Scottish folk

Scottish folk music (also Scottish traditional music) is music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Neil and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.

The earliest printed collection of secular music comes from the seventeenth century. Collection began to gain momentum in the early eighteenth century and, as the kirk's opposition to music waned, there were a flood of publications including Allan Ramsay's verse compendium The Tea Table Miscellany (1723) and The Scots Musical Museum (1787 to 1803) by James Johnson and Robert Burns. From the late nineteenth century there was renewed interest in traditional music, which was more academic and political in intent. In Scotland collectors included the Reverend James Duncan and Gavin Greig. Major performers included James Scott Skinner. This revival began to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland, with composers such as included Alexander Mackenzie, William Wallace, Learmont Drysdale, Hamish MacCunn and John McEwen.

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