Traditional Gaelic Bagpiping 1745-1945 is a published historical and ethnographic study of the continuity, over two centuries, of an hitherto unrecognised and undiscovered style of community bagpiping which endured as an important musical integral in Scottish Gaelic-speaking communities in Nova Scotia from the immigrant years (1790-1840) until the late 20^th century. Although the style had just become extinct in Cape Breton in 1998, twenty years of field work clearly indicated the strength from those immigrant years of what in essence was Gaelic step-dance piping. The piping was by and large ear-learned and was shown to have been faithful to Scottish Gaelic tradition in an isolated and overlooked forest environment in the New World. Study of the extensive Scottish written record exposed no contradiction to the contention that this Gaelic Cape Breton piping was the direct, largely unaltered lineal descendant of the bagpiping of the second half of the 18^th century Scottish Gàidhealtachd. The Disarming Act (enforceable from 1748-1753 where arms were concerned) was shown to have had no explicitly or implicitly intended effect on traditional music of any kind. Study of the available legal record substantiated this. No longer could the act be proferred as an explanation for modern piping’s now obvious deviation from the Gaelic source of almost all Scottish bagpiping tradition. The essential link between music and dance, in this case highlight step-dance, is the key to understanding this subject and here, again, with the proven, unbroken continuance of step-dancing (individually and in four and eight-hand reels, and in other tune-specific dances) from immigrant times in Gaelic Nova Scotia to the present, another hitherto undiscovered element of late 18^th century Gaelic Scottish folk-life is exposed for the first time.