Notions about Early Violin Performance Practice in Fin-de-Siècle Scotland

Ronnie Miller Gibson

Research output: Contribution to conferencePaper

Abstract

James Davie’s recognition that ‘[i]n the performance of Scottish music about a century ago, the style was widely different from the present [1851]’ is symptomatic of an emerging awareness of historical performance practice among traditional musicians in mid nineteenth-century Scotland. In particular, historical violin performance practice was of great interest to the nation’s performers of fiddle music, with obituaries from the period frequently referring to recently deceased fiddlers as being ‘the last of the old school.’ Similarly, in classically-trained violinist and fiddler-composer, James Scott Skinner’s, A Guide to Bowing [c. 1900], he espouses the virtues of a rigorous training while at the same time outlining many ‘ancient’ techniques required in the performance of fiddle music. While until now, the historical narrative of Scottish fiddle music has been more closely aligned with the folk music revival, this paper will argue that in many instances it can be more usefully understood in terms of the early music revival. In addition to outlining the variously held notions about early violin performance practice in fin-de-siècle Scotland, the paper will also examine the folk music and early music revivals together from the unique perspective of Scottish fiddle music. The sharp distinction between these two cultural currents in the post-war period belies their proximity in the early twentieth century and their shared goal of authenticity and status as counter-cultural.
Original languageEnglish
Publication statusUnpublished - 14 Mar 2014
EventRoots of Revival - Horniman Museum, London, United Kingdom
Duration: 12 Mar 201414 Mar 2014

Conference

ConferenceRoots of Revival
CountryUnited Kingdom
CityLondon
Period12/03/1414/03/14

Fingerprint

Performance Practice
Violin
Music
Scotland
Fiddle
Revival
Folk music
Musicians
Authenticity
Violinist
Composer
Proximity
Historical Narrative
Performer
Post-war Period
Old School

Cite this

Gibson, R. M. (2014). Notions about Early Violin Performance Practice in Fin-de-Siècle Scotland. Paper presented at Roots of Revival, London, United Kingdom.

Notions about Early Violin Performance Practice in Fin-de-Siècle Scotland. / Gibson, Ronnie Miller.

2014. Paper presented at Roots of Revival, London, United Kingdom.

Research output: Contribution to conferencePaper

Gibson, RM 2014, 'Notions about Early Violin Performance Practice in Fin-de-Siècle Scotland' Paper presented at Roots of Revival, London, United Kingdom, 12/03/14 - 14/03/14, .
Gibson RM. Notions about Early Violin Performance Practice in Fin-de-Siècle Scotland. 2014. Paper presented at Roots of Revival, London, United Kingdom.
Gibson, Ronnie Miller. / Notions about Early Violin Performance Practice in Fin-de-Siècle Scotland. Paper presented at Roots of Revival, London, United Kingdom.
@conference{873a93aa4cdb4787847282ecd7db5ea8,
title = "Notions about Early Violin Performance Practice in Fin-de-Si{\`e}cle Scotland",
abstract = "James Davie’s recognition that ‘[i]n the performance of Scottish music about a century ago, the style was widely different from the present [1851]’ is symptomatic of an emerging awareness of historical performance practice among traditional musicians in mid nineteenth-century Scotland. In particular, historical violin performance practice was of great interest to the nation’s performers of fiddle music, with obituaries from the period frequently referring to recently deceased fiddlers as being ‘the last of the old school.’ Similarly, in classically-trained violinist and fiddler-composer, James Scott Skinner’s, A Guide to Bowing [c. 1900], he espouses the virtues of a rigorous training while at the same time outlining many ‘ancient’ techniques required in the performance of fiddle music. While until now, the historical narrative of Scottish fiddle music has been more closely aligned with the folk music revival, this paper will argue that in many instances it can be more usefully understood in terms of the early music revival. In addition to outlining the variously held notions about early violin performance practice in fin-de-si{\`e}cle Scotland, the paper will also examine the folk music and early music revivals together from the unique perspective of Scottish fiddle music. The sharp distinction between these two cultural currents in the post-war period belies their proximity in the early twentieth century and their shared goal of authenticity and status as counter-cultural.",
author = "Gibson, {Ronnie Miller}",
year = "2014",
month = "3",
day = "14",
language = "English",
note = "Roots of Revival ; Conference date: 12-03-2014 Through 14-03-2014",

}

TY - CONF

T1 - Notions about Early Violin Performance Practice in Fin-de-Siècle Scotland

AU - Gibson, Ronnie Miller

PY - 2014/3/14

Y1 - 2014/3/14

N2 - James Davie’s recognition that ‘[i]n the performance of Scottish music about a century ago, the style was widely different from the present [1851]’ is symptomatic of an emerging awareness of historical performance practice among traditional musicians in mid nineteenth-century Scotland. In particular, historical violin performance practice was of great interest to the nation’s performers of fiddle music, with obituaries from the period frequently referring to recently deceased fiddlers as being ‘the last of the old school.’ Similarly, in classically-trained violinist and fiddler-composer, James Scott Skinner’s, A Guide to Bowing [c. 1900], he espouses the virtues of a rigorous training while at the same time outlining many ‘ancient’ techniques required in the performance of fiddle music. While until now, the historical narrative of Scottish fiddle music has been more closely aligned with the folk music revival, this paper will argue that in many instances it can be more usefully understood in terms of the early music revival. In addition to outlining the variously held notions about early violin performance practice in fin-de-siècle Scotland, the paper will also examine the folk music and early music revivals together from the unique perspective of Scottish fiddle music. The sharp distinction between these two cultural currents in the post-war period belies their proximity in the early twentieth century and their shared goal of authenticity and status as counter-cultural.

AB - James Davie’s recognition that ‘[i]n the performance of Scottish music about a century ago, the style was widely different from the present [1851]’ is symptomatic of an emerging awareness of historical performance practice among traditional musicians in mid nineteenth-century Scotland. In particular, historical violin performance practice was of great interest to the nation’s performers of fiddle music, with obituaries from the period frequently referring to recently deceased fiddlers as being ‘the last of the old school.’ Similarly, in classically-trained violinist and fiddler-composer, James Scott Skinner’s, A Guide to Bowing [c. 1900], he espouses the virtues of a rigorous training while at the same time outlining many ‘ancient’ techniques required in the performance of fiddle music. While until now, the historical narrative of Scottish fiddle music has been more closely aligned with the folk music revival, this paper will argue that in many instances it can be more usefully understood in terms of the early music revival. In addition to outlining the variously held notions about early violin performance practice in fin-de-siècle Scotland, the paper will also examine the folk music and early music revivals together from the unique perspective of Scottish fiddle music. The sharp distinction between these two cultural currents in the post-war period belies their proximity in the early twentieth century and their shared goal of authenticity and status as counter-cultural.

M3 - Paper

ER -