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CARMEN DAAH Mezzo-Soprano with J. Hunter Macmillan, Piano Recorded London, January 1925 MC-6847 Kishmul's Galley (“Songs Of
1 CARMEN DAAH Mezzo-soprano with J. Hunter MacMillan, piano Recorded London, January 1925 MC-6847 Kishmul’s galley (“songs of the Hebrides”) (trad. arr. Marjorie Kennedy Fraser) Bel 705 MC-6848 The spinning wheel (Dunkler) Bel 705 MC-6849 Coming through the rye (Robert Burns; Robert Brenner) Bel 706 MC-6850 O rowan tree – ancient Scots song (trad. arr. J. H. MacMillan) Bel 707 MC-6851 Jock o’ Hazeldean (Walter Scott; trad. arr. J. Hunter MacMillan Bel 706 MC-6853 The herding song (trad. arr. Mrs. Kennedy Fraser) Bel 707 THE DAGENHAM GIRL PIPERS (formed 1930) Led by Pipe-Major Douglas Taylor. 12 pipers, 4 drummers Recorded Chelsea Town Hall, King’s Road, London, Saturday, 19th. November 1932 GB-5208-1/2 Lord Lovat’s lament; Bruce’s address – lament (both trad) Panachord 25365; Rex 9584 GB-5209-1/2 Earl of Mansfield – march (John McEwan); Lord Lovat’s – strathspey (trad); Mrs McLeod Of Raasay – reel (Alexander MacDonald) Panachord 25365; Rex 9584 GB-5210-1 Highland Laddie – march (trad); Lady Madelina Sinclair – strathspey (Niel Gow); Tail toddle reel (trad) Panachord 25370; Rex 9585 GB-5211-3 An old Highland air (trad) Panachord 25370; Rex 9585 Pipe Major Peggy Isis (solos); 15 pipers; 4 side drums; 1 bass drum. Recorded Studio No. 2, 3 Abbey Road, London, Tuesday, 26th. March 1957 Military marches – intro. Scotland the brave; Mairi’s wedding; Athole Highlanders (all trad) Par GEP-8634(EP); CapUS T-10125(LP) Pipes in harmony – intro. Maiden of Morven (trad); Green hills of Tyrol (Gioacchino Rossini. arr. P/M John MacLeod) Par GEP-8634(EP); CapUS T-10125(LP) Corn rigs – march (trad); Monymusk – strathspey (Daniel Dow); Reel o’ Tulloch (John MacGregor); Highland laddie (trad) Par GEP-8634(EP); CapUS T-10125(LP) Quick marches – intro. -
Discography Section 18: R (PDF)
1 FRAB THE RHYMER ( ? – 1944). (r.n. Dr. Douglas S. Raitt) Scottish humorous speech with piano Recorded West Hampstead, London, prob. June/July 1939 (before 13th. July) M-873 The 'Breembraes' A.R.P. (D. S. Raitt) Bel 2408, BL-2408 M-874 The fairmer's ball (D. S. Raitt) Bel 2407, BL-2407 M-875 Kirsty (D. S. Raitt) Bel 2405, BL-2405 M-876 The Kilt Society's ball (D. S. Raitt) Bel 2407, BL-2407 M-877 As the auld cock craws (D. S. Raitt) Bel 2406, BL-2406 M-878 Pullin' the strings (D. S. Raitt) Bel 2406, BL-2406 M-879 A wee stoot laddie (D. S. Raitt) Bel 2405, BL-2405 M-880 Ye widna ken 'Breembraes' (D. S. Raitt) Bel 2408, BL-2408 NOTE: The artist received ¾d. per side royalties. Whilst a student at Aberdeen University in 1927 he had written and produced the annual students’ union show, “Northern Lights”. JACK RADCLIFFE (Cumnock, 1900 – 1967). Vocal Recorded Montreal, ca early 1954 Katie McGraw ( - ) Thistle T-221 Best wee lassie ( - ) Thistle T-221 NOTE: This artist was Scots and probably on tour with Robert Wilson & Company ROBERT RADFORD (Nottingham, 1875 – London, 1933). Bass with the Band of The Coldstream Guards Recorded London, Wednesday, 6th. November 1917 Scots wha hae (Robert Burns; trad) HMV 02761(s/s)(12”); HMV D-104 NOTE: Other records by this artist are of no Scots interest. CHARLES RAE Violin solo Recorded Megginch Castle, Errol, Perth, between April – November 1934 A-283 White heather selections ( - ) Great Scott A-283 NINA RAE (Georgiana Rae) (Glasgow, 1879 - ? ). -
British Music Publishers, Printers and Engravers
