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Topic: The Scots Musical Museum

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1700

	Auld Lang Syne
		Scots Musical Museum," they were printed in the second half volume of Thomson’s Select "Songs of Scotland," to the sweet and simple melody to be presently noticed.
		The music of the overture to the opera of Rosina, composed in 1783 by William Shield, a native of Durham county, was founded on popular or well-known strains, and the last movement of it is the strathspey "The Miller’s Wedding," served up with the true Scots snap.
		The early musical manuscripts of Scotland are all dance music; not that this proves that all the tunes were originally composed for the dance, for we know of the existence of songs earlier than the date of the manuscripts.
	www.electricscotland.com /history/articles/langsyne.htm (5492 words)

	Guardian Unlimited \| Archive Search
		Working under commission from the Edinburgh music publisher James Johnson, and refusing to accept a single penny for what he considered to be his patriotic duty, Burns set about collecting famous tunes and patching up those that had been part-forgotten in order to preserve for posterity their "wild happiness of thought and expression".
		This year, however, the Museum is to return to the concert room for a series of late-night recitals running throughout the Edinburgh international festival.
		The Scots Musical Museum was not only the first song collection to be conceived as a practical, pocket-sized com pendium, it was the only anthology to admit songs in their natural state without any editorial interference.
	www.guardian.co.uk /Archive/Article/0,4273,4051253,00.html (788 words)

	Robert Burns Country: The Burns Encyclopedia: Scots Musical Museum, The
		Robert Burns Country: The Burns Encyclopedia: Scots Musical Museum, The
		The Museum has never been surpassed as the finest of all collections of Scottish Song.
		Linn Records have completed their landmark recording of all 368 Burns songs, available as individual CDs or a 12 volume presentation box set.
	www.robertburns.org /encyclopedia/ScotsMusicalMuseumThe.773.shtml (295 words)

	Art of Robert Burns ~ Scotstown Music
		He assimilated upper-class music quickly, and knew very well who the people were who would buy The Scots Musical Museum once he, James Johnson and Stephen Clarke had finished editing it.
		It was an open question in the late 18th century what the correct accompaniment for a Scots song ought to be; William Tytler of Woodhouselee’s Dissertation on the Origins of Scots Music (1779) discusses this matter, and we know that Burns read Tytler’s essay attentively.
		He is author of Music and Society in Lowland Scotland (1972, second edition 2003), Scottish Fiddle Music in the 18th century (1984, second edition 1997) and Chamber Music of 18th-century Scotland (2000), and is a contributor to the 2001 edition of The New Grove Dictionary of Music.
	www.scotstown.com /art.html (1006 words)

	Scottish Music in the 18th Century
		This music has either been transformed into the idiom of the native air (like Then wilt thou goe) or has been supplanted by another tune of the folk-song variety; at any rate the present one retains the galliard rhythm but is found no earlier than the Balcarres Lute-Book of about 1690.
		William Stenhouse, annotating the Scots Musical Museum in 1820, remarked of many of the songs that 'the second part or strain of this tune is a modern interpolation', though he offered no explanation why this should have happened.
		The gulf between the folk and classical traditions widened during the seventeenth century; classical music explored deeper and deeper into the possibilities of tonal harmony, and folk music was left behind in the monodic Middle Ages.
	www.standingstones.com /scot18th.html (2580 words)

	Scots Musical Museum
		The Scots Musical Museum was a major publication that had a pivotal role in the collecting and tradition of Music of Scotland.
		It was by no means the first collection of Scottish folk songs and music, but the six volumes, with 100 songs in each, collected more pieces, introduced new songs, and brought many of them into the classical music repertoire.
		In the winter of 1786 he met Robert Burns who was visiting Edinburgh for the first time, and found that Burns shared this interest and would become an enthusiastic contributor.
	www.danceage.com /biography/sdmc_Scots_Musical_Museum (325 words)

	GO BRITANNIA! Scotland: Great Scots of Note
		Writing in Scots in his Seeds in the Wind, Souter chose beast fables in his "bairn-rhymes" (child rhymes) to express a mature insight into the life of things through the innocent vision of childhood.
		His one work was the Illustrations of the Lyric Poetry and Music of Scotland, which he designed as a series of notes to each of the 600 songs in The Scots Musical Museum, edited by Robert Burns, Edinburgh, 1787-1803.
		The start of ionospheric science owes a great deal to Scots physicist Balfour Stewart who proposed that the variable part of the Earth's magnetic field could be ascribed to electric currents flowing in the upper atmosphere, later identified as the ionosphere.
	www.britannia.com /celtic/scotland/greatscots/s2.html (2984 words)

