Music of Scotland: Difference between revisions

{{Use British English|date=October 2011}}

{{Use dmy dates|date=September 2020}}

 

 

==Early music==

</ref> Scottish church music from the later Middle Ages was increasingly influenced by continental developments, with figures like 13th-century musical theorist Simon Tailler studying in Paris before returning to Scotland, where he introduced several reforms of church music.<ref name="Elliott1973">

K. Elliott and F. Rimmer, ''A History of Scottish Music'' (London: British Broadcasting Corporation, 1973), {{ISBN|0-563-12192-0}}, pp. 8–12.

 

In 1501, James IV refounded the Chapel Royal within [[Stirling Castle]] with a new and enlarged choir and it became the focus of Scottish liturgical music. Burgundian and English influences were probably reinforced when Henry VII's daughter Margaret Tudor married James IV in 1503.<ref name="Gosman2003">M. Gosman, A. A. MacDonald, A. J. Vanderjagt and A. Vanderjagt, ''Princes and Princely Culture, 1450–1650'' (Brill, 2003), {{ISBN|90-04-13690-8}}, p. 163.</ref> James V (1512–42) was a major patron of music. A talented lute player, he introduced French [[chansons]] and [[Consort of instruments|consorts of viols]] to his court and was patron to composers such as [[David Peebles]] (c. 1510–1579?).<ref>J. Patrick, ''Renaissance and Reformation'' (London: Marshall Cavendish, 2007), {{ISBN|0-7614-7650-4}}, p. 1264.</ref>

 

 

The outstanding Scottish composer of the era was [[Robert Carver (composer)|Robert Carver]] (c. 1485–c. 1570) whose works included the nineteen-part motet 'O Bone Jesu'.<ref name="Gosman2003" /> James VI, king of Scotland from 1567, was a major patron of the arts in general. He rebuilt the Chapel Royal at Stirling in 1594, and the choir was used for state occasions like the baptism of his son Henry.<ref name="LeHuray1978">P. Le Huray, ''Music and the Reformation in England, 1549–1660'' (Cambridge: Cambridge University Press, 1978), {{ISBN|0-521-21958-2}}, pp. 83–5.</ref> He followed the tradition of employing lutenists for his private entertainment, as did other members of his family.<ref name="Carter2005">T. Carter and J. Butt, ''The Cambridge History of Seventeenth-Century Music'' (Cambridge: Cambridge University Press, 2005), {{ISBN|0-521-79273-8}}, pp. 280, 300, 433 and 541.</ref> When he came south to take the throne of England in 1603 as James I, he removed one of the major sources of patronage in Scotland. The Scottish Chapel Royal was now used only for occasional state visits, as when Charles I returned in 1633 to be crowned, bringing many musicians from the English Chapel Royal for the service, it began to fall into disrepair.<ref name="LeHuray1978" /> From now on the court in Westminster would be the only major source of royal musical patronage.<ref name="LeHuray1978" />

{{Main|Scottish folk music}}

[[Image:Allan-highlandwedding1780 detail2.JPG|thumb|left|upright|A detail from ''The Highland Wedding'' by [[David Allan (Scottish painter 1744-1796)|David Allan]], 1780]]

