The Fiddle Tradition Of The Shetland Isles

A comprehensive study of the Shetland Isles 1970-1980, one of the liveliest fiddle-playing traditions in the world.

(Book). The Fiddle Handbook is a treasure trove of information spanning the whole range of fiddle playing. It looks in detail at the most commonly played styles among today's fiddlers. From America, there's old time, bluegrass, Cajun, Western swing, country, blues, rock, klezmer, and jazz, while from the British Isles there's Irish, Scottish, and English. There is also a quick romp through Eastern Europe and beyond, from the spike fiddles of Africa and Asia to the Chinese Erhu, the fabulous Indian Sarangi, and the mysterious Norwegian Hardingfele. A wealth of musical audio examples ornaments, bowing patterns, scales, modes, exercises and complete tunes are included to give you a taste of each style. And finally, the book answers once and for all the hoary old question, "What's the difference between a fiddle and a violin?" The answer, of course, is that fiddle players have more fun....

Scottish traditional music has been through a successful revival in the mid-twentieth century and has now entered a professionalised and public space. Devolution in the UK and the surge of political debate surrounding the independence referendum in Scotland in 2014 led to a greater scrutiny of regional and national identities within the UK, set within the wider context of cultural globalisation. This volume brings together a range of authors that sets out to explore the increasingly plural and complex notions of Scotland, as performed in and through traditional music. Traditional music has played an increasingly prominent role in the public life of Scotland, mirrored in other Anglo-American traditions. This collection principally explores this movement from historically text-bound musical authenticity towards more transient sonic identities that are blurring established musical genres and the meaning of what constitutes ‘traditional’ music today. The volume therefore provides a cohesive set of perspectives on how traditional music performs Scottishness at this crucial moment in the public life of an increasingly (dis)United Kingdom.

Islands and archipelagos hold great imaginative power, and they have long been a subject of study for cartographers and geographers, for anthropologists and historians of colonisation. But what does it mean to be an islander? Can one feel both British and Manx, for example? What are British tourists looking for when they go to former island colonies? How do past relationships with Britain affect islands today? This collection takes a variety of perspectives to provide answers to such questions, examining war, empire, tourism, immigration, language, literature, and everyday life on and in islands, and the question of travel to and from them. Britishness is highlighted as a global island phenomenon, providing an insight into the history, culture and politics of identities from Jersey to Jamaica. Islands and Britishness not only brings together various contemporary strands in Island Studies, but uniquely focuses on the relationship – historical, cultural and economic – between particular islands and Britain, and, crucially, how this relationship frames national identity both on the island and in Britain itself. The collection examines interactions between Britishness and indigenous or earlier invasive/settler cultures, as well as the internal differences within the concept of ‘Britishness’ (Britain/Scotland/Shetland, for instance). It considers the relationship played out on the island between Britishness and the other nationalities with which the islands share an affinity, and questions received wisdoms about national identity on the islands by considering intersecting discourses such as class and gender. The collection offers a global perspective on the divisions within a notion of Britishness and the identities against which Britishness has been constructed.

This book examines the community-based learning and teaching of ‘traditional’ music in contemporary Scotland, with implications for transnational theoretical issues. The book draws on a broad range of scholarship and a local case study of a large organisation. A historical perspective provides an overview of new educational formats emerging from the mid-twentieth century folk music revival in Scotland. Practices through which participants encounter and perpetuate the idiom of traditional music include social music-making, learning by ear and participatory and presentational elements of musical performances. Individuals are shown as combining these aspects with their own learning strategies to participate in the contemporary community of practice of traditional music. The work also discusses how experiences of learning contribute to identity formation, including the role and practice of ‘tutors’ of traditional music. The author proposes conceptualising the teaching and learning of traditional music in community-based organisations as a ‘pedagogy of participation’.