THE STOCK-AND-HORN. BY LYNDESA . LANGWILLYG , C.A., HoN.F.T.C.L.

Read November 13, 1950.

The stock-and-horn represent a vanishes d type of eighteenth-century pastoral pipe which appears to have led at most a shadowy existence in the southern half of Scotland, though Burns * mentions a specimen he obtained e Braer nortth frofa f Athole s o ss ha m a t presentI . problea s e th mo t musicologist in that, while it closely resembled the practice-chanter (i.e. the melody pipe of the bagpipe, divested of blowpipe, bag and drones), a surviv- ing specime utmose th f o literaturetd ns i raritan referencet d yar an n i t i o st e equallar y write e rareTh .r e Scottisissueth o dt h pres Juln i s y 1934a short letter describin e instrumength askind informee b an y t o an gt f o d surviving specimens. Althoug lettee accordehs th rwa d fairly wide publicity, no specime reporteds nwa . To understand the instrument, we must first consider its near relative the , for the stock-and-horn is a hybrid between the hornpipe and bagpipe-chantere th . The hornpip s representei e e n BritaiWelsi dth y hb n pibgorn a which appear a stained-glas n i s s windo e Beauchamth f wo p Chapel t Mary'sS , , Warwick, temp. ca. 1443,3 and is mentioned at Oxford in 1448,* but became obsolete durin eighteente gth h centur ycylindrica A (fig . .1) l tub elderf eo - wood or bone (e.g. the tibia of a deer) was hollowed and perforated with six 1 Burns' Letters, 19th November 1794. s "Some AccounMusicao Tw f o lt Instruments use , n di Hone th y . b "Dame s Barringtonn i , Archceologia, vol. iii. (London, 1775), pp. 30-34, and pi. vii. 8 "Notes on the Musical Instruments figured in the Windows of the Beauchamp Chapel, St Mary's, Warwick, Williay "b m Bentley Transactionsn i , Birminghame oth f Archceological Society, vol. liii. (1928), pp. 167-72. Anstey'n I ' s Munimenta Academica t Oxford—a " Inventor Symof yo n Beryngton, Scholar, 1448, Item-TJnum Hornpipe." 174 PROCEEDING E SOCIETYTH F O S , 1949-50.

thumb-hola finger-holed an p fittes to elowee n wa da o sbelowth d o en r T . '' bell'' consistin pieca f ghorf o eo n with serrate uppee th d o redget endd ,an , servin smala s greservoirr a lai similaa , r piec hornf e o t wit bu , h smooth edge within which the lips were pressed to set in vibration a small cylindrical beating- inserted in the upper end of the tube. The total length was abou scal e inches6 th 1 t e d producean , thas ff do wa tmajor . Only three original pibgorns appear to survive, and of these two are preserved in the National Museum of Wales, Cardiff.1 One bears the date 1701.2 The third Museue th Societe n i th s f mi o Antiquariesf yo , London.

Fig. 1. [From Archteologia, I (1775)II , pi. 7 .

stock-and-hore Th n retaine reede dtubth e th ,woof ee o boner th d o d an , horn bell-mouth of the pibgorn, but in other respects displayed local vari- ation s; e.g. Burns' specimen from Perthshir mouthpieceo n d eha oatee ,th n reed being held in the lips. When present, the mouthpiece consisted of an elongated wooden capsule fitted to the upper end of the tube into which the single reed was inserted and was consequently covered—as in the modern bagpipe practice-chanter, in which, however, a is now employed.

1 "Welsh Musical Instruments, Peate. C D y . "Man,I rb n i , 1947 wit, 17 ,h illustrations. 2 Unti yeae lth r 180 Wynr 0M Penhesceddf no , Anglesey, gav annuan ea l bese prizth t o eperformet r hornpipee onth . THE STOCK-AND-HORN. 175

