Scottish folk music
From The Art and Popular Culture Encyclopedia
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Scottish folk music takes many forms in a broad musical tradition, although the dividing lines are not rigid, and many artists work across the boundaries. Culturally, there is a split between the Gaelic tradition and the Scots tradition.
The oldest forms of music in Scotland are theorized to be Gaelic singing and harp playing. Although much of the harp tradition was lost through extinction, the harp is being revived by contemporary players. Later, the Great Highland Bagpipe appeared on the scene. Initially, pipers played traditional pieces called 'piobaireachd', meaning 'piping' in Gaelic, which consist of a theme and a series of developments. Later, the style of 'light music,' including marches, strathspeys, reels, jigs, and hornpipes, became more popular. The British army adopted piping and spread the idea of pipe bands throughout the British Empire. Presently, piping is closely tied to band and individual competitions, although pipers are also experimenting with new possibilities for the instrument. Other forms of bagpipes also exist in the Scottish tradition; they are detailed in the piping section below.
The piping tradition is strongly connected to Gaelic singing (some piping ornaments mimic the Gaelic consonants of the songs), stepdance (the traditional dance meters determine the rhythm of the tunes), and fiddle, which appeared in Scotland in the 17th century. These components are part of the dance music which is played across Scotland at country dances, ceilidhs, Highland balls and frequently at weddings. Group dances are performed to music provided typically by an ensemble, or dance band, which may include fiddle, bagpipe, accordion, tin whistle, cello, keyboard and percussion. Many modern Scottish dance bands are becoming more lively and innovative, with influences from other types of music (most notably jazz chord structures) becoming noticeable.
Vocal music is also popular in the Scottish musical tradition. There are ballads and laments, generally sung by a lone singer with backing, or played on traditional instruments such as harp, fiddle, accordion or bagpipes. There are many traditional folk songs, which are generally melodic, haunting or rousing. These are often very specific to certain regions, and are performed today by a burgeoning variety of folk groups. Popular songs were originally produced by music hall performers such as Harry Lauder and Will Fyffe for the stage. More modern exponents of the style have included Andy Stewart, Glen Daly, Moira Anderson, Kenneth McKellar, Calum Kennedy and the Alexander Brothers.
Folk song collecting
The earliest printed collection of secular music in Scotland was by publisher John Forbes in Aberdeen in 1662. Songs and Fancies: to Thre, Foure, or Five Partes, both Apt for Voices and Viols, printed three times in the next twenty years, contained 77 songs, of which 25 were of Scottish origin. Most are anonymous. The other songs in the book are mostly in English, and include works by John Dowland.
While ballads had been written for centuries, and had begun to be printed in the seventeenth century, the 18th century brought a number of collections of Scots songs and tunes. Examples include Playford's Original Scotch Tunes 1700, Sinkler's MS. 1710, James Watson's Choice Collection of Comic and Serious Scots Poems both Ancient and Modern 1711, William Thomson's Orpheus caledonius: or, A collection of Scots songs 1733, James Oswald's The Caledonian Pocket Companion 1751, and David Herd's Ancient and modern Scottish songs, heroic ballads, etc.: collected from memory, tradition and ancient authors 1776. These were drawn on for the most influential collection, The Scots Musical Museum published in six volumes from 1787 to 1803 by James Johnson and Robert Burns, which also included new words by Burns. The Select Scottish Airs collected by George Thomson and published between 1799 and 1818 included contributions from Burns and Walter Scott.
