COMMON CRITERIA FOR EU METHODOLOGY FOR PLAYING, BUILDING AND PRESERVATION OF TRADITIONAL BAGPIPES

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1 Programme: Erasmus + Key action: Cooperation for innovation and the exchange of good practices Action: Strategic Partnerships Field: Strategic Partnerships for adult education PROJECT TITLE: EUROPEAN BAGPIPE EDUCATIONAL FORUM building EU methodology for preservation, playing and building of traditional bagpipe instruments PROJECT ACRONYM: European bagpipe educational forum duration: Applicant organisation: Centre of Croatian traditional instruments, HR Partners: Orava Cultral Centre, SK / Muziekpublique, BE / Pluribus Unum, PL Project result: COMMON CRITERIA FOR EU METHODOLOGY FOR PLAYING, BUILDING AND PRESERVATION OF TRADITIONAL BAGPIPES

2 INTRODUCTION: ABOUT DIVERSITIES OF EACH NATIONAL BAGPIPE CULTURE, and ways of transmission of knowledge. Every country in Europe has in its tradition at least one or more instruments bagpipe type. These instruments are at least 7000 years old and deeply rooted in the history and tradition of the European continent and represent a valuable cultural treasure. However, with the development of the modern era, some of these instruments have disappeared, some are almost over disappearing, and anothers have managed to survive most thanks to the efforts and work of individuals and certain groups of active bagpipers. Today in Europe there are several hundred types and subtypes bagpipes and thousands of people involved in the playing, making and preserving of these instruments. However, there has so far been no common basic methodology to do this. During the project European bagpipe educational forum building EU methodology for preservation, playing and building of traditional bagpipe instruments great possibilities and chalenges has been crystallized. We had to take into account the variety of musical instruments within a group, different methods of making and decorating the bagpipes, the ways of playing bagpipes - with regard to the tradition of transferring knowledge and the skills of playing in a certain area / location, and the need to preserve their own values in the process of preserving the musical heritage of a certain region. This diversity has been a major challenge in creating the basic and unique method that we are presenting through this project. We can divided instruments with bags bagpipe types in several ways. One would have been considering the type of reeds in the chanter. In this way, we have bagpipes with single reeds (Middle and Eastern Europe), bagpipes with double reeds (Western Europe). Within these very general divisions, we can divide the bagpipes by the number of reeds in the chanter, then according to the places of holes for playing, the number of burdons, the way of blowing and etc. In this project, we took into account three basic types of bagpipes, bagpipes with double reed (Belgian and Scottish bagpipes), single reed bagpipes with one reed in chanter (Polish and one type of Slovak bagpipes), and single reed bagpipes with two, three or four reeds in the chanter (the other kind of Slovakian bagpipes and Croatian bagpipes). Also, all project partners are choosen regarding its differences in the ways of transmission the knowledge about the bagpipes, all with the aim of achieving the best quality of the project and applying the project results to all basic types of bagpipes.

3 I. ABOUT APPROACHING TOWARDS COMMON METODOLOGY FOR PLAYING BAGPIPES INTRODUCTION: The methodology of transferring the knowledge and skills of playing bagpipes is very important for the preservation of these types of instruments. For centuries, the most basic principle of transferring knowledge was face to face, from teacher to student. Very often the young learners are listening to the old musicians without their knowledge and practiced playing bagpipes somewhere in isolation, without any methodology or help. It all depends just on individual ability and skill. Today, opportunities are much bigger, modern knowledge about learning and teaching methodologies and communication possibilities can be applied, greatly enhancing the speed and quality of transferring knowledge of playing bagpipes from a teacher to a student. In creating this methodology of transferring the knowledge of playing bagpipes we have also taken into account the traditional way and the modern knowledge and experience with the aim of achieving the fast and efficient transfer of knowledge applicable to any type of bagpipes regardless of the chosen path. CHALLENGES: Different techniques of playing different types of bagpipes. Different ways of transferring knowledge. It can be seen from the discussions during the project that two broad approaches to selecting the path of instruction exist: - learning simple tunes and exercises and then increasing the level of difficulty through adding embellishments, - learning embellishments as rudiments with exercises and then learning tunes in fully embellished forms. The possibility of a hybrid of these two forms exists. Guiding questions to assist a teacher in planning a route to suit each individual pupil could be a product of future research. The third major issue that has been identified is the importance of personal expression for the learner and facilitating them in developing an original style and artistic voice. The apparently subtle difference between a teacher and an instructor comes into play here. An instructor drills technique with a pupil (i.e. the pupil learns the instrument) while a teacher is occupied with the broader question of human potential and sees the learning of the instrument and the relevant technique as part of a journey of personal growth (the pupil learns through learning the instrument). Future research might identify a series of general teaching strategies and techniques which aid the teacher in inspiring the pupil and facilitating their growth through music while separate research could potentially identify a variety of instructional methodologies for acquisition of technical proficiency through drilling."

