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Devenir et être facteur de cornemuse irlandaise uilleann pipes : entre déterritorialisation et patrimonialisation

Abstract : This doctoral thesis presents the results of an ethnomusicological research, conducted between 2011 and 2018, on the makers of the Irish uilleann pipes and the diachronic and synchronic transmission of their profession. This work also examines the heritagisation processes that, during the same period, brought the instrument into the UNESCO Intangible cultural heritage, as announced in December 2017.After a description of the current scientific knowledge regarding the history of this bagpipe, its development through time and the role of the instrument and of the pipers in Irish society, we present an organological description of the various parts that makeup a full set of uilleann pipes as well as a discussion on the impact of this organology on the sound of the instrument. This sound, which is now considered as characteristic and even symbolic of identity, has become a key issue in the discussions about tradition. The most recent revival in the way to play and to manufacture the instrument during the last quarter of the 20th century, happened in parallel with the processes of heritage-making experienced currently by the tradition.The next section presents the results of my fieldwork with pipe-makers in Ireland and elsewhere (as uilleann pipe-making is now widely internationalized), the objectives of which were to better understand the ins and outs of the work of these craftspeople. We explain how this tradition of instrument-making was gradually rebuilt, in the absence of a real transmission, by the actors of the revival and how it is now passed on in an era currently considered as ‘post- revivalist’. The present study on the transmission of the profession of uilleann pipe-making also allowed us to examine the inescapable use of information technologies and, specifically of the social networks in the transmission of the necessary professional skills.Finally, this thesis presents the results of my observations and my thoughts on the processes of heritagisation that took place in parallel with the revival, in order to document, preserve, pass on and (re-)develop the uilleann pipes tradition, and more particularly its manufacturing.The three core objectives of this thesis are: 1) carrying out an ethnomusicological and monographic study of the uilleann pipes. 2) carrying out a field ethnographical study of the profession of uilleann pipes manufacturing as well as an in-depth study of its modes of transmission. In this context, a « virtual field-work » brings a new perspective on the social networks as forums in which traditions can be passed on, but also conceived and negotiated. 3) describe and critically analyze the processes of heritagisation of the tradition of the uilleann pipes and more specifically the manufacturing of the instrument.
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Submitted on : Thursday, August 27, 2020 - 6:20:16 PM
Last modification on : Monday, October 12, 2020 - 2:26:02 PM


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Patrik Vincent Dasen. Devenir et être facteur de cornemuse irlandaise uilleann pipes : entre déterritorialisation et patrimonialisation. Musique, musicologie et arts de la scène. Université Côte d'Azur, 2020. Français. ⟨NNT : 2020COAZ2005⟩. ⟨tel-02924235⟩



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