A History of Pipe Bands in Northern Ireland History of Pipe Bands in... · 1 A History of Pipe...

1

A History of Pipe Bands

in Northern Ireland

Author/Researcher: Ian Burrows ([email protected]) Researcher: George Ussher ([email protected])

Introduction

This research follows on from an initial research project into the history of pipe bands in

Northern Ireland by Author/Researcher: Ray Casserly, Ph.D. by Project Manager/Researcher:

Ian Burrows. Initial research started as an ambition by the Royal Scottish Pipe Band Association

(RSPBA) branch in Northern Ireland to investigate two important aspects of the Branch and the

associated Scottish Highland Bagpipe tradition in Northern Ireland. First, the RSPBA sought to

develop knowledge on the history of the branch from its inception post second World War,

through the difficult and complex period in Northern Ireland known as ‘The Troubles’, to the

‘post-conflict’ peace agreement period in the twenty first century. Second, the organisation

hoped to develop an ethnographic overview of the present day living tradition of Highland

Bagpipe performances linked or associated to the branch in Northern Ireland.

mailto:[email protected]

2

The initial document dealt primarily with the first of these objectives, however further research

was required to extrapolate further information on the ethnographic overview and to examine

the RSPBANI Branch Structure and competition format.

This ethnographic (systematic study of people and cultures) research focuses on the pipe band

tradition in the Dromore, Dromara and Saintfield areas of rural County Down. Four bands were

chosen to participate in this study, Drumlough Pipe Band, Harry Ferguson Memorial Pipe Band

(Hillsborough), Ravara Pipe Band (Saintfield) and Upper Crossgare Pipe Band (Dromara). These

bands are members of the Royal Scottish Pipe Band Association, County Down Section an

overview of the history and governance structures is outlined in the following paragraphs.

The Royal Scottish Pipe Band Association Northern Ireland Branch (RSPBANI) is an organisation

that promotes Scottish culture in Northern Ireland primarily within the scope of pipe bands,

solo piping, drumming and drum majoring but also more recently with Highland Dancing. The

organisation plays a major role in Northern Ireland’s culture tourism sector and has grown

tremendously since the implementation of a development programme in 2006. In accordance

with this growth, the RSPBANI has retained the services of a full-time Project Manager to

manage all the activities of the organisation as well as continue its development. The Branch

also maintains four educational facilities around Northern Ireland where pupils can receive

instruction in both the practical and theory elements of piping and drumming as well as achieve

standardised and recognised qualifications.

Early History

Formal gatherings of pipe bands in Northern Ireland, for the purpose of competition, date back

to 1912 when the Northern Ireland Bands Association regularly held indoor contests. Due to a

3

growth in numbers of bands and the necessity to compete outdoors, the Northern Ireland Pipe

Band League was formed in 1945. It was also in 1945 that an association of pipe bands was set

up in the South of Ireland and both organisations endeavoured to work together to create the

All Ireland Pipe Band Championships, an event which continues today under the Joint

Association Council.

To become an affiliated branch of the parent body in Scotland, at that time the ‘Scottish Pipe

Band Association’, it was necessary to have interest from at least ten bands and so in October

1950, the Northern Ireland Branch was formed. In its sixty-five years of affiliation to the Royal

Scottish Pipe Band Association, the Northern Ireland Branch has grown tremendously and now,

with over two thousand performers making up sixty-five pipe bands, the Branch has the largest

membership of any branch in the United Kingdom and is one of the largest branches in the

world.

The Governance and structure of RSPBANI is as follows taken from RSPBANI Corporate Plan:

4

The objects of the Branch are listed below and are taken from the RSPBANI Branch Constitution:

• To promote and encourage the culture and advancement of Pipe Band Music.

• To facilitate and encourage the teaching and promotion of piping, drumming and

Drum Majoring to the highest standard.

• To create and maintain a bond of Fellowship with all Pipe Band Personnel.

• To devise and operate a proper system of local Pipe Band Contest Rules.

• To organise, facilitate, regulate, encourage and operate Pipe Band Championships held

within Northern Ireland and to cooperate in similar endeavours outside Northern Ireland.

• RSPBANI are the sole promoters of local championships within Northern Ireland

• The enjoyment of the rights and freedoms set forth in this Constitution shall be secured

without discrimination on any ground such as sex, race, colour language, religion, political or

other opinion, national or social origin, association with a national minority, property, birth or

other status.