	Scotsman.com Living - Music - How one man's vision gave rise to a Scots Wha Haydn
		He fostered a love for music, playing amateur violin in the ambitious Edinburgh Music Society orchestra, which attracted composers and music directors from Italy and Germany and performed in the city's elegant St Cecilia Hall.
		His masterstroke, though, was to ask his friend at the Viennese embassy - the secretary to the British Legation, Alexander Straton - to contact the great Joseph Haydn, with a proposition that the composer might "do the symphonies and accompaniments to the 30 songs".
		Scots singers Jamie MacDougall and Lorna Anderson are currently in Eisenstadt with the Eisenstadt Trio recording the last of three box-sets which feature the complete Thompson commissions on the Dutch label Brilliant Classics.
	living.scotsman.com /music.cfm?id=2097562005 (1128 words)

	§16. His Songs and Adaptations. X. Burns. Vol. 11. The Period of the French Revolution. The Cambridge History of ... (Site not responding. Last check: 2007-09-08)
		To the first volume, he contributed two songs; and, from the autumn of 1787 almost until his death, he was largely both literary and musical editor of the work.
		The special character of his success, even when the theme was entirely his own, was largely due to his comprehensive knowledge of old minstrelsy; he was pervaded by its spirit, and, besides fashioning his verses for its music, moulded them in the manner of its expression.
		True, most Scots probably agree with Carlyle that Scots Wha hae is the best war ode “ever written by any pen”; but, here, there is a possibility of patriotic bias.
	www.bartleby.com /221/1016.html (1420 words)

	Art of Robert Burns ~ Scotstown Music
		The "Scots Musical Museum" publication, which is so associated with The Bard, was consulted and with the leading authority on historical Scots Music - Dr David Johnson - to direct the production there does emerge something, which is both excellent and unique.
		This refreshingly authentic treatment of settings of songs by one of the most famous composers of Scots lyrics, Robert Burns, is ably directed by David Johnson, musicologist and the leading expert in Scottish music in the 18th century.
		If it could be argued that perhaps Burns' Scots pronunciation would have been broader than suggested by the orthography, the singers pronunciation never sounds less than totally natural, while the fusion of 'traditional' ornamentation and phrasing and classical structure is very successful, both in the accompaniments and in the perceptively selected contemporary repertoire.
	scotstown.com /reviews.html (1218 words)

	ROBERT BURNS NATIONAL HERITAGE PARK - Highlights of the Museum Collection
		It is hard to imagine today, looking at the hundreds of elegantly written manuscripts and letters produced by Burns, that most of his writing would have been done, after a hard day’s work or travel, using rudimentary quill pens, by the dim light of a candle or a primitive oil lamp.
		This was produced by Samuel Houghton and donated to the museum by Burns’ descendants.
		It was purchased in 1904 for the museum from the famous bookseller, Bernard Quaritch.
	www.burnsheritagepark.com /collection.htm (1766 words)

	The Scotsman - S2 - Divided by nation, linked by genius (Site not responding. Last check: 2007-09-08)
		Similarly, Mozart’s music was not prominent in the cosmopolitan repertoire regularly performed in such fashionable concerts as those at Edinburgh’s St Cecilia’s Hall, which Burns was known to attend during his two residencies in Edinburgh.
		Astonishingly, 300 years on, the full extent and importance of the musical settings contained at the heart of these collections are only now becoming fully apparent, thanks to a team of Glasgow-based researchers headed up by one of the world’s top Haydn experts, Dr Marjorie Rycroft.
		Instead he was influenced by the vogue and success of many Scots songbooks that were appearing in London in the late 18th century, which prescribed a more sanitised - some would say twee - musical style, making them more marketable to the wider drawing room audiences of polite society.
	thescotsman.scotsman.com /s2.cfm?id=63952004 (1236 words)

