Simon McKerrell PhD thesis

564 Pages·2012·36.9 MB·English

@2=AA8@7 2=;>4A8A8=< 106>8>4 >4?5=?;0<24 .
@=B<3" ;=34 0<3 04@A74A82@
@KNPO 0MCSFCKR ;E9GRRGMM
0 AJGSKS @UDNKTTGF HPR TJG 3GIRGG PH >J3
CT TJG
?PYCM Conservatoire of Scotland
!
BOKVGRSKTY PH @T 0OFRGWS
(&&+
5UMM NGTCFCTC HPR TJKS KTGN KS CVCKMCDMG KO
?GSGCREJ/@T0OFRGWS.5UMMAGXT
CT.
JTTQ.%%RGSGCREJ#RGQPSKTPRY$ST#COFRGWS$CE$UL%
>MGCSG USG TJKS KFGOTKHKGR TP EKTG PR MKOL TP TJKS KTGN.
JTTQ.%%JFM$JCOFMG$OGT%’&&()%*,&-
AJKS KTGN KS QRPTGETGF DY PRKIKOCM EPQYRKIJT
Scottish competition bagpipe performance:
sound, mode and aesthetics.
PhD
by
Simon Alasdair McKerrell
Date of submission: 09/02/2005
Declarations
(i) I, Simon McKerrell, hereby confirm that I am solely responsible for the
production of this submission which consists of: a written PhD entitled,
"Scottish competition bagpipe performance: sound, mode and aesthetics"
with an accompanying audio CD in appendix two, and that it has not been
submitted in any previous application for a higher degree.
•
1 0J-3 5
date 2 signature of candidate (cid:9)
•
(ii) I was admitted as a research student in October 2000 and as a
candidate for the degree of PhD in October 2002; the higher study for which
this is the outcome was carried out at the Royal Scottish Academy of Music
and Drama between 2000 and 2005.
?(-7'°
ZI (cid:9)
date signature of candidate (cid:9)
•
(iii) I hereby certify that the candidate has fulfilled the conditions of the
Resolution and Regulations appropriate for the degree of PhD in the
University of St. Andrews and any additional requirements of the regulations
of the RSAMD as approved by the University and that the candidate is
qualified to make this submission application for that degree.
date', 06t . 7f2‘signature of supervisor (cid:9)
(iv) In presenting this submission to the RSAMD and to the University of
St. Andrews I understand that I am giving permission for it to be made
available for use in accordance with the regulations of the RSAMD library
and the University Library for the time being in force, subject to any
copyright vested in the work not being affected thereby. I also understand
that the title and abstract will be published, and that a copy of the work may
be made and supplied to any bona fide library or research worker.
&L70()
Date ?! Csignature of candidate (cid:9)
ii
Abstract
This study is an ethnomusicological analysis of Scottish competition
bagpiping, examining three fundamental aspects of performance: sound
aesthetics, performance aesthetics and the modal complex of the core
repertoire. Through a mixture of discussions, modal analysis and reflections
upon performance, it deconstructs the music of the 2/4 competition pipe
march and the aesthetics surrounding competition performance. Focussing
on a small number of the world's leading Highland bagpipers, this research
demonstrates how overall sound combined with the individual choices about
repertoire and how to play it, results in the maintenance of individual
identity. In chapter three, analysis of the 'modal complex', comprising pitch
sets, hierarchies, phrasing-structure, the double-tonic, structural tones,
melodic motifs and rhythm-contour motifs reveal the characteristics of
various modes in the 2/4 competition pipe march. As an insider of this music-
culture, I offer a definition of mode based upon motivic content rather than
pitch set. The modal complex is framed by an understanding of how pipers
themselves think about their competitive tradition. Understanding the
concepts presented in this thesis provides an original and holistic picture of
how Scottish bagpipe competition performance sounds the way it does.
i
Acknowledgements
This study would not have been possible without the help of Dr Peggy
Duesenberry. Peggy has guided and supported me from the very beginning
to the end, over a four year period. Apart from having to deal with me, she
had the added problems of illness to cope with; for all her help I am deeply
grateful. Dr Gary West is like myself a piper and has wholeheartedly given of
his vast knowledge, and for this I thank him.
I would like also to thank Dr James Porter for his help in supervision in
the middle of the research. His encyclopaedic knowledge and astuteness
were invaluable.
I must thank my family and friends; neither I or they knew the ups and
downs that this process would take and they have been helpful and
understanding throughout. Celia Duffy and Madeleine Stafford deserve a
special mention, particularly where funding and general guidance are
concerned. Celia has helped me greatly from beginning this study right
through to the final stages. Thank you very much Celia.
In order to research this thesis I had to have financial support and to
every grant, trust or individual that has contributed, I offer my sincerest
appreciation. They are, in alphabetical order:-
• The Bertha MacDonald Trust
• The EMI Music Sound Foundation
iii
• Mr Robin Fleming
• The Gerald Finzi Charitable Trust
• The Harriet Cohen Memorial Trust
• The John Mather Scholarship
• Mr kin McGlashan
• The Musicians Benevolent Fund Education Awards
• The RSAMD Trust
• The Saint Andrews Society of Washington D.C. (USA)
• The Sons of the Rock
The pipers with whom I had the core discussions for this thesis have all been
particularly helpful; Roddy MacLeod M.B.E., Willie McCallum, Chris
Armstrong, Angus MacColl, Colin MacLellan, Finlay MacDonald, Nigel
Richard and Greg Wilson. I hope that this work reflects their ideas about
piping; they are central to this thesis.
