The body of research that this document accompanies and which forms a folio of compositions has sought to develop a new type of music utilising elements from both the western art music and bagpiping 1 traditions. The orchestral2 medium is combined with the experiential philosophy of piping (discussed below under "musical relativity", page 5) free composition is mixed with pre-compositional event determination (such as serialism and its consequences from the 20th century); orchestral forms3 are generated using traditional piobaireachd4 phrase structure and aesthetic. The resulting method of composition is called "Manntaireachd technique5". This research was primarily driven by a desire to apply traditional piping compositional methods to the classical tradition and thus create a new medium that could potentially facilitate greater exchange, both philosophically and practically between these two cultural groups. A secondary objective was to broaden the technical range of bagpipe usage and context. The philosophical and formal aspects taken from the piping tradition are discussed below in sections 2, 3 and 4. Some classical inspiration was drawn from Luciano Berio (specifically his series of pieces entitled Sequenza), Luigi Nono (Intol/eranza 1960?) although a very wide range of music was appraised when making stylistic and timbral decisions, more detail of which is placed in the bibliography. Other sources drawn upon for this research were: Anton Webern (form and function), Wojciech Widlak6 (for development of Manntaireachd technique, discussed below (page 13)) and S.1. Witkiewicz (see below, page 41) for his theories on art. The Piobaireachd Society's series, Major General Thomason's and Archibald Campbell of Kilberry's 'Ceol Mor'? have been extensively employed in researching pibroch style and form (discussed below). The methodology was tested through application in the accompanying folio of compositions; Chamber Symphony Number 1 (chamber ensemble), Symphony Number 1 (symphony orchestra), Cockroaches (chorus, solo male voices and chamber ensemble), The New Deliverance (vocalists and large orchestra), Manntaireachd 1 (string quartet), Bezpanski Pies (harp and soprano), Lament for the Lime Tree (Scottish smallpipes, borderpipes and string quartet), Welcome to the Twelve Tones (solo borderpipes). 1 Hereafter referred to as 'piping' in compliance with common usage. 2 Meaning a variation of the tradition orchestral ensemble established since the early 18th century and expanded latter half of the nineteenth century, and other combinations of the instruments employed therein in chamber ensembles. 3 symphony, opera. 4 Hereafter 'pibroch', the anglicised spelling of the Gaelic term used to describe the highest form of pipe music 5 This is a term invented by the author to describe the technique. 6 Professor of composition at the Cracow Music Academy, Poland, successor to Penderecki in this position. 7 'Ceol Mor' is Gaelic for 'Big Music' and is the term used by pipers to describe pibroch as opposed to 'Ceol Beag'('Little Music') or music which is extended from collective social function such as dance or marching, which is not considered by pipers to be 'art music'. Thomason published the first collection, called 'Ceol Mor' in 1900, followed by the piobaireachd Society's first series (abandoned and replaced by a new series). Archibald Campbell of Kilberry published his 'Ceol Mor' collection in 1948. Between them, these publications include almost all of the known and collected pibroch.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:506368 |
| Date | January 2006 |
| Creators | Davidson, Lindsay |
| Contributors | Davismoon, Stephen |
| Publisher | Edinburgh Napier University |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://researchrepository.napier.ac.uk/Output/6492 |
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