There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the ''Pleugh Song''.<ref name="Baxter2001app130-33">J. R. Baxter, "Music, ecclesiastical", in M. Lynch, ed., ''The Oxford Companion to Scottish History'' (Oxford: Oxford University Press, 2001), {{ISBN|0-19-211696-7}}, pp.&nbsp;130–33.</ref> After the [[Scottish Reformation|Reformation]], the secular popular tradition of music continued, despite attempts by the [[Church of Scotland|Kirk]], particularly in the Lowlands, to suppress dancing and events like [[penny wedding]]s.<ref name=Porterp22>J. Porter, "Introduction" in J. Porter, ed., ''Defining Strains: The Musical Life of Scots in the Seventeenth Century'' (Peter Lang, 2007), {{ISBN|3-03910-948-0}}, p. 22.</ref> This period saw the creation of the ceòl mór (the great music) of the bagpipe, which reflected its martial origins with battle tunes, marches, gatherings, salutes, and laments.<ref>J. E. A. Dawson, ''Scotland Re-Formed, 1488–1587'' (Edinburgh: Edinburgh University Press, 2007), {{ISBN|0-7486-1455-9}}, p. 169.</ref> The Highlands in the early seventeenth century saw the development of piping families, including the [[MacCrimmon (piping family)|MacCrimmonds]], MacArthurs, [[Clan Gregor|MacGregors]] and Mackays of [[Gairloch]]. There is also evidence of the adoption of the fiddle in the Highlands, with [[Martin Martin]] noting in his ''A Description of the Western Isles of Scotland'' (1703) that he knew of 18 players in Lewis alone.<ref name=Porterp35>J. Porter, "Introduction" in J. Porter, ed., ''Defining Strains: The Musical Life of Scots in the Seventeenth Century'' (Peter Lang, 2007), {{ISBN|3-03910-948-0}}, p. 35.</ref> Well-known musicians included the fiddler Pattie Birnie and the piper [[Habbie Simpson]].<ref name=Porterp22/> This tradition continued into the nineteenth century, with major figures such as the fiddlers [[Niel Gow|Niel]] and [[Nathaniel Gow]].<ref name="Baxter2001app140-1">J. R. Baxter, "Culture, Enlightenment (1660–1843): music", in M. Lynch, ed., ''The Oxford Companion to Scottish History'' (Oxford: Oxford University Press, 2001), {{ISBN|0-19-211696-7}}, pp.&nbsp;140–1.</ref> There is evidence of [[ballad]]s from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century.<ref>E. Lyle, ''Scottish Ballads'' (Edinburgh: Canongate Books, 2001), {{ISBN|0-86241-477-6}}, pp.&nbsp;9–10.</ref> They remained an oral tradition until they were collected as folk songs in the eighteenth century.<ref name=Broadview2006>"Popular Ballads" ''The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century'' (Broadview Press, 2006), pp.&nbsp;610–17.</ref>

 

The earliest printed collection of secular music comes from the seventeenth century.<ref>M. Patrick, ''Four Centuries of Scottish Psalmody'' (Read books, 2008), pp.&nbsp;119–20.</ref> Song collecting began to gain momentum in the early eighteenth century, and as the Kirk's opposition to music waned, there was a flood of publications, including [[Allan Ramsay (poet)|Allan Ramsay]]'s verse compendium ''The Tea Table Miscellany'' (1723)<ref name=Porterp22/> and ''[[The Scots Musical Museum]]'' (1787–1803) by James Johnson and [[Robert Burns]].<ref>M. Gardiner, ''Modern Scottish Culture'' (Edinburgh: Edinburgh University Press, 2005), pp.&nbsp;193–4.</ref> In the late nineteenth century, there was renewed interest in traditional music, which was more academic and political in intent.<ref name="Sweers2005pp31-8">B. Sweers, ''Electric Folk: The Changing Face of English Traditional Music'' (Oxford: Oxford University Press, 2005), {{ISBN|978-0-19-517478-6}}, pp.&nbsp;31–8.</ref> In Scotland collectors included the Reverend James Duncan and [[Gavin Greig]]. Major performers included [[James Scott Skinner]].<ref name="Baxter2001cpp434-5">J. R. Baxter, "Music, Highland", in M. Lynch, ed., ''The Oxford Companion to Scottish History'' (Oxford: Oxford University Press, 2001), {{ISBN|0-19-211696-7}}, pp.&nbsp;434–5.</ref> This revival began to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland, with composers that included [[Alexander Mackenzie (composer)|Alexander Mackenzie]], [[William Wallace (Scottish composer)|William Wallace]], [[Learmont Drysdale]], [[Hamish MacCunn]] and [[John Blackwood McEwen|John McEwen]].<ref name=Gardiner2005p195-6>M. Gardiner, ''Modern Scottish Culture'' (Edinburgh: Edinburgh University Press, 2005), {{ISBN|0-7486-2027-3}}, pp. 195–6.</ref>

