A History of Pipe Bands in Northern Ireland

Transcription

1 A History of Pipe Bands in Northern Ireland Author/Researcher: Ian Burrows Researcher: George Ussher 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. 1

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 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 2

3 growth in numbers of bands and the necessity to compete outdoors, the Northern Ireland Pipe Band League was formed in 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: 3

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 4

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 1 2 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 2 Prescribed 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. 5

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 6

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 7

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, 1 st 2 nd, 3 rd 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. 8

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 Smallpipes, Low and High Whistles 9

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 Smallpipes, Low and High Whistles Alan Wade Scad the Beggars Highland Bagpipes, Scottish Smallpipes. Andrew Carlisle Bernagh Highland Bagpipes, Scottish Smallpipes, Low and High Whistles Ross Hume No group Highland Bagpipes, Scottish Smallpipes, Low and High 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 10

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). 11

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 12

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 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 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. 13

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 The band moved along steadily in Grade 2 over the next number of years always in the prizes both at home and in Scotland 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 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. 14

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 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. 15

16 Drumlough Pipe Band The Band was formed in 1950 and the first public appearance was in 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. 16

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 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

18 Harry Ferguson Memorial Pipe Band The Harry Ferguson Memorial Pipe Band is a relatively new pipe band having been formed in 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 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. 18

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. 19

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 % 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 tunes 3 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 20

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

22 Member Spend on attending band practices, competitions including food and travel costs. 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 to % 1000 to % % Band annual spend on uniforms was approximately , with approximately being spent on the upkeep and replacement of instruments. The band has an annual turnover of 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

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. The band have a very large repertoire, well mixed in time signatures and harmonies. The entire repertoire consists of over 34 tunes, 63% of which would be traditional marches. The other 37% would be various tunes 4 more recently written by Scottish and Irish composers. The same drum scores which accompany the pipe tunes are mainly original written by past and present members of the corps 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 18% said no impact on family life, 18% had little impact, 18% scored medium impact and 45% 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 36% scoring no impact, 18% little impact, 36% medium impact and only 9% large impact. 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 23

24 Impact on the local community scored 18% no impact, 27% little impact, 27%medium impact and 27% large impact. Number of Annual performances Competitions Parades Concerts Other Member Spend on attending band practices, competitions including food and travel costs. 100 to 200 0% 200 to 300 9% 300 to % 400 to 500 9% 500 to 600 0% 600 to % 700 to 800 0% 800 to 900 0% 900 to % 1000 to % % Band annual spend on uniforms was approximately , with approximately being spent on the upkeep and replacement of instruments. The band has an annual turnover of The band carries out regular fundraising to assist with running costs of the band. 24

25 Upper Crossgare 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 % considered themselves to be working class, 18% considered themselves to be middle class. 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-yearold bracket and 18% 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 37 tunes, 70% of which would be traditional marches. The other 30% would be various tunes 5 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. 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. 5 The other 30% would be various tunes more recently written by Scottish and Irish composers. 25

26 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 18% no impact, 27% little impact, 36%medium impact and 18% large impact. Number of Annual performances Competitions Parades Concerts Other Member Spend on attending band practices, competitions including food and travel costs. 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 % 26

27 1000 to % % Band annual spend on uniforms was approximately , with approximately being spent on the upkeep and replacement of instruments. The band has an annual turnover of The band carries out regular fundraising to assist with running costs of the band. Harry Ferguson Memorial Pipe Band There were 15 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 % considered themselves to be working class, 13% considered themselves to be middle class. 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 tunes 6 more 6 Various tunes are Slow Airs 27

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 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 27% no impact, 20% little impact,33 % medium impact and 20% large impact. Number of Annual performances Competitions Parades Concerts Other Member Spend on attending band practices, competitions including food and travel costs. 100 to % 200 to 300 7% 28

29 300 to 400 7% 400 to % 600 to % 700 to % 800 to 900 0% 900 to % 1000 to % % Band annual spend on uniforms was approximately , with approximately being spent on the upkeep and replacement of instruments. The band has an annual turnover of The band carries out regular fundraising to assist with running costs of the band. 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 29

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. 30

31 Bibliography RSPBANI Corporate Plan accessed on 025/10/2016 at 1430 HRS RSPBANI Constitution accessed on 025/10/2016 at 1530 HRS RSPBA Prescribed Tunes. accessed on 26/10/2016 at 1030 HRS 31

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. 32

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? Piper Drummer Under 14 Under to 30 Tenor Drummer 30 to 40 Drum Major 40 to 60 Committee Member 60 to 80 Please Tick Relevant Answer Question 2 Which Class to you consider you belong to Working Class Middle Class Please Tick Relevant Answer Question 3 What impact does band membership have on family life Please tick 1 No Impact Little Impact Medium Impact 33

34 What impact does band membership have on working life Large Impact 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 100 to to to to to to to Please Tick One

35 700 to to to Economic Impact Secretaries/Treasurer to answer only Question 7 How many members in band Number Please Tick One to to to to 30 Question 8 Estimated Cost of procuring Uniforms Cost 100 to to to to to t to t Please Tick One 35

36 Question 9 Estimated cost of procuring instruments and upkeep Cost 100 to to to Please Tick One Question 10 Bands Annual Turnover Cost Please Tick One 1000 to to to Question 11 Is Fundraising Regularly Used Answer Please Tick One Yes No Traditional Music Pipe Majors/Leading Drummers to answer only Question 12 36

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 10 percent 10 percent 20 percent 20 percent 30 percent 30 percent 40 percent 40 percent 50 percent 50 percent 60 percent 60 percent 70 percent 70 percent 80 percent 80 percent 90 percent 90 percent 100 percent 100 percent Please Tick Question 14 Performances per year Competitions Parades Concerts Other Number Thank you for taking time to complete this survey 37