Competition Format

Within the organised structure of competition, adult bands are divided into grades of varying

ability and standard. Bands are graded according to their ability by the Music Board of the Royal

5

Scottish Pipe Band Association with grades ranging from Grade 1 to Grade 4B. Pipe Bands have

to adhere to the competition syllabus which clearly lays out musical criteria and requirements.

Grade 1. This is the highest standard of pipe band membership in the world, the competition

musical requirements for this grade require four sets of tunes – Two sets of March, Strathspey

and Reel with each having 6 parts to each tune. It also requires 12 selections of mixed tunes

lasting from 5 to 7 minutes in duration.

Grade 2.

The competition musical requirements for this grade require three sets of tunes – Two sets of

March, Strathspey and Reel with each having 4 parts to each tune. It also requires 1 medley

selections of mixed tunes lasting from 5 to 7 minutes in duration.

Grade 3A and 3B.

The competition musical requirements for these grades require two sets of tunes – One March,

Strathspey and Reel set having 4 parts to each tune. It also requires 1 medley selection of mixed

tunes lasting from 4 to 6 minutes in duration.

Grade 4A.

The competition musical requirements for this grade require one – One March, Strathspey and

Reel set having 4 parts in March time and two parts in Strathspey and Reel time. The Pipe

Major choses these tunes from the RSPBA 2Prescribed tune list.

1 Medley selections are put together by the pipe major of the band and is designed to test and display the versatility of the musicians. Medley selections must start with a march tune and thereafter it is the choice of the Pipe Major. It would be usual to indicate tunes of differing time signatures such as strathspeys, reels, jigs and slow airs. 2 To assist bands in grade 4A with musical development they must select from a list of tunes as prescribed by the Royal Scottish Pipe Band Association.

6

Grade 4B.

The competition musical requirements for this grade require a march selection of tunes lasting

from 2 minutes thirty seconds to four minutes.

At the conclusion of each competition season bands can be moved up or down graded based on

their results during the season with changes in their personnel or changes in their standard of

playing also being taken account of.

For this project, four bands have been chosen each from different grades. Ravara (grade 1),

Drumlough (grade 3a), Upper Crossgare(grade3A) and Harry Ferguson Memorial (grade4b)

Methodology

Through participant observation and surveys (Appendix A) with members of four competitive

Highland Bagpipe bands, this research seeks to elicit new information on the significance, size,

and scope of the pipe band tradition in this area as a representative sample of the pipe band

tradition in rural Northern Ireland. Competitive Highland Bagpipe bands are the focus of this

research as they are the type of music group the public is likely to interact with throughout the

year in Northern Ireland, most notably at the numerous public competitions which occur in

parks and fields throughout the countryside.

This research will address several areas including, but not limited to, the following areas:

• Traditional Music

• Economic Impact

7

• Socio-Cultural Impact (combination of social and cultural factors)

In the realm of traditional music, this research will collect data on repertoires and aesthetics of

performance amongst a sample of four competitive pipe bands in the area. It will gather

organological (science and classification of musical instruments) data on the instrumentation

used, and processes of instrument development and management.

In the realm of economic impact, this research will collect data on the costs associated with

forming and maintaining a pipe band; the financial contribution from members and local

organisations; the financial support from public bodies; and the economic contribution pipe

band competitions present to the locality.

In the realm of socio-cultural impact, this research will collect data on the relevance and impact

of this music tradition on the lives of band members and the local community, based on a

categorised analysis of participants i.e. impact on youth population, the elderly population,

working class, middle class, etc.

In carrying out the research, several methods of gathering data were used

A survey document circulated to members of four bands

Interviews conducted with members of the bands

Research through media and various documentation on bands

Research of material information on tunes and history of RSPBA

Interviews conducted with community organisations

8

This research and report is based on the information provided by those interviews. It is a

reflection on their opinions of the competitive band scene.

