Pibroch – Wikipedia

Pibroch, piobaireachd or ceòl mòr is an art music writing style associated chiefly with the scottish Highlands that is characterised by extensive compositions with a melodic theme and elaborate dinner dress variations. rigorously meaning “ piping ” in scots Gaelic, piobaireachd has for some four centuries been music of the Great Highland Bagpipe. [ 1 ] Music of a alike nature, pre-dating the borrowing of the Highland pipes, has historically been played on the wire-strung Gaelic harp ( clàrsach ) and later on the scottish tamper, and this form is undergoing a revival. A more general terminus is ceol mor ( scots Gaelic : ceòl mòr in reform spell or ceòl mór in unreformed spell ), meaning the “ great music ”, to distinguish this complex extended art-music from the more popular scottish music such as dances, reels, marches and strathspeys, which are called ceòl beag or “ little music ” .

etymology [edit ]

The Gaelic word piobaireachd literally means ‘piping ‘ or ‘act of piping ‘. The parole is derived from pìob ( ‘pipes ‘ ) via pìobaire ( ‘piper ‘ ) plus the abstract form suffix -eachd. In Gaelic, pìobaireachd literally refers to any pipe music, not merely ceòl mór ( literally : ‘big music ‘ ). Pibroch is a spelling random variable inaugural attested in Lowland Scots in 1719. [ 2 ] Bagpipe societies, such as the Glasgow-based Piobaireachd Society, have normally employed the term piobaireachd as a synonym for ceol mor played on the Great Highland Bagpipes. [ 3 ] The terminus piobaireachd or pibroch is besides historically employed to describe ceol mor -related repertoire played on instruments early than bagpipes, particularly the scots fiddle. [ 4 ]

notation [edit ]

Pibroch is by rights expressed by moment and frequently subtle variations in note duration and tempo. traditionally, the music was taught using a system of unique chanted vocables referred to as Canntaireachd, an effective method of denoting the assorted movements in pibroch music, and assisting the apprentice in proper expression and memorization of the tune. The overriding vocable arrangement used today is the Nether Lorn canntaireachd sourced from the Campbell Canntaireachd manuscripts ( 1797 & 1814 ) [ 5 ] and used in the subsequent Piobaireachd Society books. Multiple written manuscripts of pibroch in staff note have been published, including Angus MacKay ‘s ledger A Collection of Ancient Pìobaireachd ( 1845 ), Archibald Campbell ‘s The Kilberry Book of Ceòl Mór ( 1969 ), [ 6 ] and The Pìobaireachd Society Books [ 7 ] The staff notation in Angus MacKay ‘s bible and subsequent Pìobaireachd Society sanctioned publications is characterised by a simplification and standardization of the ornamental and rhythmical complexities of many pibroch compositions when compared with earlier unpublished manuscript sources. A number of the earliest manuscripts such as the Campbell Canntaireachd MS that predate the criterion edited published collections have been made available by the Alt Pibroch Club web site as a publicly accessible comparative resource. [ 8 ] Pibroch is unmanageable to document accurately using traditional musical notation, and early on attempts suffered from conventions which do not accurately convey tune expression. [ 9 ] More contemporary pibroch note has attempted to address these issues, and has produced note much closer to true expression of the tunes. [ 10 ] [ 11 ] pibroch does not follow a nonindulgent meter but it does have a rhythmical menstruation or pulsation ; it does not follow a hard-and-fast beat or tempo although it does have tempo. The written note of pibroch serves chiefly as a rough in guide for the piper. The formula of the rhythm method of birth control and tempo of the pibroch tune are primarily acquired from an know teacher and applied through interpretative operation commit .

structure [edit ]

relate ceòl mór genres were historically besides played on the fiddle and on the wire-strung Gaelic harp or clàrsach. [ 12 ] The clarsach ceòl mór is probably to have predated and influenced the later pipe [ 13 ] and fiddle [ 14 ] music. however, pibroch in its current shape was developed on the Great Highland Bagpipe, with most of the extant pibroch tunes being adapted to or written specifically for the GHB, and as a consequence the melodious shape is influenced by features and limitations of that instrument. In musical structure, pibroch is a theme with variations. The composition is normally a very simple melody, though few if any pibroch contain the theme in its simplest form. The theme is first stated in a slow movement called the ground or in Gaelic the ùrlar. This is normally a fairly stylised version of the composition, and normally includes numerous added embellishments and connecting notes. The subsequent variations can number from one improving to about twenty, although there are a few fragmental tunes for which entirely a ground is known. In most cases the variations following the labor involve the manipulation of a number of different musical embellishments, normally starting very simply and progressing through successively more complex movements before returning again to the grind. Variations after the ùrlar or ground normally include a siubhal ( ‘passing ‘ or ‘traversing ‘ ) or dithis ( ‘two ‘ or ‘a pair ‘ ) or both. The siubhal comprises subject notes each coupled with a individual note of higher or lower pitch that normally precedes the theme bill. The root note is held and its pair single notice cut. The time given to the theme notes is of critical importance in displaying the virtuosity of the master piper. If the composition and single note are repeated or played in pairs, it is referred to as a double, otherwise a siubhal single. The dithis is exchangeable. The theme note is accented and followed by a snub note of lower pitch, normally alternating, for exemplar, between an A and a G. If the coupled pairs are played in a duplicate design, it excessively is called a dithis double. Following the siubhal or dithis variation are other more complex embellishments. The celtic names of these type movements are : leumluath, taorluath, and crùnluath. In about all pibroch in which these later movements are found, the variations are played inaugural as a single and then as a double and with a slightly increased tempo. however, not all pibrochs will include all or even any of these movements but alternatively use variations that are deemed to be irregular. In accession the theme will normally have one of several inner structures for the rate of its musical phrases. These are normally classified as follows :

• Primary – The theme or ground is composed of two two-bar phrases, A and B, played in the following order:
  • AAB
  • ABB
  • AB
• Secondary – The theme or ground is composed of four phrases, with A and B being one-bar phrases and C and D being two-bar phrases, and played in the following order:
  • ABCD
  • CBAD
  • CD
• Tertiary – A relative of Primary Pibroch, with three two-bar phrases, A, B, and C, played in the following order:
  • AB
  • ABB
  • AB
  • C
• Irregular – The theme or ground does not fit into any of the above structures.

few pibrochs are saturated examples of any of these structures though most can be fit into one of the first three with a rebuff change of one or two of the phrases in one or more lines. A compilation of the structure of many pibroch tunes, including relate historical essays, was written by A. J. Haddow. [ 15 ] There is evidence from early treatises ( e.g. Joseph MacDonald ) that the structure was originally counted in 4, therefore a primary form would be

• AABA
• BBAB

similarly, junior-grade form can be read as

• abABA
• baBAB[16]

Titles and subjects [edit ]

The Gaelic titles of pibroch compositions have been categorised by Roderick Cannon into four broad groupings. [ 17 ] These include :

• Functional – salutes, laments, marches and gatherings.
• Technical – referring to strictly musical characteristics of the pieces such as “port” or “glas”, terms shared with wire-strung harpers.
• Textual – quotations from song lyrics, usually the opening words.
• Short names – diverse short names referring to places, people and events similar to those found in Scottish popular music of the period.

