While we are on the subject, I’ve been pondering this issues for quite some time, and recently overheard arguments regarding Joseph MacDonald, whose musical notation seems to suggest that the rhythmic component of the modern[…]
We have seen great advances in recovering and reclaiming the nearly lost art of the clarsach, and heard Simon Chadwick’s ressurections of its music and explorations into the lost world of the era when harp[…]
In my encounters chatting with competitors and judges, one hears discussions about what constitutes qualifications for aassessing “alternative” settings. This poses an interesting question: Since so many of the current and previous generation of pipers only learn[…]
1. The rift between vocal and written canntaireachd 2. The rationale behind a proposed colour scheme 3. Case study 1: Hiharin hiodreen – One of the Cragich (PS 36) 4. Case study 1 (cont.): testing a coloured vocable score Part 5 concludes case study[…]
PART 1. The rift between vocal and written canntaireachd PART 2. The rationale behind a proposed colour scheme PART 3. Case study 1: Hiharin hiodreen – One of the Cragich (PS 36) Part 4 is a continuation of Case[…]
PART 1. The rift between vocal and written canntaireachd PART 2. The rationale behind a proposed colour scheme PART 3. Case study 1: Hiharin hiodreen – One of the Cragich (PS 36) This series is dedicated to the memory of Lt Cl[…]
There seems to be a certain hesitation, a reticence expressed by some judges regarding their ability to judge settings with which they are not familiar. It is understandable: it seems common sense that if you[…]