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The development of Scottish Dance music from the 18th century to the present day and an analysis of its characteristics 1745 marks a watershed in Scottish dance music After the Jacobite uprising the music and culture of the Highlands went into decline because the playing of Scottish traditional instruments the wearing of the kilt and the clan system were outlawed However in the North East Scottish dance music flourished from about 1750 This centred around a renewed interest in fiddle playing which was spearheaded by players and composers such as MacPherson and Gow Before the turn of the century the appearance of King George IV in Edinburgh decked in full Highland reagalia marked a relaxation of these repressive measures Scottish dance music was reborn Historical Background 11 Scotland was originally divided into five kingdoms which were united around the ninth century by Kenneth MacAlpin the King of Dahlriada an Irish settlement around Argyle They became the dominant people and brought from Ireland their language and culture The Anglo-Saxons around Berwickshire were a minority and had little influence on Scottish culture at this time However under King Malcolm Ceanmor c11 the English dominance grew in the lowlands of the south and east which is why they now speak Scottish rather than the Gaelic and English culture fused with that of the native Celts Highlanders were largely unaffected and their language culture and even faith was different to the Lowlanders from the 16th century See Appendix A for further detail the development of the Scottish nation The music and dances developed independently in the regions of Scotland 12Scottish Music and Musical Instruments The factors influencing different stages of development Dance song Dance song in Medieval Europe was the remnant of old pagan rituals originally sung by the dancers in communal gatherings This is assumed to be the case in Scotland especially due to
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