Pibroch in the functional category were most normally written for or have come to be associated with specific events, personages or situations :

• Laments ( Cumha) are mourning tunes often written for a deceased person of note. Laments were commonly written as a result of families being displaced from their homeland, a practice that was very common after the Jacobite rising of 1745.
• Salutes ( Fàilte) are tunes that acknowledge a person, event or location. Salutes were often written upon the birth of children or after a visitation to a prominent figure such as a clan chief. Many salutes have been written to commemorate famous pipers.
• Gatherings ( Port Tionail) are tunes written specifically for a clan. These tunes were used to call a clan together by their chief. The title “Gathering” traditionally refers to the practice of seasonal cattle raiding of rival clans.[18]
• Rowing pibroch are more rhythmic tunes used to encourage rowers while crossing the sea.

The different categories of pibroch do not have coherent distinctive melodious patterns that are characteristic of the category. [ 19 ] The function of the pibroch may inform the performers interpretative construction of rhythm method of birth control and tempo. many pibroch tunes have intriguing names such as “ Too Long in This condition ”, “ The Piper ‘s Warning to His master ”, “ Scarce of Fishing ”, “ The Unjust Incarceration ” and “ The Big Spree ” which suggest specific narrative events or possible song lyric sources. The oral infection of the repertoire has led to diverse and divergent accounts of the names for tunes, and many tunes have a number of names. Mis-translation of Gaelic names with non-standard phonetic spelling adds to the confusion. In some cases the diagnose and capable count of pibroch tunes appears to have been reassigned by-19th hundred editors such as Angus MacKay, whose book A Collection of Ancient Piobaireachd or Highland Pipe Music ( 1838 ) included historically fanciful and romanticist pibroch source stories by antiquary James Logan. [ 20 ] A issue of pibroch collected by MacKay have identical different titles in earlier manuscript sources. MacKay ‘s translate english titles became the normally accept modern pibroch names, sanctioned by subsequent Piobaireachd Society editors. [ 21 ] Roderick Cannon has compiled a dictionary of the Gaelic names of pibroch from early manuscripts and print sources, detailing inconsistencies, difficulties in translation, discrepancy names, accurate translations and verifiable historically documented attributions and dates in the few cases where this is possible. [ 22 ]

history [edit ]

In the absence of concrete objective testify, the origins of pibroch have taken on a quasi-mythic condition. [ 23 ] The earliest normally recognize figures in the history of bagpipe pibroch are the MacCrimmon family of pipers, particularly Donald Mor MacCrimmon ( c. 1570 – 1640 ), who is reputed to have left a group of highly developed tunes, [ 24 ] and Patrick Mor MacCrimmon ( c. 1595 – 1670 ), one of the familial pipers to the Chief of MacLeods of Dunvegan on the isle of Skye. There is some controversy over the attribution of writing of key pibroch tunes to the MacCrimmons by Walter Scott, Angus Mackay and others who published on the subject in the nineteenth century. The Campbell Canntaireachd, written in 1797, [ 25 ] [ 26 ] is a two-volume manuscript with chant vocable transcriptions of pibroch music that predates the 19th-century attributions. It contains no references to the MacCrimmons and has unlike names for numerous tunes that were subsequently associated with them. The pibroch “ Cha till mi tuill “ in the Campbell Canntaireachd manuscript, [ 27 ] which translates as “ I shall return no more ”, is related to a tune associated with victims of the clearances emigrating to the modern worldly concern. Walter Scott wrote new quixotic verses to this tune in 1818 with the title “ Lament – ( Cha till suin tuille ) ” which translates as “ We shall return no more ”, late republished as “ Mackrimmon ‘s Lament. Air – Cha till mi tuille “. [ 28 ] In Angus MacKay ‘s book A Collection of Ancient Piobaireachd or Highland Pipe Music, 1838, the pibroch “ Cha till mi tuill “ is subsequently published with the title “ MacCrummen will never return ”. [ 29 ] [ 30 ] The pibroch “ Couloddins Lament ” in the Campbell Canntaireachd manuscript [ 31 ] appears in MacKay ‘s book with the entitle “ Lament for Patrick Og MacCrimmon ”. [ 32 ] [ 33 ] This design has led critics of the orthodox accounts of pibroch history such as Alistair Campsie to conclude that the authorship and origins of the pibroch repertoire were reframed for political and hanoverian motivations that can be traced bet on to anxieties over scottish nationalism. [ 34 ] While the conventional accounts of the origins of pibroch are largely characterised by an embroider romanticism common to antiquarian appropriations of end historical traditions in the late eighteenth century and early nineteenth century, [ 35 ] there are substantial surviving authentic musical documents that concur with a living custom of perform repertoire, providing a ground for any consider over authoritative accounts of the custom .

Harp precedents for pibroch [edit ]

