Morris Music – a History – summary

The Morris Federation hosted this insightful Zoom talk on 6 March 2021, presented jointly with the Tabor Society by Stephen Rowley and Andy Richards. It explored the evolution of Morris music, focusing on the historical significance of the pipe and tabor, a unique one-handed flute and drum combination traditionally associated with Morris dance.

The Historical Context of Morris Music

Stephen Rowley began by tracing the origins of the pipe and tabor in European folk traditions, citing examples from 16th-century art and literature that depict the instrument accompanying early Morris dancers. He discussed its prevalence in England from the 1500s to the 19th century, highlighting its role in shaping the rhythmic style of Morris dancing. The pipe’s simple structure, with three finger holes, was versatile enough to play a wide range of tunes, while the tabor provided essential rhythmic support.

The decline of the pipe and tabor by the late 19th century stemmed from limited availability of instruments and teachers, as well as competition from fiddles and other instruments. Despite this, traditionalists admired its unique qualities, noting how its high pitch and rhythmic interplay with the tabor matched the dancers’ steps perfectly.

Revival and Evolution

Rowley detailed his efforts to revive the pipe and tabor through the establishment of the International Pipe and Tabor Festival in 1999 and the formation of the Tabor Society in 2005. The talk also examined the contributions of two key 20th-century figures: Kenworthy Schofield and Russell Wortley. Schofield introduced innovations such as deeper-tabors and brass pipes, promoting a strict tempo style. In contrast, Wortley focused on the lead dancer’s footfalls, advocating a more fluid and adaptive approach.

Playing Techniques and Modern Adaptations

The speakers shared insights into the two dominant schools of taboring: the strict-tempo method inspired by Schofield, and Wortley’s footfall approach. Both methods aim to support and elevate dancers, but differ in their interpretation of rhythm and phrasing. Richards demonstrated how a tabourer can enhance specific dance movements, such as jumps and capers, by varying drum patterns and emphasizing footfalls. The talk also acknowledged the challenges of playing in ensemble settings, where maintaining synchronisation with dancers and other musicians requires nuanced skill.

Contemporary Practices

Rowley and Richards discussed the current state of Morris music, noting that while many modern sides prioritise inclusivity over technique, some maintain traditional methodologies. They expressed concerns about the inconsistent quality of music in sides that allow multiple musicians to play simultaneously without coordination. Both speakers emphasised the importance of preserving taboring techniques as an intangible cultural heritage, advocating for training resources and workshops to support new players.

Audience Engagement

The session concluded with questions about methodology, recruitment of musicians, and the integration of unconventional instruments like the djembe. The speakers encouraged participants to explore taboring through workshops and online tutorials, underscoring the joy and vitality of playing for Morris dancers.

The talk was both a celebration of Morris music’s history and a call to action to preserve its unique traditions while adapting to contemporary needs.