Robert quoted: "Let pipers take the music in any direction they wish but to have any connection with Northumbrian piping as such they must spend time studying the starting point thoroughly before setting off on their journey. If people dont see the point in doing this then chosing to play an out and out traditional instrument seems a bit daft in the first place." But then he added - That's s neat summary of what is wrong with so much of the insular attitudes pretty consistently on raw and unedifying display in this forum. Firstly there are jillions of pipers (might be an exaggeration) who have no connection with the north in general, much less with any enclave within Northumberland. Secondly many do not care about country dancing, find the strong association of the instrument with dancing forms to be baffling, and think the idea of the NSP as a danceband instrument to be odd. The idea that playing a traditional instrument can - even should - be considered separately from the music traditionally played on it is more than a bit daft - rather it is forgetting where the tradition is from.
Of course some people, (fewer than jillions, I hope), will not give a damn about the tradition, but if there is even one, it's a pity. The different facets of the tradition are aspects of a strong musical culture - and it would be a shame to learn the most distinctive instrument belonging to that culture and ignore the music that it's used for. John -----Original Message----- From: [email protected] [mailto:[email protected]] On Behalf Of Robert Greef Sent: 14 April 2009 22:21 To: Dartmouth NSP Subject: [NSP] I must be daft This "debate" about the imperatives of this or that playing style gives me a strong feeling of déjà vu all over again. After all, the situation was summed up succinctly and clearly in this forum on the 1st October 2008. I quote: "As for choyting etc, it's the gold standard to learn to play without it, then choose to include it later if you wish to. I'm not aware of anyone who's succeeded the other way round." The author of this gem of concision and accuracy? Chris Ormston. The difference is that the present correspondence has plumbed new depths of mindless insult, culminating in the sickening episode of child abuse from Lisa Ridley. But I want to pick up a more lucid, and somewhat less disparaging, point from one of today's posts from Anthony Robb (timed at 11:02). I quote: "Let pipers take the music in any direction they wish but to have any connection with Northumbrian piping as such they must spend time studying the starting point thoroughly before setting off on their journey. If people dont see the point in doing this then chosing to play an out and out traditional instrument seems a bit daft in the first place." That's s neat summary of what is wrong with so much of the insular attitudes pretty consistently on raw and unedifying display in this forum. Firstly there are jillions of pipers (might be an exaggeration) who have no connection with the north in general, much less with any enclave within Northumberland. Secondly many do not care about country dancing, find the strong association of the instrument with dancing forms to be baffling, and think the idea of the NSP as a danceband instrument to be odd. They think the assertion that the pipes are an "out and out traditional instrument" that must only be played in a certain way and with a certain repertoire is nonsense. "Good heavens, the pipes are a ***musical instrument*** for goodness sake" was a quote I remember from one recent session. I am, of course, one of those people, so I must be daft. This is an accusation I often hear, but it's usually kindly meant. I think the present example is also said in a nice way too....isn't it? If not, I shall have some more words to say on the subject. Happy piping, Robert To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
