摘要：Competitions for players of the Scottish Great HighlandBagpipe are regarded by many pipers and enthusiasts as thepinnacle of the art form,though some pipers whoparticipate in these competitions have identified a trend ofrepertoire stagnation within certain disciplinesofcompetition. Focusing on the solo competitive 2/4 march,this article presents the premise and methodology used tostudy competitive solo and band piping. This article aims topresent the groundwork for further research into canonformation within competitive piping by: identifying themethods by which musical canons are formed in genresoutside bagpipe competitions; identifying how thosemethods may be compared and applied to the formation ofcanons of competitive bagpipe music; identifying thevarious canons of competitive bagpipe music between 1947and 2015 by way of quantitative data collection and analysis;and comparing a canonical list of tunes against a listpreviously compiled by another scholar.
