Revivals Scottish folk music

1 revivals

1.1 first revival
1.2 second revival
1.3 celtic rock

revivals

first revival

francis james child, 1 of key figures in beginning first folk revival

from late nineteenth century there renewed interest in traditional music, more academic , political in intent. harvard professor francis james child s (1825–96) eight-volume collection english , scottish popular ballads (1882–92) has been influential on defining repertoire of subsequent performers , english music teacher cecil sharp important in understanding of nature of folk song. in scotland collectors included reverend james duncan (1848–1917) , gavin greig (1856–1914), collected on 1,000 songs, aberdeenshire. tradition continued figures including james scott skinner (1843–1927), known strathspey king , played fiddle in venues ranging local functions in native banchory, urban centres of south , @ balmoral. in 1923 royal scottish country dance society founded in attempt preserve traditional scottish dance threatened introduction of continental ballroom dances such waltz or quadrilles. accordion began central instrument @ highland balls , dances.

this revival began have major impact on classical music, development of in effect national school of orchestral , operatic music in scotland. major composers included alexander mackenzie (1847–1935), william wallace (1860–1940), learmont drysdale (1866–1909), hamish maccunn (1868–1916) , john mcewen (1868–1948). mackenzie, studied in germany , italy , mixed scottish themes german romanticism, best known 3 scottish rhapsodies (1879–80, 1911), pibroch violin , orchestra (1889) , scottish concerto piano (1897), involving scottish themes , folk melodies. wallace s work included overture, in praise of scottish poesie (1894). drysdale s work dealt scottish themes, including overture tam o’ shanter (1890), cantata kelpie (1891). maccunn s overture land of mountain , flood (1887), 6 scotch dances (1896), operas jeanie deans (1894) , dairmid (1897) , choral works on scottish subjects have been described i. g. c. hutchison musical equivalent of scots baronial castles of abbotsford , balmoral. similarly, mcewen s pibroch (1889), border ballads (1908) , solway symphony (1911) incorporated traditional scottish folk melodies.

second revival

the bust of hamish henderson in south gyle

after world war ii traditional music in scotland marginalised, but, unlike in england, remained stronger force, céilidh house still present in rural communities until 1950s , traditional material still performed older generation, if younger generation tended prefer modern styles of music. decline changed actions of individuals such american musicologist alan lomax, collected numerous songs in scotland issued columbia records around 1955. radio broadcasts lomax, hamish henderson , peter kennedy (1922–2006) important in raising awareness of tradition, particularly kennedy s roved out, largely based around scottish , irish music. school of scottish studies founded @ university of edinburgh in 1951, henderson research fellow , collection of songs begun calum maclean (1915–60). acts popularised included john strachan (1875–1958), jimmy macbeath (1894–1972), jeannie robertson (1908–75) , flora macneil (1928-2015). number festivals popularised music, such edinburgh people s festival (1951–53) , aberdeen folk festival (1963–). in 1960s there flourishing folk club culture. first folk club founded in london ewan maccoll (1915–89), emerged leading figure in revival in britain, recording influential records such scottish popular ballads (1956). scottish folk clubs less dogmatic english counterparts, rapidly moved english folk song policy, , continued encourage mixture of scottish, irish, english , american material. on hosted traditional performers, including donald higgins , stewarts of blairgowrie, beside english performers , new scottish revivalists such robin hall (1936–98), jimmie macgregor (born 1930) , corries. number of these new performers, including ian campbell folk group, emerged skiffle movement.

there strand of popular scottish music benefited arrival of radio , television, relied on images of scottishness derived tartanry , stereotypes employed in music hall , variety. proponents included andy stewart (1933–93), weekly programme white heather club ran in scotland 1958 1967. frequent guests included moira anderson (born 1938) , kenneth mckeller (1927–2010), enjoyed own programmes. programmes , music immensely popular, although version of scottish music , identity despised many modernists.

