Music of the Great Highland Bagpipe By: Michael E. Akard The music of the Scottish Highland bagpipe has gone through many changes over the years. Classical bagpipe music, which is known as “piobaireachd,” has been played for centuries, but the sound of this music as performed today is very different from how it sounded in the past. In Music of the Great Highland Bagpipe, Michael E. Akard traces the history of piobaireachd from its earliest performances up to the present day. Composed of carefully researched material and presented in an easy to read style, any reader can learn about the major historical, political, social, and technological changes that have influenced, and continue to influence, pipers and pipe music.

'The most powerful representation yet of the race which has repeatedly changed history as we know it' - The Scotsman Alistair Moffat's journey, from the Scottish islands and Scotland, to the English coast, Wales, Cornwall and Ireland, ignores national boundaries to reveal the rich fabric of culture and history of Celtic Britain which still survives today. This is a vividly told, dramatic and enlightening account of the oral history, legends and battles of a people whose past stretches back many hundred of years. The Sea Kingdoms is a story of great tragedies, ancient myths and spectacular beauty.

The Highland bagpipe, widely considered 'Scotland's national instrument', is one of the most recognized icons of traditional music in the world. It is also among the least understood. But Scottish bagpipe music and tradition - particularly, but not exclusively, the Highland bagpipe - has enjoyed an unprecedented surge in public visibility and scholarly attention since the 1990s. A greater interest in the emic led to a diverse picture of the meaning and musical iconicism of the bagpipe in communities in Scotland and throughout the Scottish diaspora. This interest has led to the consideration of both the globalization of Highland piping and piping as rooted in local culture. It has given rise to a reappraisal of sources which have hitherto formed the backbone of long-standing historical and performative assumptions. And revivalist research which reassesses Highland piping's cultural position relative to other Scottish piping traditions, such as that of the Lowlands and Borders, today effectively challenges the notion of the Highland bagpipe as Scotland's 'national' instrument. The Highland Bagpipe provides an unprecedented insight into the current state of Scottish piping studies. The contributors – from Scotland, England, Canada and the United States – discuss the bagpipe in oral and written history, anthropology, ethnography, musicology, material culture and modal aesthetics. The book will appeal to ethnomusicologists, anthropologists, as well as those interested in international bagpipe studies and traditions.

Essays and reviews about performers, instruments, and recordings.

Lincoln Hilton bagpipe composition music book. Sheet music for the great highland bagpipe.

While organizing the summer's Highland Games at her family's Great Smoky Mountain Resort, Lily Stewart ges more than she bargained for when sexy Scottish filmmaker Ian MacDougall MacKenzie arrives to film the annual festival.

The Big Music tells the story of John Sutherland of 'The Grey House', who is dying and creating in the last days of his life a musical composition that will define it. Yet he has little idea of how his tune will echo or play out into the world - and as the book moves inevitably through its themes of death and birth, change and stasis, the sound of his solitary story comes to merge and connect with those around him. In this remarkable work of fiction, Kirsty Gunn has created something as real as music or as magical as a dream. One emerges at the end of it altered and changed. Not so much a novel as a place the reader comes to inhabit and know, The Big Music is a literary work of undeniable originality and power.

Enemies become lovers in a divided Scotland in this “marvelous tale” of history and passion (Diana Gabaldon). From birth, Catriona Campbell and Alasdair Og MacDonald are enemies—for he is the second son of her clan’s most powerful foe. Yet from the moment they meet, they know they will lie in each other’s arms someday. Their love, though centuries forbidden, comes at the most dangerous of times, as they become pawns of war . . . and of history. For rebellion has been stirring, and under the orders of King William III, a bloody price will be paid at Glencoe . . . This “stirring” love story set against the backdrop of a notorious massacre is “well worth a Highland journey” (Kirkus Reviews). “Roberson’s world of 17th-century Scotland is atmospherically real.” —Publishers Weekly