Music of Scotland: Difference between revisions

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

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

 

 

==Early music==

{{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>

 

 

Scotland produced few rock or pop bands of note in the 1950s. During the 1960s, two innovative rock musicians from Scotland became central to the international rock scene – [[Donovan]] and [[Jack Bruce]]. Traces of Scottish literary and musical influences can be found in both Donovan's and Bruce's work.<ref name="ReferenceA">''The Autobiography of Donovan; The Hurdy Gurdy Man''</ref><ref name="ReferenceB">''Jack Bruce; Composing Himself'' by [[Harry Shapiro (author)|Harry Shapiro]]</ref> Donovan's music on 1965's [[Fairytale (album)|''Fairytale'']] anticipated the [[British folk rock]] [[British folk revival|revival]], and his musicianship is said to have pioneered [[psychedelic rock]] with [[Sunshine Superman (album)|Sunshine Superman]] in 1966. Donovan is said to be an early influence on [[Marc Bolan]], founder of [[T. Rex (band)|T. Rex]].<ref name="ReferenceA"/> [[Jack Bruce]] co-founded [[Cream (band)|Cream]] along with [[Eric Clapton]] and [[Ginger Baker]] in 1966, debuting with the album ''[[Fresh Cream]]''. ''Fresh Cream'' and the launch of Cream are considered a pivotal moment in blues-rock history, introducing virtuosity and improvisation to the form. Bruce, as a member of [[The Tony Williams Lifetime]] (along with [[John McLaughlin (musician)|John McLaughlin]] and [[Larry Young (musician)|Larry Young]]) on ''[[Emergency! (album)|Emergency!]]'', similarly contributed to a seminal jazz-rock work that predated [[Bitches Brew]] by [[Miles Davis]].<ref name="ReferenceB"/>

 

 

[[Pilot (Scottish band)|Pilot]], a band formed by former Bay City Rollers member [[Billy Lyall]], also enjoyed some success. Their 1974 single "[[Magic (Pilot song)|Magic]]" from their debut album ''[[From the Album of the Same Name]]'' (1974) reached number eleven on the UK Singles Charts<ref name="British Hit Singles">{{cite book| first= David| last= Roberts| year= 2001| title= British Hit Singles| edition= 14th| publisher= Guinness World Records Limited | location= London| isbn= 0-85156-156-X| page= 45}}</ref> and number five on the ''[[Billboard (magazine)|Billboard]]'' [[Billboard Hot 100|Hot 100]] in the United States.<ref>[Joel Whitburn's Top Pop Singles 1955-2002]</ref> Selling over one million copies, it was awarded a [[music recording sales certification|gold disc]] by the [[R.I.A.A.]] in August 1975.<ref>{{cite book| first= Joseph| last= Murrells| year= 1978| title= The Book of Golden Discs| edition= 2nd| publisher= Barrie and Jenkins Ltd| location= London| page= [https://archive.org/details/bookofgoldendisc00murr/page/362 362]| isbn= 0-214-20512-6| url-access= registration| url= https://archive.org/details/bookofgoldendisc00murr/page/362}}</ref> The song "[[January (Pilot song)|January]]" gave Pilot their greatest success in the UK, securing the number one spot in the [[UK Singles Chart]] on 1 February 1975.

Scotland produced a number of punk bands which achieved mainstream success, namely [[The Exploited]], [[The Rezillos]], [[The Skids]], [[The Fire Engines]], and the [[Scars (band)|Scars]]. In the [[post-punk]] era of the early 1980s, Scotland produced bands like [[Cocteau Twins]], [[Orange Juice (band)|Orange Juice]], [[The Associates (band)|The Associates]], [[Simple Minds]], [[Maggie Reilly]], [[Annie Lennox]] ([[Eurythmics]]), [[Hue and Cry (band)|Hue and Cry]], [[Goodbye Mr Mackenzie]], [[The Jesus and Mary Chain]], [[Wet Wet Wet]], [[Big Country]], [[The Proclaimers]], and [[Josef K (band)|Josef K]]. Since the 1980s Scotland has produced several popular rock and [[alternative rock]] acts.<ref name="auto">{{cite web | url=https://www.discoverwalks.com/blog/united-kingdom/top-25-most-popular-scottish-singers/#:~:text=1.,help%20of%20his%20eldest%20brother | title=Top 25 Most Popular Scottish Singers | date=4 February 2023 }}</ref> The growth of indie bands in Scotland during the 1980s was prominent with the arrival of the likes of [[Primal Scream]], [[The Soup Dragons]], [[The Jesus and Mary Chain]], [[Aztec Camera]], [[The Blue Nile (band)|The Blue Nile]], [[Teenage Fanclub]], [[18 Wheeler (band)|18 Wheeler]], [[The Pastels]] and [[BMX Bandits (band)|BMX Bandits]]. The following decade also saw a burgeoning scene in Glasgow, with the likes of [[The Almighty (band)|The Almighty]], [[Arab Strap (band)|Arab Strap]], [[Belle and Sebastian]], [[Camera Obscura (band)|Camera Obscura]], [[The Delgados]], [[Bis (Scottish band)|Bis]] and [[Mogwai]].

 

 

 

===Scotland in Eurovision===

Scotland entered the [[Eurovision Choir 2019]], a [[European Broadcasting Union]] competition for choral singers. This marked the first time that Scotland had entered a Eurovision or European Broadcasting Union competition separately from the United Kingdom. The choir, Alba, performed three songs in [[Scottish Gaelic]]; ''Cumha na Cloinne'', ''Ach a' Mhairead'' and ''Alba''. The choir competed in the first round and did not advance to the second and final round.<ref>{{cite web | url=https://eurovoix.com/2023/01/01/scotland-eurovision-choir-2023-participation/ | title=🏴󠁧󠁢󠁳󠁣󠁴󠁿 Scotland: BBC Alba to Decide on Eurovision Choir 2023 Participation by End of January | date=January 2023 }}</ref>

 

 

==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===

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

 

 

Other festivals include the [[Aberdeen and NE Scotland Music Festival]], [[Big Burns Supper Festival]], [[Callander Jazz and Blues Festival]], [[Connect Music Festival]], the [[Darvel Music Festival]], [[Eden Festival]], the [[Glasgow International Jazz Festival]], [[Glasgow Summer Sessions]], [[Let's Rock (festival)|Let's Rock]], the [[Leith Festival]] and the [[Skye Live Festival]].

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

 

{{Scotland topics}}

{{Celtic music}}