Digitized by the Internet Archive in 2012 with funding from National Library of Scotland http://www.archive.org/details/britishmusicpublOOkids / /v> cj iCo - 8% BRITISH MUSIC PUBLISHERS, PRINTERS, and ENGRAVERS. X BRITISH MUSIC PUBLISHERS, PRINTERS and ENGRAVERS: London, Provincial, Scottish, and Irish. FROM QUEEN ELIZABETH'S REIGN TO GEORGE THE FOURTH'S, WITH SELECT BIBLIOGRAPHICAL LISTS OF MUSICAL WORKS PRINTED AND PUBLISHED WITHIN THAT PERIOD. BY FRANK KIDSON, Author of "Traditional Tunes," etc. I - London : W. E. HILL & SONS, 140, New Bond Street, W, To My Friend THOMAS WILLIAM TAPHOUSE, of 'Oxford, I Dedicate this Volume, As a Slight Token of Esteem. Preface. As a pioneer work, the present volume must claim a little indulgence. Excepting a few scattered notices here and there, nothing dealing with the subject of the following pages has yet appeared, and facts bearing on it are scanty and scattered in many places. The lists of publications are not put forth as containing all that my material would furnish, but are merely selections culled to show types of a publisher's issue ; to fix a date, or give a variation of imprint. The names attached here and there are those of the owners of the particular copies I have consulted and do not imply that such works may not be in the British Museum or else- where. Much of the bibliographical matter comes from my own library, while my friend, Mr. T. W. Taphouse, of Oxford, has freely (as he has ever done) thrown open to me his large and valuable store of rare and unique volumes. -
Experiencing Celtic Culture Through Music Practice on Cape Breton Island, Nova Scotia
TRANSNATIONAL COMMUNITIES THROUGH GLOBAL TOURISM: EXPERIENCING CELTIC CULTURE THROUGH MUSIC PRACTICE ON CAPE BRETON ISLAND, NOVA SCOTIA Kathleen Elizabeth Lavengood Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore and Ethnomusicology Indiana University (April, 2008) Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ______________________________ Dr. Ruth Stone, Ph.D ______________________________ Dr. Richard Bauman, Ph.D ______________________________ Dr. Jeffrey Magee, Ph.D ______________________________ Dr. Daniel Reed, Ph.D Date of Oral Examination November 20, 2007 ii © 2008 Kathleen Elizabeth Lavengood ALL RIGHTS RESERVED iii Dedication This work is dedicated to my Lord and Savior, Jesus Christ, Whom through all things are possible (Phil 4:13). My deepest thanks to Dr. Ruth Stone, Dr. Richard Bauman, Dr. Daniel Reed, and Dr. Jeffrey Magee. Your love for discovering the ways human beings understand themselves, each other, and the world through musical performance is terribly infectious, and I will be forever grateful for the tools you have given me to communicate those ideas to the world. I am forever indebted to Mairi Thom, Adam Chiasson, David Papazian, Sarah Beck, Paul Cranford, Winnie Chafe, and Doug MacPhee, for opening your hearts and homes to me in Cape Breton. You have changed my path in life, for now I will always be seeking ways to make a place for you as musicians and artists here in the states. To Sheldon MacInnes, Hector MacNeil, Paul MacDonald, and Janine Randal, I thank you for your help in research at the Beaton Institute, the University College of Cape Breton, the Gaelic College of Celtic Arts and Crafts, and the Ceilidh Trail School of Celtic Music. -
Who Wrote the Scots Musical Museum? Challenging Editorial Practice in the Presence of Authorial Absence Murray Pittock University of Glasgow
Studies in Scottish Literature Volume 42 | Issue 1 Article 2 5-31-2016 The .W Ormiston Roy Memorial Lecture: Who Wrote the Scots Musical Museum? Challenging Editorial Practice in the Presence of Authorial Absence Murray Pittock University of Glasgow Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Ethnomusicology Commons, and the Literature in English, British Isles Commons Recommended Citation Pittock, Murray (2016) "The .W Ormiston Roy Memorial Lecture: Who Wrote the Scots Musical Museum? Challenging Editorial Practice in the Presence of Authorial Absence," Studies in Scottish Literature: Vol. 42: Iss. 1, 3–27. Available at: https://scholarcommons.sc.edu/ssl/vol42/iss1/2 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. WHO WROTE THE SCOTS MUSICAL MUSEUM? CHALLENGING EDITORIAL PRACTICE IN THE PRESENCE OF AUTHORIAL ABSENCE Murray Pittock The Scots Musical Museum is arguably the underpinning canonical text of Scottish song, the place where the country’s leading poet meets its great musical tradition in a “mouseion,” a temple of the Muses, which is also a Museum, a collection of antiquarian fragments. This six volume collection of the songs of Scotland was produced by James Johnson and Robert Burns, with the help of Stephen Clarke and many others, in the years 1787-1803. Although it was apparently a collection which was to serve as a “museum” for Scottish song, it was in fact in many respects less Scottish and less antiquarian than it appeared. -