Most pibroch are normally assumed to have been written during the 16th to 18th centuries. The stallion repertory comprises approximately 300 tunes. In many cases the composer is nameless, however pibroch continues to be composed up to the deliver day. recent research suggests that the dash of ornamentation in pibroch points to earlier origins in wire-strung Gaelic harp music, in detail the habit of rapid descending arpeggios as gracenotes. [ 36 ] The wire-strung clàrsach was traditionally the basal high condition aristocratic instrument in Gaelic Scotland and Ireland. The art music performed on the wire-strung harp was passed down through oral transmission and a lot of the repertoire is likely to have been lost. A divers range of historic manuscripts however provide a resource for the reconstruction of cardinal aspects of this musical culture. [ 37 ] A significant body of wire-strung harp compositions and relate performance practices were notated from the last of the irish wire-strung harpists by Edward Bunting in the late eighteenth century. [ 38 ] Documentation of the scots wire-strung harp repertoire can be found through tunes that were transcribed to other instruments such as the Port genre [ 39 ] transcribed in scots lute manuscripts [ 40 ] and other collections, [ 41 ] tamper pibroch published by Walter McFarlan, [ 42 ] and Daniel Dow, [ 43 ] and possibly some of the early on bagpipe pibroch. probable wire-strung harmonica repertoire can besides be found in a act of collections of Irish and Scottish songs and tunes, frequently published in arrangements for violin, flute and other modern instruments. [ 44 ] [ 45 ] [ 46 ] “ Caoineadh Rìoghail /The Royal Lament ” ( c. 1649 ) is a harp tune similar in structure to pibroch with an introductory composition and formal variations. [ 47 ] It is reputed to have been composed by the aristocratic wire-strung harpist John Garbh MacLean, Laird of Coll, on the execution of Charles the First. [ 48 ] The tune was documented and transcribed for the piano by Simon Fraser from repertory that had survived in his family. [ 49 ] A pibroch that is considered to be one of the oldest in the repertory appears in the Campbell Canntaireachd with the title “ Chumbh Craoibh Na Teidbh “ [ 50 ] which translates as “ Lament for the Tree of Strings ”, a potential poetic reference to the wire-strung harp. [ 51 ] Another better known pibroch published by Angus MacKay with the Gaelic title “ Cumhadh Craobh nan teud “ is translated as “ Lament for the Harp Tree. ” [ 52 ] In MacKay ‘s book James Logan notes : “ This piobaireachd, so unlike all others, is obviously from its style, of identical high ancientness. We have not been able to procure any satisfactory account of Cumhadh Craobh nan teud, which is normally translated, “ dirge for the Harp Tree ”, i.e. the tree of strings. It strikes us that this is a bardic construction for the legal document itself, as we should say “ the Bag of Pipes. ” [ 53 ] This pibroch appears in the Campbell Canntaireachd manuscript as “ MacLeod ‘s deplore. ” [ 54 ] [ 55 ] A associate tune was published by Angus Fraser in 1816 with the title “ Cumha Craobh nan teud /Lament for the Harp Tree ”. [ 56 ] William Matheson argues that the title is a corruption of “ Cumha crann nan teud “ or “ lament for the Harp Key ”. He identifies the pibroch composition with the song “ Feill nan Crann “ attributed to one of the survive scottish wire-strung harpist poets Rory Dall Morison ( c. 1656 – c. 1714 ), besides known as Ruaidhri Dall Mac Mhuirich, written in his former years as a satirical deplore to his declining sexual potency. [ 57 ] As scots Gaelic aristocratic patronize and traditions began to break down through political and cultural changes and the ever-increasing influences of european and english cultural values and mores, the role of the wire-strung clarsach harp went into a worsen. The trade of high prestige professional familial harpers was largely gone by the mid-17th hundred, although there are records of harpers such as Rory Dall Morison who were still being maintained by leading families up until the early on eighteenth hundred. [ 58 ]

Fiddle pibroch [edit ]

Ceòl mór repertoire is likely to have transferred from the harp to the newly developed italian violin in the belated sixteenth century as fiddlers began to receive aristocratic patronize and supplement the function of the harpers. evidence of coincident trade can be found in a notary report sent to the Laird of Grant in 1638 detailing that his twiddler John Hay and his harpist had injured each other in a fight. [ 59 ] The heightened social and cultural condition for fiddlers was consolidated by Clan Cummings of Freuchie who became the familial fiddlers and subsequently besides pipers to the Laird of Grant from the early seventeenth century until the late eighteenth hundred. [ 60 ] A distinctive soundbox of ceòl mór known as fiddle pibroch developed in this time period with melodic themes and dinner dress variations that are exchangeable to, but not necessarily derived from or imitative of coincident bagpipe pibroch, as the name “ fiddle pibroch ” might suggest. The two forms are likely to have developed in parallel from a park shared reference in earlier harp music and Gaelic song. [ 61 ] Fiddle pibroch performance techniques included double-stops, unlike crouch patterns, complex ornamentation and expressive rubato rhythmical freedom. Pibroch fiddlers employed option scordatura tunings to play this repertory, such as the “A E a e” tuning recommended by violinist/composer James Oswald. Around seventeen fiddle pibroch compositions survive in diverse 18th- and 19th-century manuscripts and publications, collected by Walter McFarlan, [ 62 ] Daniel Dow, [ 43 ] James Oswald [ 63 ] and others. luminary toy pibroch include compositions likely to have been transcribed from the wire-strung harp repertoire such as “ Cumha Iarla Wigton /Lament for the Earl of Wigton, ” [ 64 ] and “ Cumh Easpuic Earra-ghaoidheal /Lament for the Bishop of Argyll, ” [ 65 ] and compositions for the violin within the pibroch form such as “ Marsail Lochinalie “ [ 66 ] and “ Mackintosh ‘s deplore. ” [ 67 ] This melodious lineage had gone into decline around the clock time the fiddle pibroch repertoire was documented in the recently 18th-century manuscripts, culminating in the laments by and for the Scottish violinist and composer Niel Gow ( 1727–1807 ) .

emergence of bagpipe pibroch [edit ]

aristocratic Scottish Gaelic ceòl mór harp repertoire and practices are assumed to have begun to transfer across from the harmonica to the bagpipes in the sixteenth century. [ 68 ] [ 69 ] A North Uist tradition identifies the first MacCrimmon as a harpist. [ 70 ] The MacCrimmons asserted that they received their first prepare in a school in Ireland. [ 71 ] Alexander Nicholson ( bel. 1844 ) in his book History of Skye primitively published in 1930, recounts a tradition that the MacCrimmons were “ adept players of the harp, and may have been composers of its music, before they began to cultivate the other and more romanticist instrument. ” [ 72 ] There were a number of musicians across the menstruation from the 17th to the eighteenth centuries who were noted multi-instrumentalists and potentially formed a bridge from the harp to the violin and bagpipe repertoire. Ronald MacDonald of Morar ( 1662–1741 ), known in Gaelic as Raghnall MacAilein Òig, was an aristocratic wire-strung clarsach harpist, tinkerer, piper and composer, celebrated in the pibroch “ The Lament for Ronald MacDonald of Morar. ” He is the think of composer of a phone number of highly regard pibroch including “ An Tarbh BreacDearg /The Red Speckled Bull ”, [ 73 ] [ 74 ] “ A Bhoalaich /An Intended Lament, ” [ 75 ] besides published in Angus MacKay ‘s book as “ A Bhoilich /The Vaunting ”, [ 76 ] and “ Glas Mheur “ which MacKay translates as “ The Finger Lock. ” [ 77 ] This pibroch is entitled “ Glass Mhoier “ in the Campbell Canntaireachd. [ 78 ] [ 79 ] There are two early pibrochs in the Campbell Canntaireachd manuscript with the relate titles “ A Glase “, [ 80 ] [ 81 ] and “ A Glass ”. [ 82 ] [ 83 ] “ Glas ” is besides a key term found in the irish wire-harp custom, as noted down by Edward Bunting from harpers such as Denis O’Hampsey who was one of the last musicians still playing the traditional Gaelic repertoire in the deep eighteenth hundred. [ 84 ] Bunting uses glass as a form of gléis in relation back to tuning. [ 85 ] He besides lists the term glas as a specific finger proficiency, which he translates as “ a join ”, a simile for lock. He describes this as “ double notes, chords etc ” for the left double hand [ 86 ] and proper sea bass hand. [ 87 ] [ 88 ] William McMurchy ( c. 1700 – c. 1778 ) from Kintyre, was a note poet, wire-strung harpist and piper, reportedly attached to MacDonald of Largie in 1745. [ 89 ] In agreement regarding McMurchy ‘s solicitation of Gaelic poetry that was passed to the Highland Society, Duncan Stewart of Glenbuckie, Argyle ‘s Chamberlain in Kintyre, commented that “ The eldest of them ( the McMurchy brothers ) William who was a great flair put all the pibroch and many highland airs to music. ” McMurchy may well then have been one of the key transcribers of pibroch. [ 90 ]

