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CLARSACH (evidence (surviving instruments (trinity college, lamont, queen…

- - - - products of west highland workshops (argyll)
      - ornate, decorative carving
  - - - playing styles
      - triangular harps 9th century
    - - interactions?
- - - - softer sound
  - - - comedic, soporific, magical
      - low status, one-upmanship
      - information on external perceptions
  - - - tell us about context
- - - - employed my macleods
      - traveled to ireland
      - laments decline of patronage
- - - - declined 17th century
  - - - not much music specifically for the harp survives
      - oral tradition
      - Chadwick - identified tunes written on clarsach
  - - - scottish material heavily reworked
    - - prize at national mod
- - - - use of local resources
- - - - cross-cultural analysis?
    - - smaller, sturdier instrument
      - pictish -> gaidhealtachd

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CLARSACH

CLARSACH

national instrument

pro

oral culture of lowland scotland

regional variation

celtic connections

con

break in tradition

ireland

gaidhealtachd

14th century

praise poem

references in gaelic song

harp development

Sanger & Kinnaird - climate &availability of materials

over 300 years

smaller, sturdier instrument

pictish -> gaidhealtachd

lowland

physical instrument different

gut-strung harp

softer sound

wooden frame lighter

interesting variation

connection to ireland

harp schools (also wales)

connected to bardic schools

harpists

blinded by smallpox

strong connections in learned arts

tradition & repertoire shared

evidence

treasurer's accounts

1475-1513

surviving instruments

clear indication of 'clarsach'

trinity college, lamont, queen mary

products of west highland workshops (argyll)

elite group

highly trained & skilled artisans serving the nobility

patronage

scotland/ireland and highland/lowland

macdonald lords of the isles

aristocracy

poems sung/harp accompaniment

survival & revival

complete break in tradition

lordship of the isles

declined 17th century

confusion when lowland harp out of use

one nation - borders no issue

Collinson & Bannerman - other instruments

piobaireachd

harp music survival in other collections

not much music specifically for the harp survives

oral tradition

Chadwick - identified tunes written on clarsach

superior to other musicians

increasingly itinerant musicians

last records of employment mid 17th century

ballads

lochmaben harper

comedic, soporific, magical

low status, one-upmanship

information on external perceptions

revival

highland society of london

tutors came from classical background

scottish material heavily reworked

1892 - Lord Archibald Campbell

prize at national mod

not one instrument

revival 20th century

use of local resources

strong following

pictish evidence

stone carvings

playing styles

triangular harps 9th century

evidence

illustrations 13th-17th century

tell us about context

cross-cultural analysis?

originally wire-strung cruit

Sanger & Kinnaird - picts & gaels had cultural overlap

interactions?

Sanger & Kinnaird - gut strung harp -> anglo-normans

ornate, decorative carving

illustrations

pictorial evidence of size development

Rory Dall Morison

employed my macleods

traveled to ireland

laments decline of patronage

Sanger & Kinnaird - conservative environment

ireland - instrument forced to evolve