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Download PDF 8.01 MB Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Imagining Scotland in Music: Place, Audience, and Attraction Paul F. Moulton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC IMAGINING SCOTLAND IN MUSIC: PLACE, AUDIENCE, AND ATTRACTION By Paul F. Moulton A Dissertation submitted to the College of Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Paul F. Moulton defended on 15 September, 2008. _____________________________ Douglass Seaton Professor Directing Dissertation _____________________________ Eric C. Walker Outside Committee Member _____________________________ Denise Von Glahn Committee Member _____________________________ Michael B. Bakan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Alison iii ACKNOWLEDGMENTS In working on this project I have greatly benefitted from the valuable criticisms, suggestions, and encouragement of my dissertation committee. Douglass Seaton has served as an amazing advisor, spending many hours thoroughly reading and editing in a way that has shown his genuine desire to improve my skills as a scholar and to improve the final document. Denise Von Glahn, Michael Bakan, and Eric Walker have also asked pointed questions and made comments that have helped shape my thoughts and writing. Less visible in this document has been the constant support of my wife Alison. She has patiently supported me in my work that has taken us across the country. She has also been my best motivator, encouraging me to finish this work in a timely manner, and has been my devoted editor, whose sound judgement I have come to rely on. I am also appreciative of my children, who wondered if I would ever finish my dissertation, and of my parents, who fostered in me a deep love for music. iv TABLE OF CONTENTS List of Musical Examples .................................................... viii List of Figures .............................................................. x Abstract ................................................................... xii 1. INTRODUCTION.......................................................... 1 Purpose............................................................... 4 Survey of Literature..................................................... 5 Approach ............................................................. 6 2. ORIGINS OF THE SCOTTISH IDENTITY.......................................9 Land................................................................ 10 History.............................................................. 14 Creating Cultural Borders ............................................... 26 Representing Scotland in Literature........................................ 31 James Macpherson............................................... 34 Robert Burns ................................................... 44 Walter Scott.................................................... 51 Conclusion........................................................... 57 3. SCOTLAND IN THE DRAWING ROOM.......................................59 Overview of Scottish Songbooks.......................................... 60 Allan Ramsay’s The Tea-Table Miscellany ............................ 60 William Thomson’s Orpheus Caledonius ............................. 62 James Johnson’s The Scots Musical Museum .......................... 65 George Thomson’s A Select Collection of Original Scottish Airs ........... 69 Songbook Audiences................................................... 73 Songbook Attraction ................................................... 86 History and Authenticity .......................................... 87 Primitivism..................................................... 88 Entertainment................................................... 91 Social Development.............................................. 92 v Songbooks in the Drawing Room ......................................... 94 Musical Landskip................................................ 95 The Claude Glass as Analogy for Scots Songs . 97 Conclusion.......................................................... 104 4. SCOTLAND IN OPERA................................................... 106 Lucia and La Donna in Italy ............................................ 107 Portraying Scotland through Setting, Characters, and Plot . 113 Scottishness in Italian Music............................................ 118 Conclusion.......................................................... 126 5. SCOTLAND IN THE CONCERT HALL...................................... 127 Representations of Place within Concert Hall Space . 128 Concert Hall as Ritual Space...................................... 129 Performing a Sound Cosmos...................................... 130 The Scottish Sound World Depicted in Three Orchestral Pieces . 137 Mendelssohn: Hebrides Overture .................................. 138 Mendelssohn: Scottish Symphony.................................. 145 Bruch: Scottish Fantasy .......................................... 160 Conclusion.......................................................... 162 6. CELTICA IN THE HEADPHONES.......................................... 164 Defining the Celtic Mist................................................ 165 A Trip to the Border................................................... 171 Audience Attraction to Scottish Celtic Music . 175 Paradox 1: Gaelic Songs for the non-Gaels . 175 Paradox 1 Resolution: The Imaginative Response . 183 Paradox 2: Lamenting Stolen Culture to the Culture Thieves . 187 MacLean and his songs: themes of place . 188 Sounding the loss-of-culture alarm . 192 Paradox 2 Resolution: Imagining Scotland as Their Own . 197 A sense of history......................................... 198 Family relationships....................................... 199 Resisting hegemony....................................... 200 Grounded: a sense of place ..................................201 Paradox 3: Praising the Past with the New . 202 Paradox 3 Resolution: Global Swirl ................................ 205 Summary and Conclusion .............................................. 205 vi 7. SUMMARY AND CONCLUSION........................................... 207 Scotland’s Images .................................................... 208 Performance Spaces and Audiences ...................................... 209 Audience Attraction................................................... 210 APPENDICES A Chronological List of Scottish Songbooks . 212 B Known Editions of Allan Ramsay’s Tea-Table Miscellany .................. 221 C Sample List of Subscribers to Orpheus Caledonius, 2nd Edition.............. 223 BIBLIOGRAPHY .......................................................... 225 BIOGRAPHICAL SKETCH.................................................. 238 vii LIST OF MUSICAL EXAMPLES Example 3.1. mm. 9-12 of Johnson’s “Highland Laddie” . 102 Example 4.1. Uberto’s folk-aria “Aurora! Ah sorgerai,” in La donna .................. 119 Example 4.2. Harp introduction, fountain scene, in Lucia ........................... 120 Example 4.3. Lucia’s harp accompanied aria, “Quando rapito in estasi” . 120 Example 4.4. Trio excerpt at beginning of Act II, in La donna ........................ 122 Example 4.5. Excerpt, Uberto’s love aria, “Oh fiamma soave........................ 122 Example 4.6. Excerpt, Elena’s rondo in the finale of La donna ....................... 123 Example 4.7. Beginning of Lucia’s “Regnava nel silenzio” . 123 Example 4.8. Excerpt, Regava nel silenzio,” when Lucia describes the ghost . 124 Example 4.9. Aria “Ill dolce suono” from Lucia’s mad scene . 124 Example 4.10. Enrico’s vengeance aria “Cruda, funesta smania” . 125 Example 4.11. Edgardo’s vengence aria “Qui del padre ancor respira” . 125 Example 5.1. Wave gesture, Hebrides Overture.................................... 139 Example 5.2. Andante theme, first movement, “Scottish” Symphony . 147 Example 5.3. Primary Allegro theme, first movement, “Scottish” Symphony . 148 Example 5.4. Secondary theme, first movement, “Scottish” Symphony . 149 Example 5.5. Second closing theme, first movement, “Scottish” Symphony............. 149 viii Example 5.6. Primary theme, second movement, “Scottish” Symphony . 151 Example 5.7. Introduction theme, third movement, “Scottish” Symphony . 152 Example 5.8. Primary theme, third movement, “Scottish” Symphony.................. 152 Example 5.9. Martial 1P theme, fourth movement, “Scottish” Symphony . 153 Example 5.10. Martial 2P theme, fourth movement, “Scottish” Symphony.............. 153 Example 5.11. Regal 2S theme, fourth movement, “Scottish” Symphony ............... 154 Example 5.12. Hushed 1S theme, fourth movement, “Scottish” Symphony . 154 Example 6.1. Opening verse and refrain of traditional “Bheir mi sgriob.” . 181 ix LIST OF FIGURES Figure 2.1. Map of Scotland.....................................................11 Figure 2.2. Scara Brae .........................................................16 Figure 2.3. Complex of Identity Layers........................................... 58 Figure 3.1. Scottish Songbook Production, 1700-1850 . 63 Figure 3.2. 9th Edition of the Tea-Table Miscellany ................................. 76 Figure 3.3. Binding and cover page of Orpheus Caledonius ..........................
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