cultural dominance of bagpipe pibroch [edit ]

The surface of the bagpipe and the correspond stir away from the harp and its consort traditions of bardic poetry is documented with a confronting contempt in the satirical dispraising song “ Seanchas Sloinnidh na Piob o thùs /A history of the Pipes from the begin ” ( c. 1600 ) by Niall Mòr MacMhuirich ( c. 1550 – 1630 ), poet to the MacDonalds of Clanranald : “ John MacArthur ‘s screeching bagpipes, is like a diseased hero, wide of saliva, long limbed and noisy, with an infect breast like that of a grey curlew. Of the universe ‘s music Donald ‘s organ pipe, is a break down outfit, offensive to a multitude, sending forth its slaveholder through its decayed bulge, it was a most disgust filthy downpour … ” [ 91 ] This can be contrasted with the celebration of the heroic verse warrior associations of bagpipe pibroch at the expense of the harp and fiddle by later Clanranald poet Alasdair mac Mhaighstir Alasdair ( c. 1695 – 1770 ) in the birdcall “ Moladh air Piob-Mhor Mhic Cruimein /In Praise of MacCrimmons Pipes ” : “ Thy chanter ‘s exclaim gives pleasure, Sighing thy bold variations. Through every lively measure ; The war note captive on rend, White fingers deft are pounding, To hack both marrow and muscles, With thy strident war cry resounding … You shamed the harp, Like upset violin ‘s note, Dull strains for maids, And men grown old and done : Better thy strident good time, From gamut weather and gay, Rousing up men to the destructive affray … ” [ 92 ] Bardic verses traditionally celebrated the clàrsach harp and made no note of bagpipes. [ 93 ] Hugh Cheape argues that the bagpipes gained popularity and bulge through the want for a warlike instrument in a period of increasing military engagements. [ 94 ] Bagpipes were grafted on to existing structures of aristocratic cultural trade and aesthetic admiration in the mid-17th hundred and became the primary ceòl mór instrument, appropriating and supplanting the eminent cultural and musical character of the harp. [ 95 ] This is reflected in the trade offered to a succession of familial poets, harpers and subsequently pipers who were retained by leading Clan families, including pibroch dynasties such as the MacCrimmons, pipers to the MacLeods of Dunvegan, and the MacArthurs, pipers to the MacDonalds of Sleat. Cheape identifies accounts of a MacArthur college of piping instruction in ceòl mór as a continuance of a preexistent irish bardic mannequin. [ 96 ]

Modern bagpipe pibroch ( early 19th century – present ) [edit ]

Bagpipe pibroch survival and revival [edit ]

In the consequence of the Battle of Culloden in 1746, the old Gaelic cultural ordain underwent a near sum collapse. Pibroch continued to be played by bagpipers, but with decrease trade and status, and was perceived to have gone into a decline. The modern revival of pibroch was initiated by the newly founded Highland Society of London. They funded annual competitions, with the first being held at the Falkirk Masonic Lodge in 1781. Over the run of the nineteenth century, with the opening up of communications within the Highlands, in particular, the railways, a competing circuit emerged with the two most pre-eminent competitions being held at Inverness and Oban, the former descended immediately from the first Falkirk rival. The orally transmitted pibroch repertory was collected and documented in a divers crop of manuscripts largely dating from the early nineteenth century. [ 97 ] The foremost comprehensive examination collections were the canntaireachd notations in the Campbell Canntaireachd MS ( 1797 & 1814 ) [ 5 ] and the Neil MacLeod Gesto Canntaireachd MS ( 1828 ) collected from John MacCrimmon anterior to his death in 1822. [ 98 ] A serial of manuscripts in the early nineteenth hundred documented pibroch in staff notation, including the Hannay – MacAuslan MS ( c. 1815 ), [ 99 ] a primary coil source for the Donald MacDonald MS ( 1820 ) [ 100 ] the John MacGregor/Angus MacArthur MS ( 1820 ), [ 101 ] the Donald MacDonald Jnr. MS ( 1826 ), [ 102 ] and the John MacKay MS ( 1840 ). [ 103 ] Angus MacKay ‘s book A Collection of Ancient Piobaireachd or Highland Pipe Music, published in 1838, documented and presented the pibroch repertoire in staff notation with supplementary comment by antiquarian James Logan. [ 104 ] MacKay simplified many of the pibroch compositions, editing out complex decoration and asymmetries that were discernible in software documentation of the like compositions published in earlier manuscripts such as the Campbell Canntaireachd MS. [ 105 ] He besides specified regular time signatures that standardised and regulated a music that was traditionally performed with expressive rubato rhythmical interpretation of the musical wording and dynamics. [ 106 ] MacKay ‘s staff notated edit version of pibroch became the authoritative address for the 19th- and 20th-century revival of pibroch, and greatly influence subsequent modern pibroch performance. [ 107 ] In 1903, The Pìobaireachd Society was founded with the bearing of recording the corpus of existing pibroch tunes, collating the assorted versions, and publishing an authoritative version. Those prescriptive tune settings have been the footing on which ceòl mór competitors at the diverse Highland Games have been judged ever since, with the pipe judges themselves being appointed by the Society. Pipers and researchers such as Allan MacDonald, Barnaby Brown and William Donaldson have questioned the edit of the tunes that went in the Pìobaireach Society books. [ 108 ] [ 109 ] [ 110 ] many compositions appear to have been edited and distorted to make them conform unnecessarily to particular recognize tune structures. [ 111 ] [ 112 ] The standardization of the notate pibroch tunes has made the judgment of competitions easier at the expense of the flowery complexity and musicality of an art-music that had passed down from teacher to pupil through the oral infection of repertoire and proficiency. autonomous documentation of this tradition of oral transmission can be found in canntaireachd manuscripts, chanted vocable transcriptions of the music that predate the normative melodious scores authorised by the Pìobaireachd Society and enforced through prescriptive competition judging criteria. The Alt Pibroch Club web site has made a range of these Canntaireachd manuscripts available on-line as a comparative resource. [ 8 ] [ 113 ] There was reportedly a third base lost volume of the Campbell canntaireachd manuscripts dating from the late eighteenth century. The first two volumes were besides lost in 1816 but rediscovered in 1907 in the possession of Anne Campbell, a descendant of Colin Campbell. Roderick Cannon and Peter McCalister have recently initiated a public campaign to track down any live relatives of Campbell or early parties who might have acquired the document without realising its historical and musical meaning. [ 114 ]

operation lineages [edit ]