Bagpipes in Traditional Music

Pipe bands are very much a musical tradition in their own right. Competition Pipe Bands are

tested in the competition arena in two disciplines, March, Strathspey and Reel and Medley

Selection and are adjudicated by two piping adjudicators, one drumming adjudicator and an

ensemble adjudicator. The adjudicators mark their preferences in many, 1st 2nd, 3rd etc.,

however if there is a tie for the winner the band which has the highest ensemble placing

decides the tie. A pipe band comprises of the pipe corps, bass, the drum corp can be subdivided

into snare and bass and tenor section. The reason the drum corps can be subdivided is because

of the impact the bass and tenor section has on the ensemble adjudicators decision of the

musicality of the band and in the event of a tie it will determine the overall winner. March,

Strathspey and Reel is a rigid discipline with bands selecting mainly old tunes from the early

1900s. These tunes are considered to be the most demanding tunes with great technical

difficulty, tunes such as the March Hugh Kennedy, the strathspey, Susan McLeod and the reel,

Mrs McPherson of Inveran. These tunes were composed by prolific composers such as Willie

Ross, Donald McLeod and George Stewart McLennan. It is interesting to note that tunes

composed by George Stewart McLennan such as Jig of Slurs are widely played in Traditional

Irish Music circles. Within this discipline there is very little room for creative freedom as it is

frowned upon by adjudicators to stray from the original composition or add to it. The Medley

Selection discipline is less rigid in terms of altering scores and therefore allows the pipe bands

to be creative and introduce other tunes such as hornpipes, waltzes, jigs and slow airs often

harmonies will be added and bridges linking one tune to the next.

9

Having said that pipe bands are a musical tradition of their own, pipers have been mixing with

other instruments in folk groups and folk music sessions. These new generation pipers are

pushing the boundaries in order to mix with other traditional instruments. The Great Highland

bagpipe is a loud instrument and would overpower other traditional instruments such as the

fiddle, whistle and guitar unless these instruments used amplification. In order to play with

other traditional instruments these pipers have taken up bellows blown pipes such as Scottish

Smallpipes and Border/Reel Pipes. These are quieter instruments and don’t over power other

traditional instruments in folk music sessions. Some of these pipers have not only added

bellows blue but have taken up low and high whistles and Uilleann Pipes. These pipers have

gone to take up other instruments such as Low Whistle and Uilleann Pipes and join folk groups

listed below. However, it must be noted that there are very limited opportunities in Northern

Ireland for these pipers to play with other musicians, Ulster-Scots music lags far behind Irish

Traditional music when it comes to playing opportunities, there are Irish traditional music

sessions held in almost every town and city in Northern Ireland. There are very limited session

opportunities for Ulster-Scots Folk musicians with only three sessions taking place weekly, they

are held in Ma Kelly’s, Ballymoney, Ghillies Bar, Galgorm Manor and Smugglers, Portballintrae.

Name Group Instruments Played

Andy McGregor Pure Blarney and Kask Highland Bagpipes, Scottish

Smallpipes, Low and High

Whistles

Alan McPherson Bernagh Highland Bagpipes, Scottish


Whistles

10

Ian Burrows Willie Drennan

Band/Bernagh/Pipes of

Peace Project

Highland Bagpipes, Scottish

Smallpipes, Reel Pipes Low

and High Whistles

Andrew Carlisle Bernagh Highland Bagpipes, Scottish


Whistles

Alan Wade Scad the Beggars Highland Bagpipes, Scottish

Smallpipes.

Andrew Carlisle Bernagh Highland Bagpipes, Scottish


Whistles

Ross Hume No group Highland Bagpipes, Scottish


Whistles, Uilleann Pipes

Jim O’Hagan No group Uilleann Pipes, Low Whistle

Pipers and drummers have also participated with orchestras such as the Cross-Border Orchestra

(CBOI) of Ireland, the CBOI are very keen to embrace the traditional music of pipe bands within

their performances with pipers and drummers having toured both nationally and

internationally with the orchestra. These performances have become possible with orchestras

because of the recent advent of pipe band chanters becoming available in the key of B flat,

these chanters allow the pipers to be in the correct key with the orchestra. It is interesting to

note that originally the pipe chanter would have been pitched in the key of B flat, however with

the piper’s ear demanding a sharper pitch over the years this has led to the modern pipe

11

chanter being pitched in the region of e flat. The

key change is another reason that pipers, as

mentioned earlier have turned to other instruments

to widen their musical options.