4 CONCLUSION: Recognizing the experience in the methodology of transferring the knowledge of playing different types of bagpipes we have made a basic model of learning to play bagpipes that is applicable to all types of bagpipes and enables a quality and measurable learning result. RESULT: COMMON CRITERIA FOR EU METHODOLOGY FOR PLAYING BAGPIPES 1. TEACHING METHODS - traditional approach, direct - oral transmission of knowledge - contemporary approach teaching in schools - within each approach - individual or group teaching 1. direct teaching a) face to face b) online - in real time 2. indirect teaching - recorded multimedia material, written materials (textbooks) 3. combined - direct and indirect teaching 2. METHODOLOGY OF WORK 1. Testing the student's skills: rhythm, hearing, motor skills 2. theoretical introduction: - learning about the instrument: history, parts, role in the traditional culture 3. Practical part: - initial exercises: 1. blowing air into the bag 2. basic fingerings 3. keeping one ton - control of blowing and pressure 4. basic exercises: tone per ton 5. scale 6. simple melody - advanced exercises: 1. rhythm and ornamentation HR / SL - rhythm and ornamentation BE / PL - ornamentation 2. the basics of maintaining the instrument, making adjustments and fine repairs 3. advanced techniques of playing - HR: mastering more complex melodies and rhythms, playing additional tones (by pressing the bag or matching the half-hole - receiving more than 6 tones) 4. developing individuality among the participants

5 3. SKILLS REQUIRED: - Rhythm, hearing, motor skills - the ability of individual learning and learning in the group 4. QUALIFICATIONS REQUIRED: - qualifications required: none - knowledge of the note and music experience is a bonus, but it is not necessary 5. STANDARDS: - for teacher: years of experience in playing and teaching, ability to pass knowledge, patience, knowledge of the instrument - for space: temperture in a room of 18 to 26 C, the room must not be damp, should be ventilated - can be taught in the open air, but not in extreme weather conditions (sun, rain, precipitation) - for group teaching it is desirable to have a larger space or more smaller rooms for the possibility of individual and group work in the same time - hours: a) basic program: min. 20 hours (within 3 days) b) advanced program: HR min. 6 months with 1-2 h exercises daily - knowledge test: - oral or written examination of theoretical knowledge - checking the knowledge of playing periodically, after having mastered the particular degree of teaching 6. LEARNING OUTCOMES: - ability to play bagpipes in the traditional way: playing traditional 'canon' of national/regional repertoire: playing melodies, rhythm modes and specific ornaments that are characteristic for a certain region, - ability to play bagpipes in a modern way the use of ornaments and the way of performing melody and rhythm in a way that is not characteristic for traditional music - application of learned knowledge for public performances - ability to play bagpipes with different musical styles, and with various other instruments - ability to teach the basics of playing bagpipes (assistant master) Links for further reading and watching: Lindsay Davidson - The Place and Potential of Music in the Primary School

6 II. ABOUT APPROACHING TOWARDS COMMON METODOLOGY FOR MAKING BAGPIPES INTRODUCTION: Impact of changes in lifestyle on traditional way of construction bagpipes, ranging from environmental degradation to EU legislation. Poisoning of water reservoirs alter the properties cane used to manufacture reeds - faster growth of cane resulting in thinning of the walls of cane, so the quality of reeds is lower. Adding chemicals to the animal feed results in deterioration in the quality and durability of the skin and blistering. EU legal regulations hinder the acquisition of traditional raw materials and existing methods of treatment. Examples are: horns - which are already in young cows cutted, tanning leather handicrafts way or the so-called mandatory recycling Folk music and traditional handicraft are not included in System of music education and handicraft. Just, there is that there is a system of instruction in instrument making in POland. Price competition with instruments from China that are more cheeper than bagpipes taht are locay made. There is no appropriate promotion of folk handicraft. CHALLENGES: Each type of bagpipes has some specificity in the process of making. The differences are in the way of making some parts, especially the prebiraljke, then in using specialized tools for individual parts of the bagpipes (depending on the type of bagpipe), in ornaments and in the application of local, traditional materials. The bigger the problem for bagpipe makers is the finding of traditional materials for making bagpipes (specific, local species of wood, animal bark, horns). Based on insides during the project, we sugest partnerships in industry and in technical apprenticeships - for wooden parts of the bagpipes, because for the 'sticks' (chanter and drones) we need wood turners who are additionally sensitive to acoustic properties of wood. Also, there is a need for dedicated farms with instrument grade practices - natural fed etc., besacuse there is enough demand for goatskin around Europe to justify this. CONCLUSION: There are no drastic differences in basic fabrication techniques for making different types of bagpipes. The basic techniques of making different types of wafers are interoperable, ie the experience of the fabricator is applicable to various types of bagpipers, but with the appreciation of local specificities in ornaments, material, appearance and type of bagpipes.

