This article draws upon evidence from four areas of the traditional performing arts in Scotland oral balladry, popular printed song, the light music (ceol beag) of the Highland bagpipe, and piobaireachd to examine the mechanisms of change and consider whether these may be in some way inimical to 'tradition'. 1 The traditional performing arts are closely related. Singers borrow tunes and re create words; musicians develop ideas from their own and adjacent musical fields; the instrumental tradition is in turn inseparable from the dance culture which it serves. Words are linked to all these activities through 'genealogies of learning,' (the process by which performers trace their descent through a succession of distinguished schools or master teachers), 2 verbal teaching routines and performance directions, and tales of every sort concerning the famous players and composers, ranging from anecdotes about people like Niel Gow, to folk tales about doomed MacCrimmons grappling with nameless horrors in the Cave of Gold. 3 All of these strands may be present in a single individual: for example, the Highland piper is an instrumentalist sometimes a multiinstrumentalist, adept also at the small-pipe, fiddle, or accordion; he will also be a singer, using chanted vocables to convey tunes and interpretations of them; many of his piobaireachds have song versions; he may also be a dancer; and he will certainly be steeped in the rich verbal lore that surrounds the pipe and its culture. Some scholars are responsive to this cultural breadth. For example, David Johnson's Music and Society in Lowland Scotland in the Eighteenth Century (London, 1972), takes the whole musical culture of the Lowlands and the institutions which supported it under review, from the most serious of 'serious' music to the most 'folksy' of folk, and traces their links with Scotland's richly varied song tradition. More recently, John Purser's comprehensive general survey, Scotland's Music. A History of the Traditional and Classical Music of Scotland from Early Times to the Present Day (Edinburgh, 1992), likewise shows a keen awareness of the creative links between the various different forms. The general tendency, however, has been to treat each strand of the traditional performing arts as an autonomous field of study. Ballad scholarship has displayed this feature particularly markedly during the last hundred years, often treating songs simply as poems which happened to possess an accompanying air which could be safely ignored in analysis. 4 A wider perspective is necessary before we can begin to generalise safely about 'tradition' and how it works. The concept of tradition is itself problematic and theories invoking it are many and various. 5 One of the most important to appear in recent years directs our attention to a phenomenon called 'invented tradition.' This springs from the perception of neoMachiavellian theorists of the right that society is dominated by elites manipulating a