Other innovations have taken place such as the

Pipes of Peace of Peace Project. This project was

brought about by the Clones Community Forum, a

community group who invited the author (Ian

Burrows) to play his Scottish Smallpipes with

renowned Uilleann Piper Tiarnán Ó Duinnchinn at

the launch of their programme 'Looking Back to

Move Forward' (funded by the International Fund for

Ireland). The community group had tried the previous year to have Tiarnan play with Highland

Bagpipes but this was unsuccessful due to musical key incompatibility. Both pipers had never

played together before but it was discovered that both pipers could play both traditional

Scottish and Irish Tunes, it was interesting to note that Tiarnan was playing tunes such as Jig of

Slurs composed by the great Highland Bagpipe Composer, GS McLennan and the High Drive a

very popular modern reel composed by Gordon Duncan.

Spasskaya Tower Musical Festival, Moscow 2015 L to R, Alan McPherson (Low Whistle), Jim O’Hagan (Uilleann Pipes), Ian Burrows (Scottish Smallpipes).

12

A History of the Participant Pipe Bands

Upper Crossgare

In early 1935 the members of the Upper Crossgare flute band decided it was time to change the

type of music and plans were set in motion to prepare for instruments to change from flutes to

13

pipes. The late Joseph Harte and the late Samuel Smyth could play the pipes and in August 1935

the Pipe Band Commenced.

Twenty young men commenced around the table with practice chanters. Joseph Harte was also

capable of instructing the drummers and although all did not continue, sixteen pipers could

take to the road in 1936.

War broke out in 1939 and with many restrictions made regarding parades etc. the band was

not taking part in any functions other than practising. Like all other bands members left and

others joined and with the end of the war in 1945 the band revived with William Chambers as

their Pipe Major.

Duncan Graham became Pipe Major of the band in 1953 and the band continued to compete in

local competitions with considerable success.

The band’s first major success came in the World Championships which were held in 1962 at

the Showgrounds, Balmoral, Belfast. The band under the leadership of Pipe Major Duncan

Graham and Leading Drummer David Campbell gained second place in Grade 3.

However, for a number years after this the band did not compete in any major contests. A plan

based mainly on the introduction of new blood into the band paid off as the band began

competing again in 1975. In August 1977, they travelled to Aberdeen for the World

Championships and faced twenty-seven other bands. They brought home the World

Championship trophy for Grade 4 and were 2nd in drumming. Pipe Major Graham and Leading

Drummer Wilby Hanna were on top of the world and when the party arrived back in

Ballynahinch on the Sunday Night there was a large crowd, including television crews and

cameramen, to greet them.

14

The band was then upgraded to Grade 3 in 1978 and had considerable success at local contests.

In 1979 their travels took them to the World Championships at Woolaton Hall, Nottingham

where they gained sixth place in Grade 3. Due to the bands continuing success, particularly at

the World and European Championships in 1980, they were then promoted to Grade 2 in 1981.

The band moved along steadily in Grade 2 over the next number of years always in the prizes

both at home and in Scotland.

1985 and 1986 turned out to be two important years in the history of the band. In 1985 after 32

years in charge Pipe Major Duncan Graham decided to hand over the responsibilities as Pipe

Major to Ivor Chambers, whom he had taught from an early age. Under Ivor's leadership the

band continued to compete at home and in Scotland, and in his first year in charge they were

placed 3rd in the Scottish Championships. In the same year Ian Cherry assumed control of the

Drum Corps from Richard Garnham and led the corps to 2nd place in the World Championships.

In August 1985, the band accepted an invitation to visit France to play at the Celtic Festival of

Music at Lorient, Brittany as the Northern Ireland Representatives. The band also appeared at

concerts at the Arts Theatre, Belfast and the Little Theatre, Bangor, Co. Down.

On the 12th March 1986, the band flew to Fort Worth Texas to take part in the Texas States

celebration of its 150th year. They appeared on Coast to Coast Television and radio; at dinners,

shopping centres, parades and local clubs.

Without doubt the Bands most successful season came in 1989. They began the season by

winning the European Championship and then followed this up with three second places in

Grade 2 at the World's, the Cowal and at the Scottish Championships. The Drum Corps

proceeded to win at all 4 of these Competitions resulting in them also winning the Duthart

Trophy for the Drumming Champion of Champions in Scotland.

15

Because of these achievements the band were then nominated for upgrading to Grade 1.