BAGPIPES (ANONYMOUS) Titles Are Given Exactly As They Appear in the Catalogue
1 BAGPIPES (ANONYMOUS) Titles are given exactly as they appear in the catalogue. The piper could be John MacKenzie Rogan (Newport, IOW, 1855 – 1931) or Henry Forsyth. Recorded London, before July 1898 Miss Drummond of Perth (Niel Gow) Edison Bell(cyl) Clack in Cuddin (trad) Edison Bell(cyl) Moneymusk – strathspey (Daniel Dow) Edison Bell(cyl) Back o’ Ben Eachie (trad) Edison Bell(cyl) March of the Black Watch on TammaaI (trad) Edison Bell(cyl) Barren rocks of Aden (James Mauchline) Edison Bell(cyl) Highland Laddie (trad) Edison Bell(cyl) The Campbells are coming (trad) Edison Bell(cyl) Cubu Feiclh (trad) Edison Bell(cyl) The Haugh o’ Cromdale (trad) Edison Bell(cyl) Over the water to Charlie (trad) Edison Bell(cyl) Cock o’ the North (trad) Edison Bell(cyl) 79th. farewell to Gibraltar (John MacDonald) Edison Bell(cyl) March of the 92nd. Gordon Highlanders (trad) Edison Bell(cyl) The Irish washerwife’s jig (trad) Edison Bell(cyl) The McKenzie Highlanders (trad) Edison Bell(cyl) Athol Highlanders march to Loch Katrine (William Rose) Edison Bell(cyl) Liverpool Hornpipe (trad) Edison Bell(cyl) Leaving Glen Urquhart (W. MacDonald) Edison Bell(cyl) Crusader’s march (trad) Edison Bell(cyl) March of MacKenzie Highlanders (trad) Edison Bell(cyl) Glendarnel Highlanders (Alexander Fettes) Edison Bell(cyl) Stirlingshire Militia (Hugh MacKay) Edison Bell(cyl) Lord Panmare march (trad) Edison Bell(cyl) Hey Johnny Cope march (trad) Edison Bell(cyl) Bonnie Ann (trad) Edison Bell(cyl) Bundle and go march (trad) Edison Bell(cyl) Scotland the brave (trad) -
Wighton Fiddle Tunes
A SELECTION OF TUNES 1. Introduction 2. The tunes and their stories 3. The tunes in modern notation 4. Bibliography 5. List of the Collections of music consulted Cover Illustration: Fiddles by Mike Stark A Selection of Tunes from the Collections held in the Wighton Centre, Dundee. The Wighton Centre in Dundee Central Library holds a fascinating collection of printed and manuscript music from the 17th century through to the present day. Created in 2003 to make available to the public the music books (over 620 bound volumes) amassed by city merchant Andrew Wighton (1804 – 1866), the Centre has been gifted several other significant collections since then. In 2013 Friends of the Wighton, a charity set up to promote and encourage use of the Centre, purchased at auction the music books of accordionist Jimmy Shand senior, who had had a lively interest in the historical tunes of Scotland as well as the dance band repertoire for which he was known. The following selection of tunes is a sample of the riches contained in these books. There are tunes written for the landed gentry of the 19th century, there are tunes with titles using words unfamiliar to us today, there are dance tunes and sad tunes and song tunes adapted for the fiddle. There are tunes about places near to us in Dundee, and there are tunes from other parts of Scotland and much further away. Along with each tune is included a little bit of social history, and transcribed versions of all the tunes here are in an appendix. There are thousands more tunes sitting waiting to be played in the books of Wighton Centre – if you like these ones, please come along to Dundee Central Library and find some more… William C. -
Translating Burns