I would also like to thank the staff of the RSAMD library, in particular
Karen McAulay, Matthew Barr and all the staff of the IT Department at the
RSAMD, the staff of Glasgow University library, Jeannie Campbell and the
Lismor records, the staff of Edinburgh
College of Piping, Temple records,
University and Kirsten Jenkins.
errors or conceptual muddlement that remain in this thesis are
Any
entirely my own.
iv
Table of Contents
Abstract (cid:9) i
Declarations (cid:9) ii
Acknowledgements (cid:9) iii
Table of Contents (cid:9) v
Chapter 1: Introduction (cid:9) 1
Introduction (cid:9) 2
Rationale for research (cid:9) 7
Methodology (cid:9) 14
Discussion Methodology (cid:9) 15
Etic - Emic issues (cid:9) 15
Introduction to the discussion pipers (cid:9) 23
Focus of Discussions (cid:9) 28
The semi- structured discussion (cid:9) 29
Tune Analysis: The Canon of tunes (cid:9) 30
Tunes and Notation (cid:9) 34
Mode (cid:9) 37
The ethnography of a bagpipe competition (cid:9) 39
The 2/4 competition march: Context (cid:9) 57
Chapter 2: Sound Aesthetics (cid:9)
64
Introduction (cid:9) 65
Blowing and Timbre (cid:9) 67
Bagpipe orientation (cid:9) 87
The Double tone (cid:9) 99
Drone Tonic and Scale (cid:9) 99
Pitch (cid:9) 103
Relative Pitch (cid:9) 111
Chapter 3: The Modal Complex (cid:9) 118
Methodology in Melodic Analysis (cid:9) 119
Motivic analysis (cid:9) 120
'Mode' and 'Modal Complex' (cid:9) 122
Perspectives on 'Mode' (cid:9) 124
Modal Complex defined (cid:9) 139
V
1. Pitch Sets/ hierarchies (cid:9) 141
2. Patterns of range (cid:9) 144
3. Phrasing Structure (cid:9) 147
4. Structural Tones (cid:9) 147
5. The double-tonic (cid:9) 151
6. Motifs and rhythm-contour motifs (cid:9) 156
Ornamentation in motifs (cid:9) 159
Performance and the book (cid:9) 161
Printed Editions (cid:9) 163
Mode and Emotion (cid:9) 183
Tune Family and Mode (cid:9) 188
The Canon of 2/4 pipe marches: Discussion evidence (cid:9) 192
The Canon of Tunes (cid:9) 198
Commonalities in the canon (cid:9) 201
Introduction to motivic terminology (cid:9) 204
Motivic function (cid:9) 205
1) The falling motifs (cid:9) 209
1.1) The 3 2 1 rhythm-contour motif (cid:9) 210
1.2) FECA motif (cid:9) 214
1.3) EDCA motif (cid:9) 215
1.4) ECBA motif (cid:9) 216
1.5) hA E C A motif (cid:9) 217
1.6) DCBA motif (cid:9) 218
2) The rising and falling motif (cid:9) 219
2.1) A B C A motif (cid:9) 220
2.2) G A B G motif (cid:9) 222
2.3) E F hG E motif (cid:9) 223
2.4) Function of the rising and falling motif (cid:9) 224
3) Rising grip motif (cid:9) 225
3.1) A B grip C D motif (cid:9) 225
4) Emphatic motifs and Band tunes (cid:9) 227
4.1) Emphatic anchor motif (cid:9) 232
4.2) hA E C E and F E C E motifs in the solo canon (cid:9) 234
4.3) 1 5 3 5 rhythm-contour motif (cid:9) 235
4.4) 5 1 3 5 rhythm-contour motif (cid:9) 239
4.5) 5 3 1 rhythm-contour motif (cid:9) 240
4.6) 5 1 3 1 rhythm-contour motif (cid:9) 243
5) Offbeat occurrences of motifs (cid:9) 246
6) Closing motifs (cid:9) 249
Motivic analysis of composers: a master table (cid:9) 252
Relationships between parts (cid:9) 256
Melodic entities and their overall structure (cid:9) 264
Modal Complex Conclusions: The traits of the 2/4 march (cid:9) 267
vi
Chapter 4: The Performer's Aesthetics (cid:9)
276
Tradition (cid:9) 277
Competition (cid:9) 283
Closed-loop (cid:9) 286
Competition as a conservative force (cid:9) 288
As a conformist and individualising force (cid:9) 305
Traditional and individualised interpretation (cid:9) 306
Competition as affecting musical aesthetics (cid:9) 310
Judges (cid:9) 313
Phrasing and pointing (cid:9) 324
'Heaviness' (cid:9) 347
Band versus solo tunes (cid:9) 360
Notation and aurality (cid:9) 367
Conclusion (cid:9) 371
Chapter 5: Conclusions (cid:9)
373
Sound aesthetics (cid:9) 374
Tradition (cid:9) 378
Repertoire (cid:9) 383
Other genres (cid:9) 387
Traditionality (cid:9) 392
Tune 1: Mark McKerrell (cid:9) 399
Tune 2: Dr Mike Paterson (cid:9) 401
Tune 3: The A/G mode tune (cid:9) 405
Envoi (cid:9) 407
Bibliography (cid:9) 409
Appendices
appendix 1: Master table of motifs (cid:9) 431
appendix 2: CD musical examples (cid:9) 456
appendix 3: Glossary of Pipers' terms (cid:9) 459
appendix 4: Canon of Tunes (cid:9) 464
appendix 5: Discussion listings (cid:9) 544
appendix 6: Miscellaneous (cid:9) 550
vii
Chapter One
Introduction
1