The lost history of the Lowland Scottish pipes: Pete Stewart, The day it daws: the Lowland Scots bagpipe and its music, 1400-1715 (Ashby: White House Tune Books, 2005), 17.50
2006; Oxford University Press; Volume: 34; Issue: 3 Linguagem: Inglês
10.1093/em/cal057
ISSN1741-7260
Autores Tópico(s)Scottish History and National Identity
ResumoOne has to admire Pete Stewart's courage in attempting this history of the Lowland pipes (Border pipes, Scottish smallpipes) from the late Middle Ages to the Enlightenment. This family of closely related instruments is at present in a rather odd position. During the last 30 years it has been revived, and it now has manufacturers, emerging virtuoso players, an enthusiastic society for its promotion, nascent festivals … but no notated repertory dating any further back than 1980. Its earlier tradition dwindled and died in the 19th century, all its previous players having been illiterate—or, if literate, having concealed their manuscripts so well that none has yet come to light. Two important modern books have reconstructed the instrument's 18th-century repertory: Gordon Mooney's Collection of the choicest Scots tunes for the Lowland or Border bagpipe (Edinburgh, 1990), and Matt Seattle's Border bagpipe book (Newbiggin, 1993). Both these collections are eminently practical for performers. Seattle's is the better of the two, as he found a reconstructive short cut: the English Northumbrian pipes are a relative of the Lowland instrument, with an unbroken tradition and a repertory that has been notated fairly fully since 1800. Seattle contends that the 18th-century bagpipe repertory was much the same on both sides of the Border. His book played fair as to where he had got his versions of tunes, and which bits of variation sets he had composed himself.
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