	Music of Scotland - Wikipedia, the free encyclopedia
		Scottish traditional music, although influencing and being influenced by both Irish traditional music and English traditional music, is very much a creature unto itself, and, despite the popularity of various international pop music forms, remains a vital and living tradition.
		The history of the guitar in traditional music is recent; as is that of the cittern and bouzouki, which in the forms used in Scottish and Irish music only date to the late 1960s.
		Music had long been primarily a solo affair, until The Clutha, a Glasgow-based group, began solidifying the idea of a Celtic band, which eventually consisted of fiddle or pipes leading the melody, and bouzouki and guitar along with the vocals.
	en.wikipedia.org /wiki/Music_of_Scotland (3580 words)

	FolkWorld Artikel: Museum
		The traditional musical instrument of North Eastern England is differing from the Scottish war pipes in that they are blown using bellows operated by the arm.
		The museum is furnished with a cordless headphone sound system, which links each display case with appropriate pipe music.
		A board in the Great Hall of the ruined Tantallon Castle told me about the Scots: "Musick they have, but not the harmony of the sphears, but loud terrene noises, like the bellowing of beasts; the loud bagpipes is their chief delight.
	www.folkworld.de /17/e/museum.html (1215 words)

	[No title]
		A cottar is a Scots word for a tenant occupying a cottage with or (from the late 18th century) without land attached to it or a married farmworker who has a cottage as part of his contract.
		Scots and Gaelic words explained in handy reference form." There are 30 pages of Scots words explained.
		All the songs are Scottish, have staff music supplied, as well as a glossary of Scots words, notes on the songs and notes for guitarists.
	www.ibiblio.org /pub/academic/languages/gaelic/Scc/scots_section (6755 words)

	X. Burns: Bibliography. Vol. 11. The Period of the French Revolution. The Cambridge History of English and American ...
		The more important public collections are those in the British Museum (including many of the songs contributed to Johnson’s Scots Musical Museum).
		The Glenriddel MSS., formerly in the Liverpool Athenaeum, are to be placed in the custody of three trustees, and will be deposited in the cities of Edinburgh and Glasgow for alternate periods of five years each.
		Stenhouse, W. Illustrations of the Lyric Poetry and Music of Scotland.
	www.bartleby.com /221/1000.html (2224 words)

	Sor: Variations on a Scottish Theme, op. 40: the complete preface
		Alice Artzt included the work on her record Guitar Music by Femando Sor and it was broadcast several times from that record on the B.B.C.; and since then, whenever it has been played, it has immediately caught the audience's imagination.
		Burns' version appeared in 1792, as no. 374 of volume 4 of the Scots Musical Museum, Here is a reproduction of the original edition: EX The words are newly written by Burns, and the intention which he gave them is clearly indicated by the direction of "Slow and tender".
		Engaged in completing her education, she devotes herself to several kinds of study at once, as well the necessary as the agreeable, and consequently cannot give up her time exclusively to the study of the guitar.
	www.tecla.com /extras/0001/0024/0024pref.htm (1527 words)

	The Music of Tam Lin
		Musical Notations are organized more or less by ballad and date of acquisition.
		If you read music, the Quarter notes in the first version are Eighth notes in the second, etc. Apart from that, the main melodies are identical.
		A third version of the musical notation for this version comes from the web site www.moonwise.com, whose webmistress, Tani, says that the ballad comes from a text used in a music class but the original source is unknown.
	www.tam-lin.org /music.html (1229 words)

	Robert Burns and Auld Lang Syne
		Burns is often hailed as the champion of Scots but he was broader than that and drew extensively on Highland music too, perhaps through his relationship with "Highland" Mary Campbell.
		The tune to which it was matched in the Museum first appeared in Playford's Original Scotch Tunes, 1700, though doubtless it was then at least half a century old, for it was the tune to which the antecedents of Burns's poem were written.
		A cottar is a Scots word for a tenant occupying a cottage with or (from the late 18th century) without land attached to it or a married farm worker who has a cottage as part of his contract.
	www.hymnsandcarolsofchristmas.com /Hymns_and_Carols/Biographies/robert_burns.htm (3739 words)

