Siubhal- A musical journey

Recently there have been a lot of things I've listened to or that have just come up which have led me to wonder about the legitimacy of instruments and at what point an instrument becomes accepted as legitimate. Barnaby Brown brought to light a wonderful example on BBC pipeline a few weeks ago. He mentioned that in his teachings in one of the most recent sessions at the Royal Scottish Academy of Music and Drama not one person had ever heard of piobaireachd. This was even within one of the traditional/folk/world music classes! I've often times thought it's possible an instrument becomes legitimate when it is able to play certain types of music. It is not a matter of the actual instrument but stylistic preference perhaps. I would say it's possible the bagpipes are overlooked due to a certain amount of the limitations of range, dynamics, or versatility but I doubt that's entirely it. Perhaps it could have to do with cultural bias or discrepancy? Whatever the case may be, there are many well researched sources which lead me to believe the Great Highland Bagpipe is deserving of a position next to other instruments of varying repertoires.
Piobaireachd

One of the first things that comes to my mind is piobaireachd. Developed in the highlands of Scotland 100 years before the piano came about, this great music came out ahead of its time. It's said that piobaireachd is the "classical" form of piping in that the urlar (ground) sets out the theme of the tune in which the following variations expound upon in varying and differing ways, until reaching a form of the crunluath variation (crowning) which marks the culmination of the musical journey that is the tune itself. With extensive research being done by the likes of Barnaby Brown and Allan MacDonald, it starts to become apparent that piobaireachd has come a long way in its own development. It may have started as a "folk" genre and instrument, or may still be considered as such, but much like Urtiin duu (long song) of Mongolian musical tradition, piobaireachd has become a distinctive cultural identity that may be contemplative or exemplary. When examining these two musical traditions (Scottish and Mongolian) side by side, and especially with the influence and findings of the combined research of Barnaby Brown and Allan MacDonald, it seems obvious that there's a profound amount of musical and contemplative complexity within the music. At this point I think an instrument and it's music are just as worthy of merit as within the realm of classical or jazz music. Unless complexity and musical progression have nothing to do with becoming legitimate...?

Light Music

On the most recent Planet Pipe (3 Nov. 2007-which is still accessible through the program archives) a group called the Red Hot Chilli Pipers was featured. The music they play is mostly within the traditional Scottish repertoire but they also play music from Queen and Coldplay on a mixture of traditional Scottish instruments in addition to electric guitars, drum kit etc. The music the group plays is not necessarily new, in fact there are other groups similar to them doing similar things with the instrument, but they are bringing the bagpipe and traditional (and sometimes not so traditional) Scottish music into the mainstream, almost forcing people to examine and accept the instrument and music as legitimate. Though this "forcing" may have a negative connotation I believe it's a great thing that's being done. Just to pose a question: Why do singer/songwriters (i.e. Bob Dylan) receive acclaim amongst the majority of people and not those steeped within traditional music? If the answer is due to poetic lyrics I'd have to disagree and feel they're no more touching than others I've heard within other traditions. Using Bob Dylan as an example, I realize there is a certain amount of political and social influence but I still feel the same could be said, again, for other forms within varying musical traditions. There is, or was, certainly more exposure to his music and his singing and playing is perhaps less abrasive than the bagpipe, which I could see as an argument for one side over the other, but it is not significant enough for me. I wonder then if influence is what aids in artists, musicians in this case, receiving credibility from a wide audience or their fellow artists? If that is the case I don't see why people like the late Martyn Bennett aren't more widely known for their influence and putting Scottish music out into the mainstream or popular music scene. Recently Matisyahu, an Hassidic Orthodox Jewish Reggae/Hip Hop artist (he can be heard here), has become an advocate for Judaism whilst using popular music as a medium to get his message across, much like Martyn Bennett has for Scottish music and culture (especially with works like his album Glen Lyon).

Scottish Music compared with other "accepted" forms

What is the determining factor then? Why is the Great Highland Bagpipe still regarded as a folk instrument not capable or worthy of consideration within other genres of music? Why is it viewed as an intrusion if the bagpipe begins to "infiltrate" other musical forms? Is or should John Cage's piece for solo piano (4'33") be worth regarding with high esteem any more than a well known tune within some traditional form? Andrew Douglas played close to five minutes of drones on his first album, Expression, which was supposed to mark the same sort of "silence" as in Cages 4'33". If John Cage is regarded as a great composer whose influence carries much weight so should Andrew Douglas! Seaumus MacNeill wrote in Piobaireachd and Its Interpretation that Mendelssohn reportedly made a statement that the piobaireachd Lament for the Children contained one of the most beautiful melodies he had ever heard. Surely his opinion must mean something. Besides, it's a well known fact that famous composers, such as Mendelssohn, Tchaikovsky, Dvorak, etc. borrowed melodies from local folk traditions. They also had the benefit and availability of an entire orchestra. A melodic line may be great but will certainly be made better if it is orchestrated. Maybe that's what the bagpipes are missing, some sort of accompaniment other than percussive? But this is exactly what Martyn Bennett did with MacKay's Memoirs!

Isn't it about time we got past looking down on other instruments, traditions and cultures and started realizing how much potential there is out in the world? By respecting and taking into consideration other musical traditions we better ourselves as musicians and people. David Fanshawe wrote his African Sanctus with just this idea in mind, juxtoposing religious texts from Western and differing African traditions which resulted in a wonderful comparison of musical and cultural differences while never detracting or emphasizing one over the other.