Historical Music of Scotland database
- Submitting institution
-
University of Glasgow
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33-01052
- Type
- H - Website content
- Month
- October
- Year
- 2015
- URL
-
http://eprints.gla.ac.uk/128206/
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This multi-component output arose from an AHRC-funded project on reconnecting Scottish fiddle and piping traditions with their historical structural and bassline practices: McGuinness's work focusses on the fiddle repertoire. The aim was to reassess the culture of understanding and performance and, where necessary, provide models/ideas for a revised practice based on historical principles, rather than unquestioned inherited traditions. The website presents a new bibliographic database of the printed sources of Scottish fiddle music (1750-1850) that have accompaniments. Some have also been digitised, chosen for their quality, geographical and musical range, accessibility for photography, and their lack of online availability elsewhere. Besides scholars, the primary intended audiences are practising amateur and professional musicians, and particularly specialists in this repertoire. In order to provide a starting point for practices engendered by this study, the recording and performance project, Nathaniel Gow's Dance Band (with Concerto Caledonia), brought together fiddlers from Scottish traditions. Most of these were playing for the first time on historical instruments, in an extended rehearsal process drawing on historical sources and traditional techniques together. The process and repertoire are documented in the CD/digital booklet, available at www.concal.org/albums. The performances also explored the historical variety of venues and occasions: this included audience participation in historical dances, with costumed balls in Edinburgh's Assembly Rooms and ceilidhs in Glasgow basements; workshops at the Universities of Glasgow and Limerick, and the RCS; sixteen performances in Scotland, Finland, Australia. The SMR article provides more on the historical context by examining the transformations brought to this music by the burgeoning music publishing industry in Scotland 1750-1850, and the USM chapter addresses the wider implications of 'tradition' arising from the use of historical materials, thus providing a more conceptual assessment of the overall implications of the project for contemporary practice.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