However, after one year in Grade 1 and seven years in charge Ivor Chambers decided it was

time for him to step down as the Pipe Major of the band. It was agreed that Trevor Connor who

was a member of the band should take over the position. Trevor then lead the band for three

years in Grade 1. However, it was felt by the members that the band was not going anywhere

and it would be better for the band to drop back down into Grade 2 and to build a band good

enough to challenge those within the top grade. The 1994 season began in Grade 2 and with a

new Leading Drummer. Drum Sergeant Ian Cherry decided to step down and Trevor McKibben

was given the task of leading the drum corps. Trevor had been a member of the corps for 14

years and was the Drum Corporal.

Since dropping back down to Grade 2 the band began to find its feet and is once again among

the top Grade 2 bands. Under Trevor's leadership the band have won prizes in the Cowal,

British and European Championships. They have also won the Ulster Championships for the last

two years and have been Ulster Champion of Champions in both 1995 and 1997.

Under Leading Drummer Trevor McKibben, the drum corps has also excelled. They have won

the British Championships, been Runners-up at the European Championships and have won the

Ulster and All- Ireland title for the past three consecutive years.

16

Drumlough Pipe Band

The Band was formed in 1950 and the first public appearance was in 1951. The first competition

entered was The Mini Bands at the Ulster Hall, Belfast in 1953 in the Novice Grade. The

inaugural Pipe Major was Harry Kelso, who amazingly, also taught the Drum Corps, a dual role

which is unheard of in modern day pipe bands.

The Patron of the band in its formative years was Harry Ferguson (The inventor of the Massey

Ferguson Tractor). James Reid was President and Sam Magowan, Member of Parliament and

Justice of the Peace, was Chairman, during the formation. James Reid was relieved of the

Presidency by Robert Doagh, Robert held office until 2005 and currently resides in Scotland.

17

The current President is Campbell Magowan, a long-term supporter of the band. The first tartan

worn by the band was the Black Watch Highland dress tartan, then the green Douglas Highland

dress tartan, then the green Douglas evening dress tartan. The present-day tartan worn by the

band is, the Prince Charles Edward Stuart tartan.

One original member still serves with the bands committee, Lexie Burrows. Lexie is also the

Band Chairman and Honorary Pipe Major, having served as Pipe Major for thirty-three years.

Lexie’s son Ian took the position of Pipe major in 1992 and the band gained some moderate

success in Grade 4. Due to lack of members the band stopped competing and didn’t remerge

until 2004 with another of Lexie’s sons, Nigel taking over as Pipe Major. In 2005 the band were

crowned Grade 4b World Champions and the following year Ian returned as Pipe Major. The

band had now been upgraded to 4A and the band won almost every local Championships in

2006. The band were again upgraded to 3B and went on to win the Scottish, British and All

Ireland Championships. Upgrading occurred again for 2008 and the band have been constant

prize winners in grade 3A. At the end of the 2016 Pipe Band Competition season Ian decided to

step down as Pipe major handing the position to his youngest brother, Stephen. Stephen had

been Pipe Sergeant in the band since 2004.

18

Harry Ferguson Memorial Pipe Band

The Harry Ferguson Memorial Pipe Band is a relatively new pipe band having been formed in

2009.

The formation of the band came about during a conversation of some past members of

Drumlough Pipe Band when they attended the Scottish Championships supporting Drumlough

in 2008. The vision for the band was to nurture young pipers and drummers and for past

members of Drumlough to take up playing again for pleasure. Drumlough were in the process

of procuring new uniforms which enabled their old uniforms to be past to the Harry Ferguson

Memorial band to assist with their formation. Given that Harry Ferguson was the Patron of

Drumlough Pipe Band in 1950 it was decided that the band would take his name in his memory.

19

Permission was sought and granted from two of Harry’s nieces. Initially formed to take part in

parades however in 2016 the band decided to enter for RSPBA competitions.

Ravara Pipe Band

The history of Ravara Pipe Band could not be uncovered. Their history was previously available

on their website but they removed their website in favour of a Facebook page which makes no

reference to their history. Due to the time constraints on this project it was not possible to

conduct further interviews regarding their history, this will be done at a later date.

20

Survey findings

Ravara Pipe Band

There were 33 surveys completed by the members which was a good representation of the

playing members, the breakdown of pipers, drummers, tenor drummers, bass drummer and

committee members is as follows:

Instrument

Played

Piper Drummer Tenor

Drummer

Bass

Drummer

Committee

Member

Total 19 8 3 0 3

88% considered themselves to be working class, 12% considered themselves to be middle class.