	The Scots Musical Museum. - BURNS, ROBERT, EDITOR AND CONTRIBUTOR, (Site not responding. Last check: 2007-09-08)
		The Scots Musical Museum is one of the most comprehensive and important collections of Scottish songs ever published.
		The distinguished Scottish poet Robert Burns was a major contributor/editor; the majority of the music was set by Stephen Clarke.
		There is an early appearance of the words to the famous song Auld Lang Syne on page 26 of Volume I (although the musical setting differs from that of the familiar tune); there is also an early printing of The Campbells Are Coming on page 309 of Volume III.
	www.antiqbook.com /boox/lub/15053.shtml (231 words)

	Flowers of the Forest
		According to The Scots Musical Museum there is a fragment of an old ballad in the Skene Manuscript titled The flowres of the Forrest, and an air so titled appeared in Oswald's collection and several others.
		According to the Museum, a man known to Mrs.
		The Battle of Flodden was a disaster for the Scots, with estimates of Scottish losses numbering as high as ten thousand.
	www.contemplator.com /scotland/forest.html (263 words)

	classical music - andante - art and commerce - the tale of the entrepreneur responsible for haydn's and beethoven's ...
		For these, he made full use of his international diplomatic contacts — especially in that hottest of musical hothouses, Vienna — and enlisted the services of Ignaz Pleyel and Leopold Kozeluch to provide instrumental accompaniments and additional "symphonies" that would further adorn the Scots melodies.
		In other words, he took an established form of chamber music — the piano trio — and fed it the Scots songs he loved.
		His masterstroke, though, was to ask his friend at the Viennese embassy — the secretary to the British Legation, Alexander Straton — to contact the great Joseph Haydn, with a proposition that the composer might "do the symphonies and accompaniments to the 30 songs".
	www.andante.com /article/article.cfm?id=26126 (1078 words)

	Ceolas: The Fiddler's Companion
		Musically, the tune contains a characteristic melodic cliché in Scottish music in which a figure is followed by the same or a related figure on the triad one tone below or above (Emmerson, 1971).
		The music, a modern air, is by William Jackson, with lyrics by Robert Burns, though he originally set them to the tune "Johnnie's Grey Breeks." Burns wrote his words while on a stroll one evening along the banks of the Ayr river.
		Scots versions predate English ones with the melody used for broadside ballads at least as early as 1632; later Scots versions of the song are to be found in Orpheus Caledonius (1725) and The Scots Musical Museum (1787).
	www.ceolas.org /cgi-bin/ht2/ht2-fc2/file=/tunes/fc2/fc.html&style=&refer=&abstract=&ftpstyle=&grab=&linemode=&max=250?Scots (16403 words)

	Island 7 - Burns and Scottish Song
		From the second volume Burns was the de facto editor of the Museum, although he did not see the fifth volume, published in 1796, some time after the poet's death.
		Despite his involvement with Johnson's Scots musical museum, in September of 1792 Burns agreed to collaborate with George Thomson in another musical undertaking, A select collection of original Scotish airs, which appeared in five volumes between 1793 and 1818.
		Thomson fancied himself as both poet and musician, with the result that there were arguments with both Burns and Beethoven; it must be said, however, that in challenging Burns, Thomson forced him to examine his song-writing in a way which Johnson did not do.
	www.sc.edu /library/spcoll/britlit/burns/burns7.html (945 words)

	Robert Burns Lives!
		With a fixed income to rely on, the poet now turned to the love of songs and song writing instilled in him by his mother as a lad.
		In a letter to his friend James Johnson he mentioned he had “all the music of the country”, except one.
		Johnson published The Scots Musical Museum, and Thomson printed A Selection of Original Scotish Airs for the Voice.
	www.electricscotland.com /familytree/magazine/aprmay2006/story23.htm (1069 words)

	Nottingham Philharmonic Orchestra Programme Notes
		Bruch's source of the tunes was a collection called The Scots Musical Museum In the late 18th century, as full political union between Scotland and England grew closer after the suppression of the Jacobite uprisings of 1715 and 1745, there was a gradual awakening of interest in Scottish history and culture.
		Titled The Scots Musical Museum, this appeared in six volumes between 1787 and 1803, and was a source for many 19th century composers, including Beethoven.
		This is based on another Scots tune "I'm a-doun for lack of Johnnie" and is full of expressive feeling.
	www.nottinghamphilharmonic.co.uk /notes/BSF.html (440 words)

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