Thesis (B.A. (Hons.)) -- University of Adelaide, Dept. of Music, 1990? / Includes bibliographical references (leaves 205-214).

Thesis (M. Phil.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves.

published_or_final_version / Music / Master / Master of Philosophy

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.

The thesis, The Bagpipe: perceptions of a national instrument, is a work offered to the University of Edinburgh for the degree of PhD by research publications, and includes a portfolio of published items and research papers, amounting in total to approximately 63,600 words, with a critical review and a CD. Research papers: 1. ‘Making a national collection of a national instrument.’ Lecture to the American Musical Instrument Society and Galpin Society Conference, 3-9 August 2003. 2. ‘The Early History of the Scottish Bagpipe’, in Ellen Hickmann, Arnd Adje Both and Ricardo Eichmann eds., Studien zur Musikarchäologie V (Papers from the 4th Symposium of the International Study Group on Music Archaeology, 19-26 September 2004) Rahden/Westf.: VML 2006, 447-461. 3. ‘Musician and Milieu: piping, politics and patronage through three centuries.’ The John Macfadyen Memorial Trust Annual Lecture, 19 March 2004. 4. ‘Traditional origins of the piping dynasties.’ RSAMD Research Seminar 31 May 2007 (publication forthcoming). 5. ‘The Pastoral or New Bagpipe: piping in the Neo-baroque’, in The Galpin Society Journal, 2007-2008 (forthcoming). 6. ‘Taste and Humour: the Union Pipe of Britain and Ireland’, in Seán Reid Society Journal Volume 3 (2007) [electronic format]. 7. ‘Donald MacDonald, Bagpipe Maker’, in Proceedings of the Piobaireachd Society Conference Volume XXXIII (2006), 10-18. These papers are discussed in a critical review whose thesis and structure is explained in the Prospectus. The critical review amounts to approximately 24,200 words and is divided into seven Sections (as listed on the Contents page) which relate specifically to their respective research papers and summarise their findings. There is some imbalance of wording between the Sections, for example there are more words in sections ‘Piping Dynasties’ and ‘the Maestros’, and this reflects a perceived need to strengthen the statements in these areas in order to deliver the arguments of the thesis more effectively.

This thesis presents a complete hardware and software system to support the learning process associated with the Great Highland Bagpipe (GHB). A digital bagpipe chanter interface has been developed to enable accurate measurement of the player's nger movements and bag pressure technique, allowing detailed performance data to be captured and analysed using the software components of the system. To address the challenge of learning the diverse array of ornamentation techniques that are a central aspect of Highland piping, a novel algorithm is presented for the recognition and evaluation of a wide range of embellishments performed using the digital chanter. This allows feedback on the player's execution of the ornaments to be generated. The ornament detection facility is also shown to be e ective for automatic transcription of bagpipe notation, and for performance scoring against a ground truth recording in a game interface, Bagpipe Hero. A graphical user interface (GUI) program provides facilities for visualisation, playback and comparison of multiple performances, and for automatic detection and description of piping-speci c ngering and ornamentation errors. The development of the GUI was informed by feedback from expert pipers and a small-scale user study with students. The complete system was tested in a series of studies examining both lesson and solo practice situations. A detailed analysis of these sessions was conducted, and a range of usage patterns was observed in terms of how the system contributed to the di erent learning environments. This work is an example of a digital interface designed to connect to a long established and highly formalised musical style. Through careful consideration of the speci c challenges faced in teaching and learning the bagpipes, this thesis demonstrates how digital technologies can provide a meaningful contribution to even the most conservative cultural traditions.

No description available.

This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.

No description available.