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。在十八世纪和十九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家，也是小提琴家;著名的小提琴家经常与大提琴演奏家进行二重奏;几乎当时出版的每一部作品集都包括“大提琴贝司”。然而，到了世纪末，大提琴已经从苏格兰的传统音乐中消失了。只是在过去的三十年里，这种乐器才在主流传统音乐舞台上复兴，由北美的表演者主导，如娜塔莉哈斯和鲁沙德埃格莱斯顿。虽然这一波新的“民间大提琴家”已经融入了苏格兰的曲目，并与苏格兰的音乐家合作，但这些音乐与来自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。这种乐器在奥斯瓦尔德和高的苏格兰音乐中的作用是不确定的。目前，没有已知的研究大提琴的曲目和苏格兰传统音乐的重要性，并一直缺乏一个关键的，学术的，目前的民间大提琴复兴浪潮和苏格兰的历史实践之间的联系。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得到了承认，最著名的是约翰逊、阿尔伯格、坎贝尔的研究，从这个意义上说，它在文献中的地位得到了承认。但是，这些学者都没有给超过一个粗略的描述其曲目，风格和表演环境。爱丽丝的研究探讨了苏格兰传统音乐中的大提琴，目的是将现代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.