Zexuan is a PhD candidate at Queen’s University, and recently completed a six-month placement with the musical instrument collection of the University of Edinburgh. In this post, Zexuan shares the highlights of his work, which focused on the study and preservation of historic bagpipes.

My project centred around the historic bagpipes held within the University’s Heritage Collections and I employed modern techniques to measure, model, and compare these instruments in a controlled virtual environment. Below, I’ll walk you through the key processes and achievements from my time working with these fascinating artefacts.

Modelling Historic Bagpipes

One of the core tasks of my project involved creating digital models of the instruments. Using CAD (Computer-Aided Design) software, I produced 40 models of bagpipes from the collection. These digital models are not just for viewing; they are designed to be manufactured using technologies such as CNC machining and 3D printing.

A rendered image of a 3D model of the drones of a set of union pipes made by James Reid in England circa 1840, MIMEd 1352

Additionally, I’ve been converting these 3D models into 2D technical drawings, which will allow instrument makers and researchers to use them for further study or reconstruction work.

A technical drawing for the Baritone Drone for a set of Uilleann pipes made by George Glen, MIMEd 1335.

The Glen Family and the Collection

The Glen family established their first shop on the Cowgate (only a few blocks from St Cecilia’s Hall!) in 1827 and served the Scottish piping community until 1980. Thomas Glen was not only a skilled bagpipe maker but also a prominent musical instrument dealer in Edinburgh during the time. J&R Glen amassed a collection of historically significant instruments, some of which were loaned to exhibitions in the late 19th century. Glen-made bagpipes are highly sought after for their exceptional quality, renowned for their mellow and homogenous sound, and are considered as some of the finest examples of Great Highland Bagpipes.

A common stock stamped “DAVID GLEN / EDINBURGH”, dated between 1873-1916, MIMEd 1357

A significant portion of the bagpipes in the collection comes from the Glen family. In the early 1980s, Andrew Ross loaned the remaining stock and instruments from the Glen family shop to the museum. This loan laid the foundation for what has become one of the most comprehensive collections of historic bagpipes. In 2016, the Andreas Hartmann-Virnich Collection was added to the museum, bringing with it several full sets of Glen instruments in good condition.

One of the challenges with historical collections is managing database records. During my placement, I updated database entries for a wide range of instruments, with new information and corrections including details about the makers’ working periods, helping to distinguish between the different generations of the Glen family.

Beyond the Glen family, I worked on 274 additional entries, focusing on instrument makers from Scotland, England, and France. This work involved ensuring that the details for each maker were as accurate as possible on the database.

A box of Highland, Lowland, Pastoral and Union pipes chanters made between 1800 and 1900 from various makers.

One of the standout discoveries was a second-reel-sized chanter made by Murdoch MacLean, one of Glasgow’s earliest professional bagpipe makers. Here’s a 3D model rendering of this remarkable instrument:

3D model of a bagpipe chanter made by Murdoch MacLean in Glasgow circa 1810, MIMEd 1310 (the CAD software chosen for modelling this was Fusion 360)

Another aspect of my project involved identifying the materials used in these historic instruments. Advances in material studies have allowed us to determine the sources of materials with much greater accuracy than when the original checklist was compiled in the 1980s. For example, we now have a clearer understanding of where the woods and metals came from, giving us new insights into the construction of these instruments.

In addition, I’ve updated the names of some of the instruments in the collection, using terms that are more widely accepted today, such as “pastoral pipes” and “union pipes.” I also paid close attention to the maker’s stamps found on these instruments, which are crucial for dating and identifying their origin.

A great Highland bagpipes chanter by Peter Henderson, made from African Blackwood and elephant ivory, MIMEd 1390

Looking Ahead

So, what’s next? I’ll be completing the remaining drawings and models of the instruments and updating the information in the collection’s management system so that this work can benefit future researchers and makers.

It’s been a deeply rewarding experience to contribute to the preservation and understanding of these historic instruments, and I look forward to seeing how these digital models and technical drawings will be used in the future.

Thank you for reading, and I hope you have learned a bit more about the bagpipes in the University collections here!