Of those returned there were no under 14 members, 12 % in the 14/18-year-old bracket, 24 %

in the 18/30-year-old bracket, 33% in the 30/40-year-old bracket and 18% in the 40/60-year-old

bracket and 2% were over 60 years and this would be old members who have retired from

playing and have joined as committee members.

The band have a very large repertoire, well mixed in time signatures and harmonies. The entire

repertoire consists of over 40 tunes, 50% of which would be traditional marches. The other 50%

would be various tunes3 more recently written by Scottish and Irish composers. The same drum

scenes which accompany the pipe tunes are mainly original written by past and present

members of the corps

3 Various tunes include Jigs, Reels, Hornpipes and Waltzes

21

Members were asked to assess the impact in their family, social and work life. They were

offered four choices. None, little, medium or large, where little equated to less than 2 hours per

week. Medium equated to 2.5 hours per week and large equated to 5 hours per week.

On family life 15% said no impact on family life, 33% had little impact, 39% scored medium

impact and 12% large impact. Indicators are that 2/3 of the band spend 2 and 5 hours per week

out of family time on the music.

Working life impact was more straightforward with 52% scoring no impact, 39% little impact,

6% medium impact and only 3% large impact.

Social life impact again scored 12% no impact, 30% little impact,52%medium impact and 6%

large impact.

Impact on the local community scored 0% no impact, 3% little impact,27%medium impact and

70% large impact.

Number of Annual performances Competitions Parades Concerts Other

10 4 2 2

22

Member Spend on attending band practices, competitions including food and travel costs.

Band annual spend on uniforms was approximately £2000.00, with approximately £2000.00

being spent on the upkeep and replacement of instruments. The band has an annual turnover

of £4000.00. The band carries out regular fundraising to assist with running costs of the band.

Drumlough Pipe Band

There were 11 surveys returned out of 25 members, the breakdown of pipers, drummers, tenor

drummers, bass drummer and committee members is as follows:

Instrument

Played

Piper Drummer Tenor

Drummer

Bass

Drummer

Committee

Member

Total 6 2 2 1 0

£100 to £200 0%

£200 to £300 0%

£300 to £400 3%

£400 to £500 3%

£500 to £600 0%

£600 to £700 0%

£700 to £800 0%

£800 to £900 21%

£900 to £1000 64%

£1000 to £1500 9%

£2000+ 0%

23

73% considered themselves to be working class, 27% considered themselves to be middle class

Of those returned there were no under 14 members, 18 % in the 14/18-year-old bracket, 18 %

in the 18/30-year-old bracket, 27% in the 30/40-year-old bracket and 27% in the 40/60-year-old

bracket and 9% were over 60 years.


repertoire consists of over 34 tunes, 63% of which would be traditional marches. The other 37%


scores which accompany the pipe tunes are mainly original written by past and present

members of the corps









Social life impact again scored 18% no impact, 36% little impact, 36%medium impact and 9%

large impact.

4 Various tunes include Jigs, Reels, Hornpipes and Waltzes

24

Impact on the local community scored 18% no impact, 27% little impact, 27%medium impact

and 27% large impact.


13 5 4 2





£100 to £200 0%

£200 to £300 9%

£300 to £400 18%

£400 to £500 9%

£500 to £600 0%

£600 to £700 18%

£700 to £800 0%

£800 to £900 0%

£900 to £1000 27%

£1000 to £1500 18%

£2000+ 0%

25

Upper Crossgare Pipe Band



Instrument

Played

Piper Drummer Tenor

Drummer

Bass

Drummer

Committee

Member

Total 7 0 2 0 2


Of those returned 9% were 14-year-old or under bracket, 27 % in the 14/18-year-old bracket, 9

% in the 18/30-year-old bracket, 33% in the 30/40-year-old bracket and 36% in the 40/60-year-

old bracket and 18% were over 60 years, and this would be old members who have retired from

playing and have joined as committee members.


repertoire consists of 37 tunes, 70% of which would be traditional marches. The other 30%


scenes which accompany the pipe tunes are mainly original written by past and present

members of the corps.




