Bagpiping

Since ethnomusicologists are tuned to focus on music, and since, on the other side, players of folk music instruments are scarce, eminent individuals in their communities, the ethnomusicological literature tends to interpret them along the lines of their musical artistry and dedication to music-making. Accordingly, when meeting Pavo Gadanyi, the last inheritor of precious yet disappearing musical knowledge, we expected to find such an individual captivated by music. But the main lesson we learnt from him bears upon the artistry of building social communication among people. He has never played bagpipes just for himself, he has always been eager to play in company, for the amusement of others. This does not mean that, following Gadanyi’s understandings and approaches, we may make conclusions about the whole scene of pre-revival bagpipers, but certainly his ways of musicking should not be neglected either. His case testifies both the merits and limits of an ethnomusicology of the individual. Besides, it recalls yet other important ethnomusicological theories, such as Blacking’s argument on the cultural creativity that springs from social cooperation and loving interaction or Turino’s notion of participatory performance, in contrast to presentational one.

On Thanksgiving Day in 1971, Patrick O'Connor, a police officer and member of the New York Police Department Emerald Society Bagpipe Band was killed while pursuing a suspect. His family asked the Bagpipe Band to play at the funeral. Current Pipe Major Sgt. John Tansey recalled that the group had never performed at such a function, and therefore had to construct a ceremony the night before the funeral. One particularly moving aspect of that first funeral involved a lone highland bagpiper playing " Amazing Grace " as Officer O'Connor's casket was carried into the church. Today, the figure of the lone piper is prerequisite at all line-of-duty funerals, in all branches of emergency service, across all ethnic boundaries, and around the world. In this paper, I will investigate the historic roots of the lone piper tradition, and will explain its birth and development as an icon of ethnic identity in New York City. I will also discuss how, through international exposure on television programs, movies and other media, this new tradition has become a necessity at the funerals of all uniformed officers killed in the line of duty, regardless of nationality, ethnicity, or service affiliation. The topic will be addressed using methods from Ethnomusicology, Media Studies, and Irish Studies, and will further discuss the necessity of an interdisciplinary approach to the academic realm of Irish Studies.

Material describing the current cultural parameters, meaning and value of piobaireachd (also known as pibroch/ceòl mór), either within or beyond Scotland, is limited in its contemporary and global application. This research attempts to address such limitations by investigating piobaireachd in contemporary society from a cultural and social perspective. In particular it considers whether piobaireachd in New Zealand has been localised by investigating concepts of cultural authenticity embedded within musical sound. It draws upon existing scholarship and contributes towards the discourse on music and culture. This paper suggests we re-think piobaireachd as the authentic aural embodiment of the past, and recognise it as a subculture existing within a contemporary global context, where definitions vary and concepts of the past are subject to social influence. Cultural approaches offer much to the study of musics, including considerable potential for new interpretations, insights and directions for Highland bagpiping.

Commonly held beliefs about the Highland bagpipe include that it comes from and represents Scotland; both embodying Scottish tradition, history, and heritage; and presenting Scottish, Gaelic, Celtic, folk, and arguably British identity. Other beliefs can include that it is ancient, primitive, brutal, undeveloped, basic, savage, and/or barbaric; that it is loud and will deafen you; and that it is synonymous with concepts about the past such as tradition, heritage, ancestry, and authenticity.

A valuable body of scholarly work exists on the Highland bagpipe and its music, but largely neglects the instrument's contemporary global use. This paper attempts to present an introductory exploration of the Highland bagpipe in popular music and popular culture in order to better grasp the relationship between popular culture, mass media and the instrument.