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten WHO WROTE THE SCOTS MUSICAL MUSEUM? CHALLENGING EDITORIAL PRACTICE IN THE PRESENCE OF AUTHORIAL ABSENCE Murray Pittock The Scots Musical Museum is arguably the underpinning canonical text of Scottish song, the place where the country’s leading poet meets its great musical tradition in a “mouseion,” a temple of the Muses, which is also a Museum, a collection of antiquarian fragments. This six volume collection of the songs of Scotland was produced by James Johnson and Robert Burns, with the help of Stephen Clarke and many others, in the years 1787-1803. Although it was apparently a collection which was to serve as a “museum” for Scottish song, it was in fact in many respects less Scottish and less antiquarian than it appeared. The Museum took advantage both of the extensive market in song across the British Isles in the eighteenth century, and also of the new market in pianofortes which was being opened up in Edinburgh and elsewhere in the 1780s by John Broadwood (1732-1812) and others: pianos began to appear in Edinburgh music shops only three years before the first volume of the Museum appeared. Collections were ‘pianoized’. As David McGuinness points out, the bass line of Neil Gow’s “Lament for James Moray of Abercairney” had turned from a lamenting drone to a piano accompaniment between the 1784 and 1801 editions. Many of the traditions of Scottish song that the Museum seemed to be preserving were themselves novelties: what had been “new” reels in Neil Stewart’s 1761 Collection and its successor collections, were “old” less than a generation later. -
2021 BEMF Fringe Concert
The Cry of the Harp: A Harper’s Tour of Scotland James Ruff, Tenor & Early Gaelic Harp 2021 BEMF Fringe Festival Program (0:34) Fàilte Mhic Cai/Lord Reay’s Salute – tune from A Collection of Ancient Scots Music, Daniel Dow, 1776 (2:08) Welcome talk (4:08) Port 1, Port 2 – tunes from the MacLean-Clephane MS, Isle of Mull, copied 1816 (9:47) Cumha Ni Mhic Raghnaill/Ni Mhic Raghanill’s Lament - Scottish Gaelic lament, composed c. 1663 by sister of the two MacDonald of Keppoch victims, Alasdair & Raghnaill (17:14) MacDonald of Keppach’s Lamentation being Murdered by his two Cusin German’s – tune from A Collection of Ancient Scots Music, Daniel Dow 1776 (18:59) Lady Lothian’s Lilt – from the Panmure MS, Scotland 17th c. Transcribed from lute tablature by Vicente da Camera. (21:51) Puirt à Beul set - Traditional Scottish Gaelic vocal dance music, from the singing of Kenna Campbell (25:27) McGregor’s Search - from The Gesto Collection, 1895, as well as A Collection of Ancient Scots Music, Daniel Dow, 1776 (28:18) Iseabaill Nic Aoidh – Pibroch song by Rob Donn MacAoidh (1714-1778), c. 1747 (31:31) Port Atholl - attrib. Rorie Dall; tune from A Collection of Ancient Scots Music, 1776 (34:45) A’ Choille Gruamach/The Gloomy Forest – by Scottish Bard, Iain Mac Ailein (John MacLean), 1819; emigrated from Scotland to Barney’s River, Antigonish County, Nova Scotia (39:16) Cumha Iarla Wigton/Earl of Wigton’s Lament – tune from A Collection of Ancient Scots Music, Daniel Dow, 1776. Program Notes From ancient times, the Gaelic Music Tradition was an oral tradition, and one that continues as such to this day. -
The Scottish Pipe Band in North America: Tradition, Transformation, and Transnational Identity
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 The Scottish Pipe Band in North America: Tradition, Transformation, and Transnational Identity Erin F. Walker University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Walker, Erin F., "The Scottish Pipe Band in North America: Tradition, Transformation, and Transnational Identity" (2015). Theses and Dissertations--Music. 45. https://uknowledge.uky.edu/music_etds/45 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Early Scottish Melodies