5 The other 30% would be various tunes more recently written by Scottish and Irish composers.

26






Social life impact again scored 12% no impact, 30% little impact,52%medium impact and 6%

large impact.

Impact on the local community scored 18% no impact, 27% little impact, 36%medium impact



13 5 1 2


£100 to £200 0%

£200 to £300 0%

£300 to £400 0%

£400 to £500 0%

£500 to £600 0%

£600 to £700 0%

£700 to £800 0%

£800 to £900 0%

£900 to £1000 0%

27




Harry Ferguson Memorial Pipe Band



Instrument

Played

Piper Drummer Tenor

Drummer

Bass

Drummer

Committee

Member

Total 8 6 1 0 0


Of those returned 7% were 14-year-old or under bracket, 33 % in the 14/10-year-old bracket,

24 % in the 18/30-year-old bracket, 7% in the 30/40-year-old bracket and 27% in the 40/60-

year-old bracket and 7% were over 60 years.

The band have a small repertoire of seventeen tunes. The entire repertoire consists of 17 tunes,

88% of which would be traditional marches. The other 12% would be various tunes6 more

6 Various tunes are Slow Airs

£1000 to £1500 100%

£2000+ 0%

28

recently written by Scottish and Irish composers. The same drum scenes which accompany the

pipe tunes are mainly original written by past and present members of the corps









Social life impact again scored 12% no impact, 30% little impact,52% medium impact and 6%

large impact.

Impact on the local community scored 27% no impact, 20% little impact,33 % medium impact



5 5 2 1


£100 to £200 13%

£200 to £300 7%

29




Key Findings and Conclusion.

This research has revealed some interesting findings on the early history of the formation of

pipe bands in Northern Ireland and the governance, structure and aims and objectives of the

RSPBANI Branch. Through this research there is now a clear understanding of the need for the

Branch to organise and govern pipe band competitions in Northern Ireland which are run to a

strict musical structure with clearly defined criteria and musical syllabi.

The impact of pipe bands in Traditional Music was examined in order to give a further

understanding of bagpipes and pipe bands within the traditional music sector. The findings

have also shown how pipers are becoming even more involved in traditional music having taken

cognizance of what is required musically to perform in groups and music sessions, embracing

different musical styles and musical keys and adapting to them by taking up other instruments

£300 to £400 7%

£400 to £500 13%

£600 to £700 13%

£700 to £800 13%

£800 to £900 0%

£900 to £1000 20%

£1000 to £1500 13%

£2000+ 0%

30

to achieve their goals and objectives. A hindrance to this vital development is the lack of venues

and group sessions which is essential for this musical direction to grow and thrive.

Economic Impact and Socio-Cultural Impact (combination of social and cultural factors) were

researched through a detailed survey and participant observation of the four pipe bands

chosen. The bands presented an even spread from the top grade, grade 1, through to the

lowest grade, grade 4B and returned comparable data regarding annual spend, upkeep of

instruments and uniforms and individual member spend on pursuing their chosen musical

hobby. From the survey analysis, it is clear that pipe band members consider themselves to be

working class and that the bands exist primarily for competitions, this is a shift away from the

early formation of the four bands, when they were formed their main objective would have

been to parade with less emphasis on musical ability, in order to gain greater musical ability the

bands became members of the Royal Scottish Pipe Band Association in order to compete

against other bands in order to measure their musical ability through a strict musical

guidelines.

The impact on family, working life and social life revealed that there is little to medium impact,

therefore the membership of the band can be balanced with the other areas and demands of

modern day life. Impact on the local community gave a mixed result with Drumlough, Upper

Crossgare and the Harry Ferguson Memorial Pipe Band regarding their impact as little to

medium with Ravara Pipe Band regarding their impact as large on the community.

31

Bibliography

RSPBANI Corporate Plan. 2013-2015. accessed on 025/10/2016 at 1430 HRS

RSPBANI Constitution. 2013. accessed on 025/10/2016 at 1530 HRS

RSPBA. 2016. Prescribed Tunes. http://www.rspba.org/html/prescribedtunes.php accessed on

26/10/2016 at 1030 HRS

http://www.rspba.org/html/prescribedtunes.php

32

Appendix A

RSPBANI Branch – A History of Pipe Bands

The RSPBANI Branch are currently conducting the above academic project study. As part of the

project the Branch is undertaking an ethnographical study of Competitive Highland Bagpipe

Bands in Rural County Down (Dromore, Dromara and Saintfield areas) the Harry Ferguson

Memorial Pipe Band has been chosen to participate in this study.

