Traditions of music making in the Glenkens, Galloway
View/ Open
Date
1986Author
Miller, Josephine L.
Metadata
Abstract
This thesis is an account of music making practices
amongst the people of the Glenkens, Galloway.
Chapter one gives a chronological account of the
geog~aphical and historical development of the Glenkens,
and includes discussion of the sources of information on
local musical traditions before the early twentieth
century.
Chapter two covers the period of 1900-1950, and uses
the words of local people to explore the instruments,
repertories, venues, performance style and combinations of
musicians at that time. Special attention is given to
discussing contrasts and similarities in the music making
of the two main population groups - the shepherds and the
villagers.
In chapter three I look in more depth at the role of
Robbie Murray, one of the shepherd. fiddlers active in the
first half of the century. His repertory of dance tunes
and airs, and some aspects of his style of playing are
examined with the aid of musical transcriptions. Rhythm
and bowing, "chording" and the use of neutral tones are
discussed with reference to another local fiddler, and
contrasted with the style of the "tutored" Scots fiddler.
The musical activities of the community from 1950 to
the present day are explored in chapter four: details are
given of the personnel, repertories and performance
practice of groups such as country dancing clubs, choirs,
guitar groups, socials and a "classical" music club. The
conclusion of this chapter points to the connection
between demographic changes in the Glenkens and music
making.
Chapter five concerns Tommy Edgar, an active local
performer from 1948 to the present day. He comments on his
role as a musician in the community, and his repertory,
which includes a wide range of styles; Scottish, popular,
jazz, country and western. A discussion of Tommy 1 s
accordion playing looks at his use of harmony and rhythm,
and how this has evolved.
A final chapter raises questions relating to the role
of the schools in Glenkens music making - what have they
contributed in the past? Should they have a role in local
musical activities? What musical experiences do they offer
children at the present time? I argue that a primary need
of musicians is to be able to participate with others, and
conclude by suggesting that the choice of music taught
formally in local schools has implications for the future
of music making in the Glenkens.