The Cello in Traditional Scottish Music; History and Revival

苏格兰传统音乐中的大提琴；

• 批准号: 2449982
• 金额: --
• 依托单位: Royal Conservatoire of Scotland
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2449982
• 关键词: Cello; Traditional; Scottish; Music; History

Alice's research examines the cello's unique history among traditional instruments in Scotland. It was central to dance music in the 'golden age' of Scottish fiddle music in the eighteenth and early nineteenth centuries. Performers such as James Oswald, Nathaniel Gow, and James Scott Skinner were cellists as well as fiddlers; famous fiddlers regularly performed in duos with cello players; and virtually every published collection of the time included 'a bass for the violoncello'. By the end of the nineteenth century, however, the cello had disappeared from traditional music in Scotland. It is only over the past three decades that the instrument has been revived within the mainstream traditional music scene, dominated by performers based in North America, such as Natalie Haas, and Rushad Eggleston. While this new wave of 'folk cellists' have incorporated Scottish repertoire and worked with Scottish-based musicians, these are presented alongside techniques and sounds from a range of other traditions, including Irish, bluegrass, jazz, and popular styles. The link with the instrument's role in the Scottish music of Oswald and Gow's day is uncertain. At present, there is no known study of the cello's repertoire and importance in Scottish traditional music, and there has been a lack of a critical, scholarly, connection between the current wave of folk cello revival and historical practice in Scotland. The importance of the cello within Scottish music history is acknowledged in much of the literature on Scottish fiddle music, most notably in studies by Johnson, Alburger, Campbell, and, in this sense, its place is acknowledged in the literature. But none of these scholars has given more than a cursory description of its repertoire, style, and performance contexts. Alice's research explores the cello in Scottish traditional music, with the aim of connecting the modern-day revival to its historical roots.

爱丽丝的研究探讨了大提琴在苏格兰传统乐器中的独特历史。它是十八世纪和十九世纪初苏格兰小提琴音乐“黄金时代”舞曲音乐的核心。詹姆斯·奥斯瓦尔德 (James Oswald)、纳撒尼尔·高 (Nathaniel Gow) 和詹姆斯·斯科特·斯金纳 (James Scott Skinner) 等表演者不仅是小提琴手，也是大提琴手。著名的小提琴家经常与大提琴手进行二重奏表演；事实上，当时出版的所有合集都收录了《大提琴贝斯》。然而，到了十九世纪末，大提琴已经从苏格兰的传统音乐中消失了。直到过去三十年，这种乐器才在主流传统音乐界复兴，主要由北美的表演者主导，如娜塔莉·哈斯 (Natalie Haas) 和拉沙德·埃格尔斯顿 (Rushad Eggleston)。虽然这波新浪潮的“民间大提琴家”融入了苏格兰曲目并与苏格兰音乐家合作，但这些曲目与来自一系列其他传统的技术和声音一起呈现，包括爱尔兰、蓝草、爵士乐和流行风格。这种乐器与奥斯瓦尔德和高时代苏格兰音乐中的角色之间的联系尚不确定。目前，还没有关于大提琴曲目及其在苏格兰传统音乐中的重要性的研究，并且当前的民间大提琴复兴浪潮与苏格兰的历史实践之间缺乏批判性的、学术性的联系。许多关于苏格兰小提琴音乐的文献都承认大提琴在苏格兰音乐史上的重要性，尤其是约翰逊、阿尔伯格、坎贝尔的研究，从这个意义上说，它的地位在文献中得到了承认。但这些学者都只是对其剧目、风格和表演背景进行了粗略的描述。爱丽丝的研究探索了苏格兰传统音乐中的大提琴，旨在将现代复兴与其历史根源联系起来。