7 RESULT: COMMON CRITERIA FOR EU METHODOLOGY FOR MAKING BAGPIPES 1. MATERIALS - skin for bag - tanned animal skins (jar, goat, sheep), industrial skins - wood - dried wood of plums, pears, cherries, walnuts, olives, basil, clay, spruce, spruce roots etc. - the cane or the base for the reeds - Bee wax - flax or olive oil - wood veneer - the binding spatula - glue for skin, wood glue - decoration tin 2. TOOLS AND ACCESSORIES - Lathes for wood - turning knives - a drill - drills of various diameters and lengths - band saw for wood - a handcuff - scalpel or sharp blade - hammer - a buck - tin and melt burner - gravesite - compressor - engraving blades - lemilica - wood shingles of various diameters and shapes - grinding papers - nailing - fix - lacquer brushes - molds for tinsel decoration - work desk 3. SPACE - Adequate room with the ability to maintain optimal temperature in all conditions - possibility of ventilation - optimal illumination - electricity 4. PROCESSING PROCEDURE a) making the bag b) manufacture of wooden parts c) fine processing - decoration

8 d) protection - varnishing, oil, wax (some of it or combination) e) fastening wooden parts to the bag, coupling f) making the reeds and tuning bagpipe 5. IMPORTANT DETAILS a) wood slow growing trees, cut it on the winter, full moon period, dried naturally over several years b) bag the best quality is the natural goat's skin (it must be quality tanned) c) cane for the reeds cut it on the winter period from sandy areas 6. MAINTENANCE AND REPAIRS a) long-term storage at room temperature, must not be too hot or dry, away from the heat source: - in plastic bag (example from Slovakia) - open case, open chanter (example from Scotland) - hermetic suitcase (example from Poland) - in case, open or close (example from Belgium) - in room or wardrobe (not to long), in open bag made from natural material (linen, coton ) (example from Croatia) b) after playing - leave at room temperature one day to match the moisture of the bag and the air, do not remove the wooden part with the reeds (example from Croatia) - drying 2 days, chanter out (after 2 h playing without stoping) (example from Slovakia) - leave at room temperature one day to equalize bag humidity and air humidity, always remove chanter (example from Scotland) - no need for drying, no moisture problems (example from Belgium and Poland) c) bag (tips and tricks): - if the bag is too dry, it can be soften by the mixture of glycerin and water 50:50 or with honey - if the bag passes the air through small, invisible pores, it should be covered inside with a mixture of water, sugar and flour - if the bag is punctured, the hole may be closed by placing a round pile of stones, wood chips or some other material on the hole and dampening the inside

9 III. ABOUT APPROACHING TOWARDS COMMON METODOLOGY FOR PRESERVATION OF BAGPIPE CULTURE INTRODUCTION: Piper's culture has been deeply rooted in the tradition of every country in Europe for centuries. Preserving this tradition is very important for preserving the entire European cultural heritage. In Europe there are thousands pipers, but still in many parts of Europe, piper's culture is in extinction. During the project we have tried to define problems in preserving gagpipe traditions, and ways which preserved this tradition to the present age. PROBLEMS: In some countries, the interest in piper's tradition increased slightly, while in most of the countries the biggest problem is the lack of quality players bagpipes, especially quality makers. In general, the bagpipes are marginalized in the media and it is difficult to reach the wider population. The big issue we all encounter in Poland, Slowakia, Croatia and Belgium (and probably in other countries too) seems to be: bagpipe is not well-known of the everyday person, there are not enough players, not enough builders and not enough lessons to reverse the tendency, not mentioning the role of the contemporary bagpiper. So we are all in a sort of negative spiral and to reverse it, we have to work on all topics because they are all connected (a builder won't make bagpipe if there are no new players, and there is no new player because there is no new instrument etc ). Social conditions before and now, how to deal with it in modern society Before: functionality (and popularity) of bagpipe music now: not popular, but part of the new world music style Before: actuality of the text now: traditional text is not actualy, so new composer need to use contemporain text Before: opportunity for listening the bagpipe music now: importance of bagpipe festivals, but also presence of bagpipes in other music styles Before: playing occasions (pastuuring) now: bagpipe festivals (closed audience), sometimes concerts for broader public Before: consumer of the bagpipe music (active singers and dancers, passive listeners) now: combining bagpipe festivals with dancing sessions not just listening! Before: motivation being reputable members of the community, for children entrance to the world of adults now: an interest in preserving the traditions of their own people in the face of globalism, the use of bagpipe music in modern music Position of bagpipe culture in modern society: - lack of functionality - lack of popularity - the obsolescence and non-topicality of texts - incomprehensible text in local dialects - lack of listening and playing opportunites

