The Highland bagpipe

Chapter 3: Illustrations.

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About This Book

This work traces the origin and evolution of the Highland bagpipe from ancient and continental antecedents to its codified modern form, situating the instrument within Scottish and broader European musical traditions. It examines construction and acoustics, tuning and drone technique, and the distinct repertories and notation systems used to transmit pibroch and dance tunes. Chapters consider the instrument's social roles: clan and military uses, ceremonial and funerary functions, and the rivalries and replacement of earlier harp and bardic traditions. Interleaved with historical survey are discussions of literature about the pipes, anecdotes, superstitions, and practical observations on playing and teaching that illuminate both technical and cultural dimensions.

Illustrations.

	PAGE
From St. Martin’s Cross, Iona,	On Cover.
“The Coronach,”	Frontispiece.
Harper: on a Stone at Monifeith,	19
Contorniate of Nero’s Time,	33
Carvings in Melrose Abbey,	37
The Oldest Existing Pipes,	43
Carvings in Rosslyn Chapel,	45
German Piper of the 16th Century,	47
Old German Wind Instruments,	61
The Northumbrian Bagpipe,	65
The Irish Bagpipe,	67
The Great Highland Bagpipe,	69
Capt. Neil Mac Leod of Gesto,	103
Dancing to Pipe Music,	149
A Highland Family Party,	151
Lowland, Highland, and Irish Pipers,	169
“The Spirit of the Pipes,”	193
A Picture from Punch,	204
“The Dance of Death,”	225
The Cave of Gold,	to face 247
A Mac Crimmon Piper,	259
A Mac Arthur Piper,	to face 269
Angus Mac Kay,	„ 276
John Bane Mac Kenzie,	„ 278
Donald Cameron,	„ 280
Sutherland Volunteer Band,	„ 287
Govan Police Band,	„ 294