The oral infection of pibroch besides survives as a populate custom through divers lineages of teachers and pupils, traceable back to the earliest accounts of the form. distinctive approaches to performance technique and rendition developed through different lineages of pibroch play and teaching, with two of the most influential coming to be known as the Cameron style, which is more polish, and the MacPherson style, which is more nip. [ 115 ]

Recordings by acclaim practitioners such as Robert Reid, [ 116 ] a leading advocate of the Cameron style, and Donald MacPherson [ 117 ] extend admonitory software documentation of these performance traditions. alternative lineages have besides survived in improbable settings. Simon Fraser ( 1845–1934 ), whose family emigrated to Melbourne, Australia in the nineteenth hundred, passed down a distinct body of pibroch repertory via canntaireachd, staff note and through the coach of students. These flowery and highly melodious pibroch predate the calibration of the music by the Pìobaireachd Society. Melbourne-based piper Dr Barrie Orme, who was trained in a lineage traceable back to Simon Fraser, has documented this analogue body of around 140 pibroch through tutor publications, [ 118 ] [ 119 ] [ 120 ] a six volume series of archival recordings of the Simon Fraser pibroch repertory, [ 121 ] [ 122 ] and a DVD television demonstrating the performance techniques passed down to Orme by his teacher Hugh Fraser, Simon Fraser ‘s son. J.D. Ross Watt was a Scottish-born, south African -based piper who besides published a far humble numeral of classifiable pibroch sourced from Simon Fraser. Watt ‘s own bagpipe compositions are influenced by Simon Fraser ‘s pibroch style. [ 123 ]

contemporaneous

ceòl mór

revival [edit ]

Performance-based pibroch inquiry [edit ]

An emerging model of historically informed practice-based inquiry into pibroch is being conducted by innovative piper/scholars such as Barnaby Brown and Allan MacDonald. Brown has researched pibroch documented in historical manuscripts, focusing particularly on the Campbell Canntaireachd MS. He has revived and recorded lesser known pibroch such as “ Hioemtra Haentra ” and “ Hihorodo Hiharara ” from the Campbell Canntaireachd MS that have not been publicly performed for hundreds of years and plays them on replica early bagpipes from the menstruation. [ 124 ] He has made his analysis of pibroch canntaireachd, decoration and performance techniques available as an on-line resource with recorded audio demonstrations. [ 125 ] Brown is composing and recording new works of pibroch and relate musical traditions informed by this research. [ 126 ] Barnaby Brown has collaborated with harpist Bill Taylor and violinist Clare Salaman on the recording of bagpipe pibroch arranged for the Clarsach telegram harp, lyre, hardanger toy, barrel organ, vielle, bone flute, bagpipes and canntaireachd vocals, released in 2016. [ 127 ] Allan MacDonald is a competition winning piper who has been investigating the relationship between Gaelic song and the melodious root or urlar grind of pibroch as a means to inform the rubato rhythmical and musical interpretation of the performance of this pipe repertory. [ 108 ] He has researched and recorded pibroch and chanted canntaireachd on the recent album Dastirum [ 128 ] that restores and interprets repertoire that was “ tidied up ” and edited out by Angus MacKay and subsequent PS editors. His performances on this recording attract on early manuscript sources such as the Colin Campbell Canntaireachd ( 1797 & 1814 ) that pre-date MacKay ‘s exchangeable versions. [ 129 ] Allan MacDonald is a celebrated composer of newfangled pibroch works such as Na-h-Eilthirich, a twist dirge for those who suffered ethnic cleanse in the 18th and 19th centuries, commissioned for the BBC series of the lapp entitle. [ 130 ] He has besides extemporised pibroch variations to the early on scottish birdcall “ Dol Dhan Taigh Bhuan Leat ( Going to the Eternal Dwelling with You ) ” reviving a lost compositional exercise described in early accounts. [ 131 ] His recordings include collaborations with musicians outside the shoot brotherhood who are researching and playing ceòl mór and related musical traditions on other instruments, notably acclaimed pibroch twiddler Bonnie Rideout, [ 132 ] Gaelic singer Margaret Stewart [ 133 ] and wire-strung Gaelic harp actor Javier Sainz. [ 128 ] A kind of modern pibroch recital performance events have been initiated recently as an alternative format to the more conservative and insular competition lap. Breton piper Patrick Molard organised the first pibroch recitals in Brest and Paris in 1992. [ 134 ] The newly founded Glasgow Piping Centre hosted a serial of pibroch concert recitals in 1996–1998 documented in a series of alive recordings. [ 135 ] Allan MacDonald and Iain MacInnes curated the first dedicated pibroch recitals at the Edinburgh Arts Festival in 1999 as a series of nine concerts including performances by Allan MacDonald, William McCallum, Roderick MacLeod, Robert Wallace and Barnaby Brown, who premiered the public performance of two Campbell Canntaireachd pibrochs. A live certificate of deposit “ Ceol na Pioba ( Music of the Pipes ) – A Concert of Piobaireachd ” documented these performances. [ 136 ] [ 137 ] At the Edinburgh Festival in 2004 MacDonald arranged the “ From Battle Lines to Bar Lines ” series of battle pibroch performances on cello ( Neil Johnstone ), viola, flute, violin, wire-strung clarsach ( Karen Marshalsay ), piano ( James Ross ), belittled pipes and big pipes with consort Gaelic songs. Matthew Welch and Robinson McClellan are emerging composers who offered a recital at Yale in 2007 of 17th-century pibroch performed on bagpipes by Welch and newly works informed by pibroch for string quartet and electric organ, composed by Welch and McClellan respectively. [ 138 ] Carnegie Mellon University, in Pittsburgh, Pennsylvania ( USA ) created the inaugural degree in bagpiping, a BFA in Music Performance ( Bagpipe ). The Royal Scottish Academy of Music and Drama started a exchangeable music degree course of study in partnership with the National Piping Centre. [ 139 ] They host a series of concerts that featured Barnaby Brown in 2010 performing the pibroch “ desperate Battle ” arranged for the triple-pipe or cuisle. [ 140 ] The Alt-Pibroch web site has recently been founded to support the revival of historically informed pibroch operation through the sharing of eruditeness and commit based inquiry. The site makes freely available a comprehensive examination resource of largely unpublished early manuscripts of pibroch note and canntaireachd from the late 18th and early nineteenth hundred. [ 141 ]