10 - lack of consumers of bagpipe music (no traditional singers, dancers, listeners) - lack of motivation (no social or economic credits for bagpipers) CONCLUSION: The bagpipe music does not seem to fulfill traditional functions in the cultural or social life of communities any more. The popularity of the bagpipe music cannot be compared with that of other types of music and instruments. It is not fashionable. But, there is an increased interest in youth and centers of culture for traditional music in each country. Educational programmes for bagpipers create new functionality of bagpipe music, creating new playing occasions and new listening occasions for the bagpipe music. Main intention with the approach towards preservation of bagpipe culture is to make bagpipe tradition recognizable and sustainable on contemporain cultural and music scene, with improving employability of bagpipe players, bagpipe makers and the teachers. RESULT: COMMON CRITERIA FOR EU METHODOLOGY FOR PRESERVATION OF BAGPIPE CULTURE 1.EDUCATION "At School" - workshops and/or little shows at school: in each country known bagpiper could go to school to show the bagpipes and (depending on the age) bring some instruments to let students try, for younger kids: make some easy reed instruments, teach some songs, dances "At Academy" -we suggest to "insert" a bagpipe course in an academy or music school. "In Public Events" -Workshops and short shows could also take place in other events, even private (par example - team building in a factory ). 2. PERFORMANCES "Festival" International bagpipe festival in each country with concerts and dancing sessions, workshops about building and playing bagpipe and (travel) exhibition "Artistic Projects" - an international artistic project with bagpipe central, cooperation with national orchestras for including compositions with bagpipes in their programme

11 Performances on public events - participation on state ceremonies, anniversaries, historical events and similar, as an inspiration to popularize bagpipes Reconstructions of traditional bagpipe events inspired by artifacts and archives -example: Poland reconstruction of bagpipe competition in Kopanice based on old Diploma, and bagpipe festival in Polajewo based on Triptih) 3.INSTITUTIONAL COOPERATION - cooperation between the bagpipers, schools / workshops of folk instrument makers and players, music schools, music academies, institutes of music and dance, museums, cultural centres 4.PROFESSIONAL ASSOTIATIONS - creation of national, and potentialy - international assotiation of bagpipers with professional support for its members: example - Guild of Slovak Bagpipers 5.NATIONAL AND INTERNATIONAL RECOGNITION OF BAGPIPES AND BAGPIPE CULTURE AS A PART OF CULTURAL HERITAGE - Inscription of bagpipes and bagpipers culture into the national list of intangible cultural heritage (ex: Slovakia, Croatia) - Inscription of bagpipes and bagpipers culture on the Representative List of the Intangible Cultural Heritage of Humanity UNESCO. (ex: Slovakia, Croatia) 6. PUBLIC MEDIA - strive to popularize bagpipe culture in public media (radio, TV, internet, newspapers, etc.) etc) - send information to the media about the bagpipe festival, seminar or concert - bagpipe performances and talks about bagpipe culture on thematic radio shows (ex: radio show Hrvatsko narodno blago / Croatian ethno tresure 14 years of tradition of popularisation of bagpipe culture

12 FINAL CONCLUSION: This methodology has already been successfully applied for a last year (from july 2106) at the bagpipe seminars and in some music schools that teach playing of traditional instruments as part of their program. We are sure that this methodology will greatly assist all future teachers, players, and creators in combining quality and efficiency in transferring and gaining knowledge of bagpipes. During the realization of the project, we encountered several basic problems regarding the preservation of the tradition of playing and making bagpipes and preservation of bagpipe culture itself. Problems are related to today's civilization, way of life, social relations and laws, and are different fro country to country. The general problem in which we all agreed was the lack of bagpipe culture in the public media, which is reflected in the interest of new players and makers in some countries. One of the problems is EU regulations that restrict the availability of some traditional materials needed for production of some parts of bagpipes (animal skin, horns). Also, due to the lifestyle changes, some of the traditional tree species needed for parts of bagpipes are slowly disappearing. These are just some of the specific problems we encountered during the realization of this project. Solving these problems was not the main goal of this project, but this insides can help in addressing relevant topics of future projects related to the preservation of the bagpipe tradition in Europe.