r onlSo originafa o ytw l specimen e stock-and-horth f o s n have been traced, and both are the work of skilled craftsmanship. The first belonged to Charles Keene, the Punch artist, and is now preserved in the Library of the Royal College of Music, London. It has a cylindrical tube of wood pierced by seven finger-holes and one thumb-hole. The lower end terminates in a short bel naturaf o l l uppehorne Th .r end, into which woul insertee db da single reed (no a doublt e ree s showa d n here) s coverei , a woode y b d n capsxile like that of the practice-chanter. The total length is 21 inches. The other and probably unique example is that preserved in the National Museu Antiquitief mo narroa Scotlandf so s ha w t I "stock. ebonyf "o a , double —eac n diametehi inche. 9 bor f 5d o e^mm san r long—and pierced with seven finger-holes and a thumb-hole so arranged in pairs that eac e thumh th finge d ban ropen r close o sholeo tw st latoncee a s eTh . Canon F. W. Galpin, the noted English musicologist, has observed that the object of the double bore appears to have been the production of a strong beating tone from mistuned consonances , e Egyptiapreciselth n i s nya zummarah or double reed-pipe of to-day in which single-beating reeds are employed. The scale is from f to g", and the total length 22 inches. Both these instrument e decoratear s d with band f ivoro s y betweee th n finger-holes, and might be the work of the same individual. The reed-cap Edinburge oth f h specime inche7 s ni roughls i lond gan y carved witha thistle device and the letters "J.A." The horn "bell" is 6^ inches long and 2-J- inches in diameter at the mouth. Nothing is known of its origin beyond the fact that this stock-and-horn was in the collection of Scottish antiquities presente e Trusteeth y b df Jame o s s Drummond, R.S.A.n i , 1877. Canon Galpin had a facsimile of the Edinburgh specimen made for his private collection, and he exhibited it, with a facsimile pibgorn, at the International Music Exhibition, 1900, and again at the Music Loan Exhibition, 1904. In 1916 the facsimiles, with his collection of 564 instru- ments, passed inte possessiooth e Museuth f o n f Finmo e Arts, Boston, U.S.A.1 stock-and-hore th o t s i t I n that Lady Grizel Baillie (1665-1746) probably pastorar referhe n i s l '' Absence ": 2 "Oh, the ewe-buchtin's bonnie, baith e'ening and morn When our blithe shepherds play on the bog-reed and horn; 3 While we're milking, they're lilting, baith pleasan cleard an t . Heart'y m t sBu lik breao et k whe dear y nI thin m .n ko

1 Ancient Musical Instruments, by N. Bessaraboff, being Catalogue of the Museum of Fine Arts, Boston, U.S.A., 1941. The facsimiles are accurately described under Nos. 90 and 89 and depicted in

pi. I. 2 Songs of Scotland prior to Burns, edited by R. Chambers (1862), p. 313. 3 Bag-reed occurs as an alternative reading, but, if hyphenated, is meaningless, and bog-reed in association with horn strongly suggest reed-blowe sth n stock-and-horn. 176 PROCEEDINGS OF THE SOCIETY, 1949-50.

Ohshepherde th , s take pleasur horne bloo eth t n w,o To raise up their flocks o' sheep soon i' the morn, On the bonnie green banks they feed pleasant and free, But, alas deay m , r sighing'y heartm l thee!al r , sfo " Ritson in his Historical Essay on Scottish Songs (London, 1794) includes several vignettes, and states * that these were executed by David Allan (1744—96). Chambers s editioSongse hi Th n i ,f no of Scotland prior Burnso t (1862), reproduces severa f Allan'o l s vignettes from Ritson's Essayd an remarks tha earle tth y eighteenth centur tima s poeticaf eo y wa l geniud san

Pig. 2. Vignett Daviy eb d Alla title-pagn no Ritson'f eo s Essay Scottishn o Songs (1794). of idealisatio hard-workine th lif e f eth o f no g peasantry, portraying thems a "shepherds with damoselspipey crookd co san d san , seated among purling brook d shadan s y groves. e frontispiecTh " 2 o eact e f Ritson'o h o tw s volume vignette th s si e here show foue Th nr line (fig. 2) .s belo froe war m Horace.3 Ritson refer s readere eleganhi sth o t s t e GentleeditioTh f o n Shepherd (1788), in which a stock-and-horn appears under David Allan's engraving of Allan Ramsay (1685-1758) wit hmaska leacrooa a , f d o f kan music similaA .t onlbu r y partially visible representation appears above the poet in the frontispiece to the 1808 edition. The stock-and-horn is thus described in Notes to Dr Pennecuik's Descrip- tion of Tweeddole: 4

1 P. CXTU, footnote 120. a Songs of Scotland prior to Burns, p. 338. 3 Odes, Book IV, No. xii. * It should be noted that although :Dr Pennecuik's work dates from 1715, the Notes are of much later date, being partl Armstrony yb 177 n gpartli d 5an Pindlatey yb 1802n ri . 7 E 17 STOCK-AND-HORNTH .

