Scottish music History

March 1, 2015
A man in medieval costume

For longer than two hundreds of years Scotland had been a united if you don't unified kingdom: four peoples—Pict, Celt, Briton and Angle—had already been developing together, initially under exterior force from The united kingdomt and Scandinavia but later by political expediency from within, until using the royal residence of Canmore in 1057 an excellent feudal monarchy had been set up. This royal household, often linked to compared to England by marriage, observed the gradual infiltration of Anglo-Norman influences into Scotland, and with it the best danger of English domination. Eleventh-century St Margaret's Chapel in Edinburgh Castle is perhaps the earliest and most considerable representation with this infiltration, and very quickly various other Norman structures began to increase, from tiny village churches to great ecclesiastical fundamentals like Dunfermline, St Andres, Jedburgh, St Magnus in Orkney, and Arbroath.

The Celtic Church was indeed established so long ago given that belated 4th century aided by the arrival from Rome of St Ninian, a contemporary of St Ambrose and St Augustine. Just What songs followed the early Celtic liturgy is unrecorded, but ended up being almost certainly about among four great Western chants—Gregorian, Ambrosian, Mozarabic, Gallican. Perhaps it was a local form grafted on to existing music types, and never accepting the Gregorian before the Roman chapel became the official one in Scotland in 710, though also then the Scottish chapel would not conform entirely to the Roman system (given that English had done since Gregory's life time a hundred years and much more before). Extreme elaboration of Pictish Cross, Celtic manuscript lighting and metalwork of, say, the 8th century suggests a musical equivalent equally as sophisticated as Ambrosian chant. This very florid singing art was in fact derived from the music of this Eastern Church and introduced into Italy by St Ambrose, and it reveals powerful resemblances toward Mozarabic chant of Spain. Whenever we were to take into consideration modern survivals or parallels, possibly we possibly may find them within the elaborate melismatic singing type of Greek chant, Spanish folk-music, Celtic track, and also Gaelic psalm-singing, where the rehearse of performing simultaneously ornamented versions of psalm-tunes bears an uncanny similarity into old maxims of heterophony, still practised these days at Milan Cathedral, the very last surviving outpost associated with Ambrosian rite.

MusiciansKenneth Elliott & Frederick Rimmer
A History of Scottish Songs
Brit Broadcasting Corporation, 1973
pp 7-8

Minimal is well known towards music custom regarding the Celtic Church, but some scholars have contended that its music ended up being of Oriental basis, whereby the 'harp' or rote (or crwth) had someplace with it, for, as Henry Farmer features revealed the Byzantine churches used the kithara, aulos and cymbals in accord utilizing the psalmist David of old. The word psalm itself is based on the Greek psalmos—a tune sung to a stringed tool. Psalms were definitely used in worship in the Celtic chapel; Columba himself, according to Adamnan, his biographer, chanted psalms with a loud voice. As for the harp, both Bede and Giraldus testify to its usage by the clergy.

George Emmerson
Rantin' Pipe and Tremblin' String: A History of Scottish Dance Music
J. M. Dent & Sons, 1971
p. 11

Lutenistwe've only one instance from Ireland of learned, written-down vocal polyphony—a tiny three-part morsel in discantus style—it is pre-Norman and certainly the task of an Irishman. Its at the very least modern with and maybe pre-dates the initial examples of three-part songs that can come through the cathedral of Notre Dame in Paris.

Joan Rimmer
The Irish Harp/Cláirseach na hÉireann
Cló Mercier, Corcaigh, 1977
p. 31

The thirteenth-century Scottish musical theorist, Simon Tailler, studied in Paris, gone back to Scotland, and settled because of the Dominicans at Dunblane. He is said to have instituted several reforms of church songs, probably embodied inside the four theoretical works on music that were much admired by later on historians, but which unfortunately have not survived. A musician like Tailler would have had all the necessary ability, experience and chance to compile these types of an assortment as 'Wolfenbüttel 677', the famous manuscript of thirteenth-century sacred polyphony typically connected with St Andrews and from now on inside library regarding the Bavarian monastery of Wolfenbüttel. Created towards end of the thirteenth century, but including older songs, it contains mainly French compositions by Leonin and Perotin within various other Notre Dame collections. Some of the pieces, but are composed in another type of style and appear to suggest an even more insular origin, maybe even Tailler himself.

Kenneth Elliott & Frederick Rimmer
A brief history of Scottish Music
British Broadcasting Corporation, 1973
pp 8-9

It so takes place that Wolfenbüttel manuscript has actually a domestic claim upon united states because it initially belonged into Monasterium S. Andreae in Scocia when you look at the 14th century, however in the season 1553 it was obtained in a rather suspicious way by the eminent theologian Flacius Illyricus, that "writhing serpent" whom Melanchthon once flayed. Subsequently (1597), this precious manuscript discovered its solution to the Wolfenbüttel Library. What is more, we all know the very names of males who had been accountable, right or indirectly, for "acquisition." Not just performed the manuscript originally are part of St. Andrews but it is now considered a probability it was both written at or even for St. Andrews . Exactly what strengthens these presumptions are some of the contents. Fascicle 3 contains two responsories for St. Andrews Day, Vir perfectus and Vir iste, both of which was partially reproduced by Professor Handschin and Dom. Anselm Hughes. Various other products in the last portion of the manuscript expose a species of compsoition "to date only represented in insular [i.e. Uk] resources"

Henry George Farmer
A brief history of Music in Scotland
London, 1947
pp. 60-61

The thirteenth normally the century whenever a distinctive 'Scottish' literature very first seems. Before that certainly Scots Gaelic (and perhaps Scots Latin) poetry must have been sung—and some of its songs might even endure today. Such a work as romance Sir Tristrem additionally needs to being sung, and not just sung but accompanied as well. The French relationship is profoundly rooted in Celtic customs, and it also needs little stretch of the imagination to extend traditional Celtic bardic overall performance for this sort of composition, for there are numerous representations and sources towards the harp as well as other musical tools in Scotland for a lot of hundreds of years ahead of the thirteenth.

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