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Music of Scotland
Scotland is internationally known for its traditional music, which has remained vibrant throughout the 21st century, when many traditional forms worldwide lost popularity to pop music. In spite of emigration and a well-developed connection to music imported from the rest of Europe and the United States, the music of Scotland has kept many of its traditional aspects; indeed, it has itself influenced many forms of music.
Many outsiders associate Scottish folk music almost entirely with the Great Highland Bagpipe, which has indeed long played an important part in Scottish music. Although this particular form of bagpipe developed exclusively in Scotland, it is not the only Scottish bagpipe, and other bagpiping traditions remain across Europe. The earliest mention of bagpipes in Scotland dates to the 15th century although they are believed to have been introduced to Scotland as early as the 6th century by the Gaels of Ireland. The ''pìob mhór'', or Great Highland Bagpipe, was originally associated with both hereditary piping families and professional pipers to various clan chiefs; later, pipes were adopted for use in other venues, including military marching. Piping clans included the MacArthurs, MacDonalds, McKays and, especially, the MacCrimmon, who were hereditary pipers to the Clan MacLeod.
==Early music==
(詳細はIron Age; the first evidence of lyres outwith the Greco-Roman world were found on the Isle of Skye, dating from 2300 BC, making it Europe's oldest surviving stringed instrument.〔http://news.stv.tv/scotland/highlands-islands/301843-europes-oldest-stringed-instrument-discovered-on-scots-isle/〕〔http://www.bbc.co.uk/news/uk-scotland-highlands-islands-17537147〕 Bards, who acted as musicians, but also as poets, story tellers, historians, genealogists and lawyers, relying on an oral tradition that stretched back generations, were found in Scotland as well as Wales and Ireland.〔M. J. Green, ''The Celtic World'' (London: Routledge, 1996), ISBN 0-415-14627-5, p. 428.〕 Often accompanying themselves on the harp, they can also be seen in records of the Scottish courts throughout the medieval period.〔W. McLeod, ''Divided Gaels: Gaelic Cultural Identities in Scotland and Ireland, C.1200-c.1650'' (Oxford: Oxford University Press, 2004), ISBN 0-19-924722-6, p. 102.〕 Scottish church music from the later Middle Ages was increasingly influenced by continental developments, with figures like 13th-century musical theorist Simon Tailler studying in Paris, before returned to Scotland where he introduced several reforms of church music.〔K. Elliott and F. Rimmer, ''A History of Scottish Music'' (London: British Broadcasting Corporation, 1973), ISBN 0-563-12192-0, pp. 8–12.〕 Scottish collections of music like the 13th-century 'Wolfenbüttel 677', which is associated with St Andrews, contain mostly French compositions, but with some distinctive local styles.〔 The captivity of James I in England from 1406 to 1423, where he earned a reputation as a poet and composer, may have led him to take English and continental styles and musicians back to the Scottish court on his release.〔 In the late 15th century a series of Scottish musicians trained in the Netherlands before returning home, including John Broune, Thomas Inglis and John Fety, the last of whom became master of the song school in Aberdeen and then Edinburgh, introducing the new five-fingered organ playing technique.〔J. Wormald, ''Court, Kirk, and Community: Scotland, 1470–1625'' (Edinburgh: Edinburgh University Press, 1991), ISBN 0-7486-0276-3, pp. 58 and 118.〕 In 1501 James IV refounded the Chapel Royal within Stirling Castle, with a new and enlarged choir and it became the focus of Scottish liturgical music. Burgundian and English influences were probably reinforced when Henry VII's daughter Margaret Tudor married James IV in 1503.〔M. Gosman, A. A. MacDonald, A. J. Vanderjagt and A. Vanderjagt, ''Princes and Princely Culture, 1450–1650'' (Brill, 2003), ISBN 90-04-13690-8, p. 163.〕 James V (1512–42) was a major patron of music. A talented lute player, he introduced French chansons and consorts of viols to his court and was patron to composers such as David Peebles (c. 1510–1579?).〔J. Patrick, ''Renaissance and Reformation'' (London: Marshall Cavendish, 2007), ISBN 0-7614-7650-4, p. 1264.〕
The Scottish Reformation, directly influenced by Calvinism, was generally opposed to church music, leading to the removal of organs and a growing emphasis on metrical psalms, including a setting by David Peebles commissioned by James Stewart, 1st Earl of Moray.〔 The most important work in Scottish reformed music was probably ''A forme of Prayers'' published in Edinburgh in 1564.〔R. M. Wilson, ''Anglican Chant and Chanting in England, Scotland, and America, 1660 to 1820'' (Oxford: Oxford University Press, 1996), ISBN 0-19-816424-6, pp. 146–7 and 196–7.〕 The return from France of James V's daughter, Mary, Queen of Scots in 1561, renewed the Scottish court as a centre of musical patronage and performance. The Queen played the lute, virginals and (unlike her father) was a fine singer.〔A. Frazer, ''Mary Queen of Scots'' (London: Book Club Associates, 1969), pp. 206–7.〕 She was brought many influences from the French court where she had been educated, employing lutenists and viol players in her household.〔M. Spring, ''The Lute in Britain: A History of the Instrument and Its Music'' (Oxford: Oxford University Press, 2006), ISBN 0-19-518838-1, p. 452.〕 Mary's position as a Catholic gave a new lease of life to the choir of the Scottish Chapel Royal in her reign, but the destruction of Scottish church organs meant that instrumentation to accompany the mass had to employ bands of musicians with trumpets, drums, fifes, bagpipes and tabors.〔 The outstanding Scottish composer of the era was Robert Carver (c.1485–c.1570) whose works included the nineteen-part motet 'O Bone Jesu'.〔 James VI, king of Scotland from 1567, was a major patron of the arts in general. He rebuilt the Chapel Royal at Stirling in 1594 and the choir was used for state occasions like the baptism of his son Henry.〔P. Le Huray, ''Music and the Reformation in England, 1549–1660'' (Cambridge: Cambridge University Press, 1978), ISBN 0-521-21958-2, pp. 83–5.〕 He followed the tradition of employing lutenists for his private entertainment, as did other members of his family.〔T. Carter and J. Butt, ''The Cambridge History of Seventeenth-Century Music'' (Cambridge: Cambridge University Press, 2005), ISBN 0-521-79273-8, pp. 280, 300, 433 and 541.〕 When he came south to take the throne of England in 1603 as James I, he removed one of the major sources of patronage in Scotland. The Scottish Chapel Royal was now used only for occasional state visits, as when Charles I returned in 1633 to be crowned, bringing many musicians from the English Chapel Royal for the service, and it began to fall into disrepair.〔 From now on the court in Westminster would be the only major source of royal musical patronage.〔
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