Through participant observation and interviews with members of four competitive highland

bagpipe bands, this research seeks to elicit new information on the significance, size, and scope

of the pipe band tradition in this area as a representative sample of the pipe band tradition in

rural Northern Ireland. Competitive highland bagpipe bands are the focus of this research as

they are the type of music group the public is likely to interact with throughout the year in

Northern Ireland, most notably at the numerous public competitions which occur in parks and

fields throughout the countryside.

This research will address a number of areas including, but not limited to, the following areas:

• Socio-Cultural Impact

• Economic Impact

• Traditional Music

In the realm of traditional music, this research will collect data on repertoires and aesthetics of

performance amongst a sample of four competitive pipe bands in the area. It will gather

organological data on the instrumentation used, and processes of instrument development and

management.

33

In the realm of economic impact, this research will collect data on the costs associated with

forming and maintaining a pipe band; the financial contribution from members and local

organisations; the financial support from public bodies; and the economic contribution pipe

band competitions present to the locality.

In the realm of socio-cultural impact, this research will collect data on the relevance and impact

of this music tradition on the lives of band members, and the local community, based on a

categorised analysis of participants i.e. impact on youth population, the elderly population,

working class, middle class, etc.

To assist with the Socio-Cultural impact could you please answer the following questions. Your

anonymity is assured at all times.

Question 1

Age Group Please Tick Relevant Answer

What Position to you hold in the band?

Please Tick Relevant Answer

Under 14 Piper

Under 18 Drummer

18 to 30 Tenor Drummer

30 to 40 Drum Major

40 to 60 Committee Member

60 to 80

Question 2

Which Class to you consider you belong to Please Tick Relevant Answer

Working Class

Middle Class

Question 3

What impact does band membership have on family life

Please tick 1

No Impact

Little Impact

Medium Impact

34

Large Impact

What impact does band membership have on working life

Please tick 1

No Impact

Little Impact

Medium Impact

Large Impact

Question 4

What impact does band membership have on social life

Please tick

No Impact

Little Impact

Medium Impact

Large Impact

Question 5

What impact does band membership have on the local community

Please tick

No Impact

Little Impact

Medium Impact

Large Impact

Question 6

How average much would you spend on attending competitions and band practice in an average year to include (travel, fuel costs, food and drink spend)

Average Cost Please Tick One

£100 to £200

£200 to £300

£300 to £400

£400 to £500

£500 to £600

£500 to £600

£600 to £700

35

£700 to £800

£800 to £900

£900 to £1000

£1000 +

Economic Impact – Secretaries/Treasurer to answer only

Question 7

How many members in band Number Please Tick One

10

10 to 15

15 to 20

20 to 25

25 to 30

Question 8

Estimated Cost of procuring Uniforms

Cost Please Tick One

£100 to £250

£250 to £500

£500 to £750

£750 to £1000

£1000 to £1250

£1250 t0 £1500

£1500 to £1750

£1750 t0 £2000

36

£2000 +

Question 9

Estimated cost of procuring instruments and upkeep

Cost Please Tick One

£100 to £500

£500 to £1000

£1000 to £2000

£2000 +

Question 10

Bands Annual Turnover Cost Please Tick One

£1000 to £2000

£2000 to £3000

£3000 to £4000

£4000 +

Question 11

Is Fundraising Regularly Used Answer Please Tick One

Yes

No

Traditional Music – Pipe Majors/Leading Drummers to answer only

Question 12

37

What is the Bands Repertoire Tunes Number of Tunes

3/4s

4/4s

2/4s

6/8s

9/8s

12/8s

Slow Airs

Reels

Jigs

Strathspeys

Waltzes

Polkas

Question 13

New or Old Compositions played

Percentage Old Please Tick Percentage New

Please Tick

10 percent 10 percent










Question 14

Performances per year Number

Competitions

Parades

Concerts

Other

Thank you for taking time to complete this survey

A History of Pipe Bands in Northern Ireland History of Pipe Bands in... · 1 A History of Pipe...

Documents

Transcript of A History of Pipe Bands in Northern Ireland History of Pipe Bands in... · 1 A History of Pipe...