Harp

ceòl mór

revival [edit ]

A parallel torso of practice-based inquiry is being undertaken by wire-strung Gaelic harp players who are transcribing the ceòl mór repertoire back to its reputed harp origins via pibroch compositions from early manuscripts sources, particularly the Campbell Canntaireachd manuscript and from fiddle pibroch compositions documented by Daniel Dow and others. Manx harpist Charles Guard was the foremost to record arrangements of bagpipe pibroch performed on the wire string clarsach harp in 1977. [ 142 ] Scottish Harper Alison Kinnaird recorded revived pibroch relate ceòl mór repertoire on the harp along with other early scots harp music genres such as ports the keep up year. In her early recordings she played this music on a modern lever harp, [ 143 ] [ 144 ] She has recorded ceòl mór relate compositions with Ann Heymann who plays a replica early irish clairseach wire-strung harmonica. [ 145 ] Kinnaird has recently besides performed and recorded revived ceòl mór on a replica early scots wire-strung clarsach harp. [ 146 ] Veteran Breton harpist Alan Stivell began performing and recording on the revived cable harmonica with tan strings in the early 1960s. His recordings have included arrangements of three Bagpipe Pibroch ùrlar performed on wire harp, released in 1985. [ 147 ] There is a growing residential district of harpers performing early scottish and irish music on replica early clàrsach harp, string with brass, bronze and argent wire, and increasingly with cute gold bass strings, based on diachronic and applied inquiry by Ann and Charlie Heymann and Simon Chadwick. [ 148 ] Heymann has led the revival of focus fingernail-based techniques of playing the wire-strung harp documented by Edward Bunting in the deep eighteenth century from the acting of Denis O’Hampsey, one of the last traditional irish wire-strung harp players. The confirm resonance of the wire-strung clàrsach harmonica allows for intricate cosmetic effects through versatile strickle and dampening techniques. [ 149 ] Heymann has recorded pibroch transcribed from early manuscripts such as the Campbell Canntaireachd MS, in arrangements that employ a mobility of drone effects on the resonant wire strings, reverse mastermind the shift to fixed drones that would have occurred in an appropriation of harp music by the bagpipes. [ 150 ] [ 151 ] Violaine Mayor is a Breton wire-strung harpist who has mastered canntaireachd chanting. She has recorded transcribed pibroch in concert with revived Breton harp repertory such as medieval bardic lays. [ 152 ] Karen Marshalsay is a scottish harpist who performed with Allan MacDonald in his 2004 Edinburgh International Festival series of pibroch concerts From Battle Lines to Bar Lines, performing The Battle of The Bridge of Perth and early pibroch on wire-strung clarsach. She besides performed pibroch on wire-strung clarsach and music from the Robert ap Huw mississippi on hee-haw harp at the National Piping Centre ’ s 2013 Ceòl na Pìoba concert. She later recorded The Battle of the Bridge of Perth in a 2019 released alone certificate of deposit. [ 153 ] Simon Chadwick is a harpist and scholar who founded the early Gaelic Harp Info web site, which is a comprehensive on-line resource on the revival of wire-strung clarsach harmonica repertoire and playing techniques. He has recorded transcribed pibroch, fiddle pibroch and medieval Irish harmonica ceòl mór, played on a replica early Scottish Queen Mary wire-strung clarsach with brass, silver and amber strings. [ 154 ] [ 155 ] He has recorded a dedicated album of pibroch attributed to the composer Raghnall Mac Ailein Òig ( 1662–1741 ) performed on the wire harp, released in 2013. [ 156 ] He has besides made a body of bouncy performances of pibroch and early Irish cèol mór on the wire harp available on-line on video via YouTube. [ 157 ] Simon Chadwick gave a presentation on Harp Ceol Mor at the Piobaireachd Society Conference in 2016 which included performances of Burns March, Caniad San Silin and his musical arrangement for Clarsach cable harmonica of the bagpipe pibroch A Bhòilich /The Vaunting composed by Raghnall Mac Ailein Òig. [ 158 ] Chris Caswell is a multi-instrumentalist wire-strung harp player and maker, flutist and piper who studied harp with Alison Kinnaird and bagpipes with Donald MacPherson and Donald Shaw Ramsay. He began playing pibroch on the harp in 1973 and has transcribed and recorded the pibroch Catriona ‘s ( Catherine ‘s ) Lament played on a bronze-strung harp. [ 159 ] Brendan Ring is a multi-instrumentalist all Ireland supporter piper, pipemaker, low-whistle player and wire harpist. He has recorded pibroch transcribed to the electrify harp aboard revived irish harmonica repertory and master compositions, performed on a replica of the Trinity College clairseach harp with administration, eloquent and gold strings, released in 2014. [ 160 ] He has made live performances of pibroch and early irish music on the cable harp available on-line on television via YouTube. [ 161 ] A promising emerging genesis of wire-strung harpers and scholars are besides disseminating transcriptions of pibroch performed on the harmonica via YouTube. [ 162 ] Bill Taylor is a scots and Welsh early harp learner and performer who has collaborated with pibroch piper Barnaby Brown and violinist Clare Salaman on the commemorate of bagpipe pibroch arranged for the Clarsach telegram harp, lyre, hardanger toy, barrel organ, vielle, bone flute, bagpipes and canntaireachd vocals, released in 2016. [ 163 ] Taylor and Brown have made available documentation of their collaborative research on the arrangements of bagpipe pibroch for wire string Clarsach via the alt-pibroch web site. [ 164 ]

Fiddle pibroch revival [edit ]