' ^•••,:/-'..'JV;^; ^ve•^v*.^Vl^,^ : THE GLEN COLLECTION OF SCOTTISH MUSIC Presented by Lady Dorothea Ruggles- Brise fo the National Library of Scotland, m memory of her brother, Major Lord George Stewart Murray, Black Watch, killed in action in France in 1914. 28tfi Jaimaru 1927. 1.1 Early Scottish Melodies. Digitized by tine Internet Arcinive in 2011 with funding from National Library of Scotland http://www.archive.org/details/earlyscottishmel01glen WILLIAM IWCQIBBON, Obiit 1756. — : Early Scottish Melodies INCLUDING EXAMPLES FROM MSS. AND EARLY PRINTED WORKS, ALONG WITH A NUMBER OF COMPARATIVE TUNES, NOTES ON FORMER ANNOTATORS, ENGLISH AND OTHER CLAIMS, AND BIOGRAPHICAL NOTICES, Etc. WRITTEN AND ARRANGED BY JOHN GLEN. "Facts are chiels that winna ding, And downa be disputed." Burns. EDINBURGH : J. & R. GLEN, NORTH BANK STREET. 1900. Nol. EDINBURGH : PRINTED BY DAVID MACDONALD, 42 HANOVER STREET. [all rights reserved.] TO SIR ALEXANDER C. MACKENZIE, MUS. DOC, principal of the royal academy of music, this volume is dedicated (with permission) BY THE AUTHOR. *f: PREFACE. In placing this volume before the public, we have little doubt that many may think it uncalled for. Our Scottish Songs have already been published in so many and so varied forms, that any further issue may well seem superfluous. Our intention, however, is not to add to the number of these editions, but to reclaim Melodies which primarily and properly helony to Scotland, and to renounce others erroneously supposed to be Scottish produc- tions. The necessity for such a work will be apparent when it is understood that a considerable number of our National Melodies have been claimed for England, while on the other hand many Anglo-Scottish tunes manu- factured in London and elsewhere for the English market, have found admittance into our National Collections, and so given rise to perplexities and misunderstandings. -
Book Index by Title Title of Book Maclean # Publisher Date of Publication Alexander Mackenzie Collection Book 3 15 a Woods & Co
MacLean Collection Section A - Book Index by title Title of book MacLean # Publisher Date of Publication Alexander MacKenzie Collection Book 3 15 A Woods & Co. 1951 Alexander McGlashan's Collection of Strathspeys, 39 "Stewart, N." 1786 Reels, Etc. Alexander McGlashan's First Collection of Strathspey 38 Neil Stewart 1780 Reels Alexander Walker's Collection of Strathspeys, Reels, 42 A "Marr, John" 1866 Marches & ect., A Alexander Walker's Collection of Strathspeys, Reels, 42 B Cranford Publications 1991 Marches Etc. Alfred Moffat Collection - 202 Gems of Irish Melody 79 Bayley & Ferguson Alfred Moffatt's Dance Music of the North 83 Bayley & Ferguson 1908 Allan's Collection of Reels & Strathspeys 98 "Allan, Mozart" Allan's Irish Fiddler 91 "Allan, Mozart" Ancient Curious Collection of Scotland, The 22 "Gow, Nathaniel & Son" 1815 Archibald Duff's Collection of Strathespey & Reels 11 "Duff, Archibald" 1794 Etc. Athole Collection of The Dance Music of Scotland, 45 A MacLachlan & Stewart 1883 The Athole Collection of The Dance Music of Scotland, 45 B MacLachlan & Stewart The Volume II Auld Scotch Sangs Fantasia on Scottish Airs for 99 Bayley & Ferguson Violin & Piano Bagpipe Music (Parts of Several Books) 93 Balmoral Reel Book, The 85 Bayley & Ferguson Beaton's Collection of Cape Breton Scottish Violin 55 Richmond Print 1984 Music, Volume 1 Beauties of Niel Gow, The 25 "Robertson & Co.,Alex" 1952 Brenda Stubbert's Collection of Fiddle Tunes 58 Cranford Publications 1994 Cairngorm Collection of Strathspeys, Reels, 36 Bayley & Ferguson 1922 Hornpipes, Pastorals, Marches, Jigs Etc., The Caledonian Repository For The Violin, The Vol. II, 5 "Davie, James, Aberdeen" 1829 1st Edition Cameron & Ferguson's Miscellany - 145 Polular 8 B "Blockley, John" Tunes For The Violin Cameron & Ferguson's Miscellany - Miscellany of 8 A Cameron & Ferguson Popular Airs for the Concertina, The Cape Breton Collection of Scottish Melodies for the 52 "MacQuarrie, Gordon F." 1940 Violin, The Captain S.