"The common n improvemena flut s i e e originath n o t l genuine Scottish pastoral pipe, consistin a cow' f go s horn a bower-tre, e stock from stoc (Gaelic) . calle . Stock-in-Horne . dth , with middloatee n stopa th d n e si ean th reed t a smaller end for the mouthpiece." 179n I 4 Burns wrot Alexandeo et r Cunningham connectio n 1i n witha seal on which he wished his armorial bearings cut: herala f shalo d t dan bi l givsecunduma u "m eIyo a artem Armsy m :

On afield azure2 holl,a y bush, seeded, proper basen i , shepherd'a ; s pipe and crook, Saltierwise, also proper, in chief. On a wreath of the colors, woodlara k perchin spria n bay-treef ggo o , proper crestr . fo . , . . By the shepherd's pipe and crook, I do not mean the nonsense of Painters of Arcadia: but a Stock-and-Horn and a Club; such as you see at the head of Allan Ramsay in Allan's quarto edition of the Gentle Shepherd." Apparently Burns determined to procure a specimen of the stock-and- horn, and, having done so, he wrote later in 1794 to George Thomson in

criticis Allan'mf o s engravings: 3 "Tell my friend Allan that I much suspect he has, in his plates, mistaken the figure of the stock and horn. I have at last gotten one; but it is a very rude instrument s composei t i : f threo d e parts e stockth ; , whice th s hi hinder thigh-bon mutton-hama n i sheepa e f eo se u , horne sucyo th ;s ha , which is a common Highland cow's horn, cut off at the smaller end, until the aperture be large enough to admit the stock to be pushed up through horne thigh-bonee th th thickee f , o th helunti e d b y lastlyd db t en ri l an ; , oaten a n reed, exactlnotched an t ydcu like tha everte whicse shepherhyo d boy have when the corn stems are green and full-grown. The reed is not made fast in the bone, but is held by the lips and plays loose in the smaller end of the stock, while the stock with the horn hanging on its larger end, ihande sr seveth helo playingn y i x sdb n si stoc e ventiges Th kha . n o s the upper side, and one back ventige, like the common . This of mine wafron e braesmma th f Athole mads exactla o si y d b e an ,y whae th t shepherds were wont to use in that country. However, either it is not quite properl blowinf o yt holesboree ar t gth i e elser n th dhavo i ,e t w , eno rightly; for we can make little of it. If Mr Allan chooses, I wiU send him a sight of mine."

1 Burns' Letters, Marcd 3r h 1794. 2 The armorial bearings invented by Burns were never matriculated by him or his descendants. J. H. Stevenson in his Heraldry in Scotland (vol i, p. 5) remarks that Burns' device appeared on three separate subsequent occasions as part of armorial bearings matriculated at the Lyon Office, but in none poet'e th e s ar mottoes perpetuated blazos hi s i n r itselno , f entirely shepherd's adhereHi . dto s pipe (stock-and-horn) is turned into a bugle-horn. This transformation occurs also in the Centenary Medal f Robero t Burn n 1859i s . Vide Catalogue f Medalso f Scotlando y Bb . W. Cochran-Patrick (1884), No. 85, p.m. * Burns' Letters, 19th November 1794. VOL. LXXXIV. 12 178 PROCEEDINGS OF THE SOCIETY, 1949-50.

reply,n I 1 Thomson wrote: "Allan desires me to thank you for your accurate description of the Stock-and-Hor e verth yr gratifyinfo d nan n i g m complimenhi y pa u yo t considering him worthy of standing in a niche by the side of Burns, in the Scottish Pantheon sees rude ha n th e e H instrumen. describeu yo t doeo s , s not want you to send it; bub wishes to know whether you believe it to have ever been generally usemusicaa s da Scottise l th pip y eb h shepherdsd an , when, and in what part of the country chiefly. I doubt much if it was capable of anything but routing and roaring. A friend of mine says he remember havo st younges hi e n heari e r ddayon s (mad woof eo d insteaf do your bone), and that the sound was abominable."

Burns does not appear to have replied to this inquiry. In The Gentle Shepherd (1725), Allan Ramsay wrote: "When I begin to tune my Stock-and-Horn W facir shaw e ahe 'esh cauldrifsa e scorn. Last nigh play'd—yI t e never hear spitec dsi ! O'er Bogie was the spring 2 and her delyte;— t tauntinglcousir Ye he t na e speer'ysh d ' Gif she could tell what tune I play'd?' and sneer'd. Flocks wander where ye like, I dinna care, I'll brea reenevey d km dan r whistle mair." Ramsay owne dstock-and-hora n which, wit shepherd's hhi s blue bonnet, became the property of Sir David Wilkie, R.A. (1785—1841), who utilised them in his picture '"The Gentle Shepherd," now in the National Gallery of Scotland. The horn and the bonnet passed to Gourlay Steele, R.S.A., and thence to Wm. Moir Bryce, Edinburgh, who lent them to the Scottish Exhibition in Glasgow in 1911 with the original MS. of The Gentle Shepherd. Sinc Bryce'r eM s deat 191n hi l trac9al thesf eo e relic bees sha n lost. Newhallt A , Midlothian, associated wit settine Gentlee hth Th f go Shepherd, there is, to the left of the main door of the mansion house, a carved stone on which appears a wreath, a shepherd's crook, and a stock-and-horn of the type portraye Daviy db d Allan. e houseTh Abercor2 , n Gardens, Edinburgh, onc e homth e f Hugeo h Miller, the geologist (1802—56), and now Restalrig Manse, contains a stained- glass window in which six Scottish poets are represented—Sir David Lyndsay, Blind Harry, Allan Ramsay, James Thomson, Sir Walter Scott and Thomas Campbell. Beneath Ramsay is a ram with, significantly, a stock-and-hor bluebellsd nan . The instrumen stils ltwa occasionally depicte nineteenthe th dn i century— Burns' Letters, 29th November 1794.