Virtuoso violinist and scots twiddler Edna Arthur was one of the beginning musicians to revive fiddle pibroch in performances and recordings with cellist David Johnson in the McGibbon Ensemble. [ 165 ] Violinists such as Rachel Barton Pine and Bonnie Rideout are continuing this revival of the performance of violin pibroch repertory on the violin, viola and cello with outcomes that are noteworthy for their expressive musicality. Pine is a classically educate violinist who has recorded music by late 19th-century composers such as Max Bruch and Alexander “ Pibroch ” MacKenzie that incorporated Scottish toy repertory into exsert classical works. [ 166 ] Granville Bantock is another classical composer who drew on pibroch, reworking “ MacIntosh ‘s dirge ” for the composition “ Pibroch, a Highland Lament for cello and harp ” ( 1917 ). [ 167 ] Pine ‘s live repertory includes revived fiddle pibroch compositions such as “ MacIntosh ‘s Lament ” [ 168 ] and “ Pibroch. ” [ 169 ] Bonnie Rideout is a tinkerer who has researched and revived fiddle pibroch repertoire and performance techniques. A numeral of her recordings feature extended tinker pibrochs such as “ MacIntosh ‘s Lament ” [ 170 ] [ 171 ] and “ Marsail Lochinalie. ” [ 172 ] Rideout and early Gaelic and Welsh harpist and scholar Bill Taylor have recorded an agreement of the early Scottish air “ Minstrel of MacDonald ” with newly composed pibroch variations. [ 173 ] Rideout was commissioned to compose and record a new extend cultivate in the fiddle pibroch form entitled “ Kindred Spirits. ” [ 174 ] scottish violinist Ian Hardie was besides commissioned to compose and record the newfangled extend fiddle pibroch “ The Highlands of Nairnshire. ” [ 175 ] Rideout has begun the turn of a series of dedicate recordings of violin pibroch produced by her mentor John Purser. Scotland’s Fiddle Piobaireachd Volume 1 features collaborations with pibroch piper and learner Allan MacDonald, Alan Jackson on gut-string harp and Chris Norman on baroque flute. [ 176 ] Rideout performs the early harp and fiddle pibroch “ The Battle of Harlaw ” and the relate bagpipe pibroch “ The Battle of the Birds ” on the John Purser produced album Harlaw 1411–2011. [ 177 ] Rideout first performed “ The Battle of Harlaw ” on the BBC radio series Scotland’s Music hosted by John Purser, [ 178 ] along with the harp and fiddle pibroch “ Cumh Ioarla Wigton ( Lament for the Earl of Wigtown ) ” [ 179 ] The Harlaw compact disk features key ceòl mór revivalists including pibroch bagpipers Allan MacDonald and Barnaby Brown, early scottish luter Ron MacFarlane, flutist Chris Norman and early Gaelic and Welsh harper Bill Taylor. Bonnie Rideout ‘s CD Scotland ‘s Fiddle Piobaireachd volume 2, produced by John Purser was released in 2012. It features Rideout on toy and viola, Allan MacDonald on Highland bagpipes, small pipes, and part, Barnaby Brown on revived treble pipes, William Jackson on clarsach harp and Matthew Bell on bodhran. It includes arrangements of traditional fiddle pibroch and two raw compositions in the violin pibroch form by Rideout. [ 180 ] scottish Fiddler and composer Paul Anderson incorporates revived violin pibroch and transcribed bagpipe pibroch in his know repertory, documented on YouTube, and has composed the raw make “ Lament for the Gordons of Knock ” in the tinker pibroch form. [ 181 ] Multi-instrumental violinist Clare Salaman has collaborated with harpist Bill Taylor and pibroch piper Barnaby Brown on the recording of bagpipe pibroch arranged for the hardanger fiddle, barrel organ and vielle, released in 2016. [ 182 ]

related melodious forms [edit ]

Welsh Medieval

cerdd dant

[edit ]

Ceòl mór is being situated within a broader chivalric cultural milieu in the british Isles through the revival of early Welsh cerdd dant ( “ string music ” ). [ 183 ] This writing style of Irish influenced medieval Welsh music offers a precedent for scottish pibroch as an aristocratic strain art music played on the harp with a repeated melodious theme or ground and elaborate ball variations. [ 184 ] Welsh Cerdd Dant repertory from the late-Middle Ages was documented in the ap Huw manuscripts in the seventeenth century by Robert ap Huw as a binary star system of tabulature notation. [ 185 ] [ 186 ] Bill Taylor is an early scots and Welsh harpist who is researching, reconstructing and recording definitive performances of early cerdd dant music on replica historical gut-strung Romanesque harmonica and late-medieval grind harp. [ 187 ] [ 188 ] Taylor has published across-the-board on-line resources outlining this applied performance-based research. [ 189 ] Taylor and Irish wire-strung harpist Paul Dooley discus and perform demonstrations of the ap Huw music in the holocene BBC documentary History of the Harp. [ 190 ] There is argue over the interpretation of references in Welsh manuscripts to the character of gut-strung and knight hair-strung bray harmonica in the late-Middle Ages. taylor considers these to be the authentic instruments for the performance of cerdd dant. [ 191 ] Heymann and Chadwick are contributing to a research project to reconstruct an early on Welsh knight hair-strung bray harp, testing this hypothesis through application. [ 192 ] Peter Greenhill ‘s reading of the manuscript has led him to conclude that the pieces were played on a cable string harp and that they were implemental pieces, though he theorises that the Clymau Cytgerdd segment may have been used for poetic accompaniment. [ 193 ] He argues that implemental early cerdd dant music was in the first place played on the highly resonant wire-strung harp using similar sharpened nail-based string hit and dampening techniques and ornamentation employed in Irish and Scottish ceòl mór harp music. [ 194 ] Paul Dooley has researched and recorded a give album of ap Huw compositions played on a replica early on irish wire-strung clairseach harp. [ 195 ] Ann Heymann has researched the ap Huw manuscript with a especial focus on the rendition of the notation of playing techniques that are comparable to the irish wire-strung harp techniques noted down by Edward Bunting in the recently eighteenth hundred. [ 196 ] She has recorded “ Kaniad San Silin “, one of the oldest compositions in the cerdd dant repertoire on a replica early irish wire-strung clairseach harp. [ 197 ] Simon Chadwick besides includes this musical composition in his survive repertory, played on a replica early Scottish Queen Mary wire-strung clarsach harp. [ 198 ] Barnaby Brown has identified characteristics of the Welsh and by extension Irish medieval harp tunings recorded in the ap Huw manuscript that are besides show in scots bagpipe tuning. [ 199 ] The park source of influence for these shared musical practices is likely to be found in the courtly conventions of medieval aristocratic and religious Irish Gaelic wire-strung harp music .

