One more in our on-going series of “you really should take the time to read these”-posts on behalf of our assembled collection of theses and dissertations researching into pibroch, pibroch performance and pibroch history.
Next up: Pibroch Rhythm: Translating Early Gaelic Bagpipe Music in the Twenty-First Century.
Fascinating look by a composer on understanding fundamentals of rhythm in pibroch.
Interesting how our art form extends beyond what we think are our “natural” boundaries, isn’t it?
As one of my professors used to say, now that we know this what do we know? I can’t really say, from a piper’s perspective, what that is. Hopefully, Barnaby Brown and/or Ailean Domnhallach will respond. But how does one write a thesis of on rhythm in pibroch and not mention Jimmy MacColl? There seems to be an inherent in McClelland’s argument either a lack of awareness or a conscious dismissal of any way of playing that is not verified either by competition or academic articles. Someone, please correct me if I’m wrong.
Damn! I wish there was a way to edit a post after it’s been made. The penultimate sentence should read: McClelland’s argument demonstrates either a lack of awareness or a conscious dismissal of any way of playing that is not verified either by competition or academic articles. John Dally