1 "O'er Bogie was the tune." It is given in the 1788 edition of The Gentle Shepherd with the words

eight-lino oftw 2 e stanzas.

THE STOCK-AND-HORN. 179

e frontispiecth e.g. n Caledoniane i Th o t e Musical Repository publishen di Edinburg 1811—ann hi e coveth f Jamen o rdo s Dewar's Popular National Melodies (ca. 1826 a shepher) s showdi n seated beneat ha tre e playinga stock-and-horn. With the passage of time, the precise nature of the obsolete instrumen s forgottenwa t . Thus, suc a hnote d musicologis e latth e s a t A. J. Hipkins 1 errs when he states: "The lowland Scotch shepherd's pipe is made of horn, the cover for the reed being also of horn." As has been shown, the pipe was of bone or wood, and the reed-cover, where present, was of wood.2 He has confused the Scottish stock-and-horn with the Welsh pibgorn, which invariably had a reed-cover of horn. Engel3 depicts a Welsh pibgorn, and describes both it and a stock-and- horn lent by J. Gordon Smith, London. This latter instrument was No. 381 at the Special Exhibition of Ancient Musical Instruments at the South Kensington Museu 1872mn i appeard an ,photographi a n i s c e platth n ei Catalogue publishe Internationae th 1873n di t A . l Inventions Exhibition, 1885, what same appearth e b stock-and-hor o st lens Charley ntb wa s Keene, whpresumabld oha y acquire t frodi . mGordoJ n Smith. Engel suggests tha stock-and-hore th t denotes ni d "corne pipen a n "i enumeration of instruments played by eight shepherds in the Complaynt of Scotland (1548):

"The fyrst had ane drone bagpipe, the next hed ane pipe maid of ane bleddir reide thire an th ,f do trumpe playid an corne an feyere n an o tth , en do pipe e th , fyfth on ane pipe maid of ane gait home, the sext playit on ane recordar, the sevent plait on ane fiddil, and the last plait on ane quhissel." Sir John Dalyell, however, in his comprehensive survey of Scottish musical instruments,4 makes no mention of the stock-and-horn. A distinction must be made between the stock-and-horn and the stockhorn. Frequently Grove'n i s a , s Dictionary of Music, terme th 5 s have been treated s synonymousa r JohSi nt Skene'bu , s descriptio e stockhornth e nf o 6us n i 159n i 7 show havo t t si e bee ncruda e typ forester'f eo s hornd ha , e such s ha seen blown in Switzerland in 1568, and not the reed-blown instrument later known as stock-and-horn. The late Professor Henry Balfour, Curator of the Pitt Rivers Museum, Oxford shows ha , n 7 that these British forms—pibgor stock-and-hornd nan — belong to a large family of reed-pipes whose natural and original home is in e Easwhosd th an t e reed e "single"—oar s e simplesth f t late kindeTh .

Musical Instruments, Historic, Rare Uniqued an (Edinburgh, 1888), Introduction. t wil I notee b l d tha specimee th t n Burns describe reed-capo n d dha . Catalogue of the Instruments in the South Kensington Museum (1874), p. 373. Musical Memoirs of Scotland (1849). 4th edition, s.v. Stockhorn. De Verborum Signification, by John Skene (1597), s.v. Menetum. "The Old British Pibgorn or Hornpipe and its Affinities," in Journ. Anthropological Inst., vol. xx.

1890. f 180 PROCEEDING E SOCIETYTH F O S , 1949-50. Canon Galpin found tha e Assyrianth t s B.C.0 (ca.90 ) utilise dhorn-endea d pipe with covered reed. Originally a protection to the delicate reed, the cover perforatedo s p rwa ca , creatin mouthpieca s a gsecondara t i r fo ee yus wind-chambed an r through whic reee hth d coul soundede db . Mor r leseo s similar types are found in China, India, Persia, Arabia, the Grecian Archi- pelago, and the Spanish Basque provinces, illustrating a gradual migration 1 westwards. Brough e Britisth o t th Isles wit e Celtihth c immigration,e th type survive tima r thosn edi fo e region whicn si h Celtic bloo hels s dha dit own.2