………..…….183 6.3 Massed Band Performances at Opening and Closing Ceremonies…………..186 6.4 Solo and ensemble competitions……………………………………………..192 6.5 Elements of Heritage Tourism at the Scotland County Games………………198 6.6 Conclusion…………………………………………………………..………..202 Chapter Seven: Conclusion……………………………………………………………..204 7.1 Introduction…………………………………………………………………..204