the fusing of various styles of american music british folk created distinctive form of fingerstyle guitar playing known folk baroque, pioneered figures including davy graham , bert jansch. led in part british progressive folk music, attempted elevate folk music through greater musicianship, or compositional , arrangement skills. many progressive folk performers continued retain traditional element in music, including jansch became member of band pentangle in 1967. others largely abandoned traditional element of music. particularly important donovan (who influenced emerging progressive folk musicians in america such bob dylan) , incredible string band, 1967 incorporated range of influences including medieval , eastern music compositions, leading development of psychedelic folk, had considerable impact on progressive , psychedelic rock. acoustic groups continued interpret traditional material through 1970s included ossian , silly wizard. boys of lough , battlefield band, emerged flourishing glasgow folk scene. scene highly influential clutha, line up, 2 fiddlers, later augmented piper jimmy anderson, , whistlebinkies, pursued instrumental format, relying on traditional instruments, including clàrsach (celtic harp). many of these groups played largely music originating lowlands, while later, more successful bands tended favor gaelic sounds of highlands. while popular within folk circles, none of these groups achieved success of irish groups such chieftains , dubliners. of these bands produced noted solo artists, including andy m. stewart of silly wizard, brian mcneill of battlefield band, , dougie maclean of tannahill weavers. maclean perhaps best known of these, having written caledonia, 1 of scotland s beloved songs.

though perhaps not popular of celtic fusion counterparts, traditional scottish artists still making music. these include hebridean singer julie fowlis, gaelic supergroup dàimh, , lau. old blind dogs have found success singing in doric scots dialect of native aberdeenshire. albannach has gained recognition distinctive combination of pipes , drums.

celtic rock


dick gaughan live @ rätsche in geislingen/steige (germany) in 2006

celtic rock developed variant of british folk rock, playing traditional english folk music rock instrumentation, developed fairport convention , members 1969. donovan used term celtic rock describe folk rock created open road album in 1970, featured song celtic rock title. adoption of british folk rock heavily influenced scottish traditional music produced groups including jsd band , spencer s feat. out of wreckage of latter in 1974, guitarist dick gaughan (born 1948) formed successful band in genre 5 hand reel, combed irish , scottish personnel, before embarked on influential solo career.

from late 1970s attendance at, , numbers of, folk clubs began decrease, new musical , social trends, including punk rock, new wave , electronic music began dominate. however, in scotland circuit of ceilidhs , festivals helped prop traditional music. 2 of successful groups of 1980s emerged dance band circuit. 1978, when began release original albums, runrig produced highly polished scottish folk rock, including first commercially successful album gaelic play gaelic in 1978. 1980s capercaillie combined scottish folk music, electric instruments , haunting vocals considerable success. while bagpipes had become essential element in scottish folk bands rarer in folk rock outfits, integrated sound wolfstone 1989, focused on combination of highland music , rock. more recently, bands such mànran , tide lines have focused on combination of celtic music , pop-rock. additionally, groups such shooglenifty , peatbog faeries mixed traditional highland music more modern sounds, such dubstep rhythms, creating genre referred acid croft . niteworks inspired 2 aforementioned bands , electronic sampling of martyn bennett have further developed celtic electronic music has been described both gaelictronica , celtictronica.

successful scottish stadium rock acts such simple minds glasgow , big country dunfermline incorporated traditional celtic sounds onto many of songs. former based hit belfast child around traditional irish song moved through fair , incorporated accordion line-up, while latter s guitar , drum sounds heavily influenced scottish pipe bands, particularly on songs such in big country , fields of fire. big country covered robert burns killiecrankie.

one by-product of celtic diaspora existence of large communities across world looked cultural roots , identity origins in celtic nations. while seems young musicians these communities chose between folk culture , mainstream forms of music such rock or pop, after advent of celtic punk relatively large numbers of bands began emerge styling celtic rock. particularly noticeable in usa , canada, there large communities descended irish , scottish immigrants. usa includes scottish bands 7 nations, prydein , flatfoot 56. canada bands such enter haggis, great big sea, real mckenzies , spirit of west. these groups naturally influenced american forms of music, containing members no celtic ancestry , commonly singing in english.