irish

ceòl mór

[edit ]

far clues to the broader cultural context of bagpipe pibroch can be found in the small body of compositions that have an irish association. [ 200 ] The pibroch “ Cumha a Chleirich “ which translates as “ The Cleric ‘s Lament ” and is normally known as “ The Bard ‘s lament ” is entitled “ one of the Irish piobarich ” in the Campbell Canntaireachd manuscript. [ 201 ] This canntaireachd provides possible surviving documentation of an irish harp ceòl mór repertory. Ann Heymann has recently transcribed, performed and recorded this pibroch played on a replica early irish wire-strung clairseach harp. [ 202 ] At the Highland Society of London pibroch competition in Edinburgh in 1785, John MacPherson is listed as having played “ Piobrachd Ereanach an irish Pibrach. ” [ 203 ] A pibroch in the Angus MacKay MS Vol 1 entitled “ Spiocaireachd Iasgaich /Scarce of Fishing ” appears in the earlier Donald MacDonald Jnr. MS. ( 1826 ) with the very irish entitle of “ O ’ Kelly ‘s deplore. ” [ 204 ] The irish wire-strung harp standard “ Brian Boru ‘s March ” [ 205 ] appears with pibroch variations and a range of titles in the Scottish bagpipe repertoire : Angus MacKay and General C.S. Thomason both give two titles “ Taom-boileinn na Coinneamh /The Frenzy of Meeting ” and “ Lament for Brian O’Duff ”, which concurs with the Campbell Canntaireachd title “ Brian O ’ Duff ‘s Lament ” ; [ 206 ] Simon Fraser lists the tune as “ A Lament for King Brian of Old ” ; and the Niel MacLeod of Gesto record of Canntaireachd gives the title “ Tumilin O’Counichan an irish Tune ”. [ 207 ] At the William Kennedy International Piping Festival ( 2009 ), held in Armagh, Barnaby Brown conducted workshops on the intonation of Irish associated pibroch canntaireachd from the Campbell Canntaireachd manuscript. [ 208 ] These Irish ceòl mór workshops focused particularly on the canntaireachd transcriptions of “ One of the Irish Piobarich ” besides known as “ The Bard ‘s Lament ”, the “ Brian Boru ‘s March ” pibroch form “ Brian O’Duff ‘s Lament/An Irish Lively Tune ” besides known as “ Taom-boileinn na Coinneamh /The Frenzy of the meeting ”, and “ Ceann na Drochaide Bige /The end of the Little Bridge, ” [ 209 ] a conflict pibroch associated with an dispatch to Ireland in 1594 by an army of scots Isleman to support Red Hugh O’Donnell ‘s rebellion against Queen Elizabeth I. [ 210 ] The pibroch “ Hugh ‘s lament, ” [ 211 ] “ Samuel ‘s Black Dog ” [ 212 ] or “ Lament for Samuel ”, and “ Lament for the Earl of Antrim ” [ 213 ] besides have an association with this irish conflict. [ 210 ] Frank Timoney argues that “ Lament for the Earl of Antrim ” is another possible irish wire-strung harp constitution. [ 200 ] The bagpipe pibroch “ Duncan MacRae of Kintail ‘s deplore ” is a discrepancy of the Irish harp tune “ Ruairidhe Va Mordha /Rory O Moor, King of Leix ‘s March ” notated by Edward Bunting from the repertoire of irish wire-strung harpists in the late eighteenth century. [ 214 ] Allan MacDonald has played and recorded these two closely relate compositions as a bagpipe medley, with the harmonica tune informing his revisions of the standard pibroch settings. [ 215 ] He has besides performed an arrangement of this medley with an ensemble of irish musicians on modern instruments for the BBC documentary The Highland Sessions. [ 216 ] The only typography in the irish wire-strung harp repertory like in structure to ceòl mór that is documented with intact formal variations is “ Burns March ”, notated by Bunting and revived on the wire-strung harp in recordings by Charles Guard, [ 217 ] Gráinne Yeats [ 218 ] and more recently by Simon Chadwick. [ 219 ] This chivalric composition survived in the repertory as a trail tune for wire-strung harp students that provided a vehicle for the mastery of characteristic ornamental performance techniques. [ 220 ]

See besides [edit ]

References [edit ]

• Brown, Barnaby (2005). The design of it: patterns in pibroch. The Voice: Winter, Spring & Summer.
• Campbell, Archibald (2006) [1969]. The Kilberry Book of Ceol Mor, 3rd Ed. Glasgow: The College of Piping. ISBN 1-898405-22-0.
• Cannon, Roderick D. (ed.) (1994). Joseph MacDonald’s Compleat Theory of the Scots Highland Pipe (c. 1760). Glasgow: The Pìobaireachd Society. ISBN 1-898405-41-7.
• Cannon, Roderick D. (1995). The Highland Bagpipe and Its Music. Edinburgh: John Donald Publishers Ltd. ISBN 0-85976-416-8.
• Collinson, Francis (1975). The Bagpipe: The History of a Musical Instrument. London: Routledge & Keegan Paul. ISBN 0-7100-7913-3.
• Dickson, Joshua, ed. (2009). The Highland Bagpipe: Music, History, Tradition. Farnham, UK: Ashgate. ISBN 978-0-7546-6669-1.
• Donaldson, William (2000). The Highland Pipe and Scottish Society 1750-1950. East Linton: Tuckwell Press. ISBN 1-86232-075-6.
• Haddow, Alexander John (2003) [1982]. The History and Structure of Ceol Mor – A Guide to Piobaireachd The Classical Music of the Great Highland Bagpipe. Glasgow: The Piobaireachd Society.
• Johnson, David (1984). Scottish fiddle music in the 18th century: a music collection and historical study. Edinburgh: John Donald Publishers. pp. 122–146.
• MacNeill, Dugald B. (2007). Sight Readable Ceol Mor Book I. Edinburgh, Scotland: Dugald B. MacNeil.
• MacNeill, Seumas (1976) [1948]. Classical Music of the Highland Bagpipe. Glasgow: BBC, then College of Piping. ISBN 0-563-07487-6.
• MacNeill, Seumas; Highland Society of London (1972). Angus MacKay (ed.). A Collection of Ancient Pìobaireachd (1838 ed.). Yorkshire: EP Publishing Limited. p. 183. ISBN 0-85409-821-6.
• Ó Baoill, Colm (ed.) (translated by Meg Bateman) (1994). Gàir nan Clàrsach. The Harps’ Cry: An Anthology of 17th Century Gaelic Poetry. Edinburgh: Birlinn. (includes associated songs)
• The Piobaireachd Society. Piobaireachd Society Books, Volumes 1-15. Glasgow: Engraved and Printed for the Piobaireachd Society by Holmes McDougall LTD., 33 York Street, Glasgow.
• Ross, Roderick S. (ed.) (1992). Binneas is Boreraig, The Complete Collection, 1959. Glasgow: The College of Piping.

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• Sanger, Keith & Kinnaird, Alison (1992). Tree of Strings: Crann Nan Teud: A History of the Harp in Scotland. Edinburgh: Kinmor Music.

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