 

[[File:Runrig, farewell at Stirling, 18-08-2018.jpg|thumb|right|Folk band [[Runrig]] sang mostly in [[Scottish Gaelic]] and found commercial success in mainland Europe]]

 

The fusing of various styles of American music with British folk created a distinctive form of [[fingerstyle guitar]] playing known as [[folk baroque]], pioneered by figures including [[Davey Graham]] and [[Bert Jansch]]. Others such as [[Donovan]] and [[The Incredible String Band]] abandoned the traditional element and have been seen as developing [[psychedelic folk]].<ref name="Sweers2005pp31-8"/> Acoustic groups who continued to interpret traditional material through into the 1970s included [[The Tannahill Weavers]], [[Ossian (band)|Ossian]], [[Silly Wizard]], [[The Boys of the Lough]], [[Battlefield Band]], [[The Clutha]] and the Whistlebinkies.<ref name=Broughtonetal1999p267>S. Broughton, M. Ellingham and R. Trillo, eds, ''World Music: Africa, Europe and the Middle East'' (London: Rough Guides, 1999), {{ISBN|1-85828-635-2}}, pp. 267.</ref>

 

 

==Classical music==

After World War I, [[Robin Orr]] and Cedric Thorpe Davie were influenced by [[modernism]] and Scottish musical cadences. [[Erik Chisholm]] founded the Scottish Ballet Society and helped create several ballets.<ref name=Gardiner2005p193>M. Gardiner, ''Modern Scottish Culture'' (Edinburgh: Edinburgh University Press, 2005), {{ISBN|0-7486-2027-3}}, pp.&nbsp;193–8.</ref> The [[Edinburgh Festival]] was founded in 1947 and led to an expansion of classical music in Scotland, leading to the foundation of [[Scottish Opera]] in 1960.<ref name=Harvie1998pp136-8/> Important post-war composers included [[Ronald Stevenson]],<ref>{{cite journal|url=http://ro.ecu.edu.au/theses/694|title=Ronald Stevenson, composer-pianist: an exegetical critique from a pianistic perspective|first=Gasser|last=Mark|journal=Theses: Doctorates and Masters|date=1 January 2013}}</ref> [[Francis George Scott]], [[Edward McGuire (composer)|Edward McGuire]], [[William Sweeney (composer)|William Sweeney]], [[Iain Hamilton (composer)|Iain Hamilton]], [[Thomas Wilson (composer)|Thomas Wilson]], [[Thea Musgrave]], [[Judith Weir]], [[James MacMillan]] and [[Helen Grime]]. [[Craig Armstrong (composer)|Craig Armstrong]] has produced music for numerous films. Major performers include the percussionist [[Evelyn Glennie]].<ref name=Gardiner2005p193/> Major Scottish orchestras include the [[Royal Scottish National Orchestra]] (RSNO), the [[Scottish Chamber Orchestra]] (SCO) and the [[BBC Scottish Symphony Orchestra]] (BBC SSO). Major venues include [[Glasgow Royal Concert Hall]], [[Usher Hall]], Edinburgh and [[Queen's Hall, Edinburgh]].<ref name=Cloughetal2003p108>J. Clough, K. Davidson, S. Randall, A. Scott, ''DK Eyewitness Travel Guide: Scotland: Scotland'' (London: Dorling Kindersley, 2012), {{ISBN|1-4053-9355-6}}, p. 108.</ref><ref name=Wilson2004p137>N. Wilson, ''Edinburgh'' (London: Lonely Planet, 2004), {{ISBN|1-74059-382-0}}, p. 137.</ref><ref>J. S. Sawyers, ''Maverick Guide to Scotland'' (London: Pelican, 1999), {{ISBN|1-56554-227-4}}, pp.&nbsp;176–7.</ref>

 

 

 

 

