The Cello in Traditional Scottish Music; History and Revival

爱丽丝的研究考察了大提琴在苏格兰传统乐器中的独特历史。在18世纪和19世纪初苏格兰小提琴音乐的黄金时代，它是舞曲的核心。像詹姆斯·奥斯瓦尔德、纳撒尼尔·高和詹姆斯·斯科特·斯金纳这样的演奏家既是大提琴演奏家，也是小提琴演奏家；著名的小提琴家经常与大提琴演奏者进行二重奏表演；而且几乎每一本出版的《时代》合集都包括《大提琴低音提琴》。然而，到19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30年，这种乐器才在主流传统音乐界复兴，由北美的表演者主导，如娜塔莉·哈斯和鲁斯哈德·埃格尔斯顿。这一波新的“民间大提琴手”融合了苏格兰的曲目，并与苏格兰音乐家合作，这些曲目与爱尔兰、蓝草、爵士乐和流行风格等一系列其他传统的技巧和声音一起呈现。这种乐器在奥斯瓦尔德和高的时代苏格兰音乐中所扮演的角色的联系尚不确定。目前，还没有关于大提琴在苏格兰传统音乐中的曲目和重要性的已知研究，也缺乏当前苏格兰民间大提琴复兴浪潮与历史实践之间的批判性、学术性联系。大提琴在苏格兰音乐史上的重要性在许多关于苏格兰小提琴音乐的文献中都得到了承认，尤其是在约翰逊、阿尔伯格、坎贝尔的研究中，从这个意义上说，大提琴在文学中的地位也得到了承认。但这些学者对它的曲目、风格和表演背景都只给出了粗略的描述。爱丽丝的研究探索了苏格兰传统音乐中的大提琴，目的是将现代音乐的复兴与其历史根源联系起来。

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.