Several members of the internationally successful rock band [[AC/DC]] were born in Scotland, including original lead singer [[Bon Scott]]<ref>{{Cite web|url=https://www.scotsman.com/whats-on/arts-and-entertainment/bonfest-acdc-fans-set-to-flock-to-scottish-home-of-late-singer-bon-scott-for-music-festival-3670882|title=Bonfest: AC/DC fans set to flock to Scottish home of late singer Bon Scott for music festival &#124; The Scotsman}}</ref> and guitarists [[Malcolm Young|Malcolm]] and [[Angus Young]], though by the time they began playing, all three had moved to Australia.<ref>{{Cite web|url=https://www.sundaypost.com/fp/angus-young-interview/|title=INTERVIEW: AC/DC's Angus Young on how the wise words of a lost brother have helped keep enduring rockers in the studio and, hopefully, on the road|first=Billy|last=Sloan}}</ref> Angus and Malcolm's older brother, [[George Young (rock musician)|George Young]], found success as a member of the Australian band [[The Easybeats]] and later produced some of AC/DC's records and formed a [[Vanda & Young|songwriting partnership]] with Dutch ex-pat [[Harry Vanda]]. Musicians [[Mark Knopfler]] and [[John Martyn]] were also partly raised in Scotland.

 

 

 

 

 

===Scotland in Eurovision===

 

 

 

 

==Instruments==

===Accordion===

{{main|Accordion}}

 

===Bagpipes===

{{main|Bagpipe}}

Many associate Scottish folk music with the [[Great Highland Bagpipe]], which has long played an important part in Scottish music. Although this particular form of bagpipe was developed exclusively in Scotland, it is not the only Scottish bagpipe. The earliest mention of bagpipes in Scotland dates to the 15th century although they are believed to have been introduced to Britain by the Roman armies. The ''pìob mhór'', or Great Highland Bagpipe, was initially associated with both hereditary piping families and professional pipers to various clan chiefs; later, pipes were adopted for use in other venues, including military marching. Piping clans included the [[Clan Henderson]], [[Clan MacArthur|MacArthurs]], [[Clan Donald|MacDonalds]], [[Clan MacKay|MacKays]] and, especially, the [[MacCrimmon (piping family)|MacCrimmon]], who were hereditary pipers to the [[Clan MacLeod]].

 

 

The [[pipe band]] is another common format for highland piping, with top competitive bands including the [[Victoria Police Pipe Band]] from Australia (formerly), Northern Ireland's [[Field Marshal Montgomery]], the [[Republic of Ireland]]'s Laurence O'Toole pipe band, Canada's [[78th Fraser Highlanders Pipe Band]] and [[Simon Fraser University Pipe Band]], and Scottish bands like [[Shotts and Dykehead Pipe Band]] and [[Strathclyde Police Pipe Band]]. These bands, as well as many others, compete in numerous pipe band competitions, often the [[World Pipe Band Championships]], and sometimes perform in public concerts.

 

===Fiddle===

 

==Music awards==

 

==Music festivals==

{{See also|Category:Music festivals in Scotland}}

 

[[File:T in the Park 2005.jpg|thumb|right|[[T in the Park]]]]

 

 

 

The Glasgow Bandstand at [[Kelvingrove Park]] hosts the annual Summer Nights festival with artists such as [[KT Tunstall]], [[Anastacia]], [[Sophie Ellis-Bextor]], [[Belinda Carlisle]], [[Rick Astley]] and The Jesus & Mary Chain being past performers.<ref>{{Cite web|url=https://www.efestivals.co.uk/festivals/kelvingrovebandstand/2022/|title=Summer Nights at Kelvingrove Park Bandstand 2022 - eFestivals|website=www.efestivals.co.uk}}</ref>

 

 

 

The [[Royal Edinburgh Military Tattoo]] is performed by international armed forces bands. It is held in August at [[Edinburgh Castle]] as part of the [[Edinburgh Festivals]].

*[https://web.archive.org/web/20090209043451/http://www.calumcille.com/ Gaelic Modes] Web articles on Gaelic harp harmony & modes

 

{{Scotland topics}}

{{Celtic music}}

{{Celts}}

{{Economy of Scotland}}