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Hearing Heritage Selected essays on Scotland’s music from Musica Scotica conferences ! Edited by M. J. Grant Published by the Musica Scotica Trust, 2020 All texts © Te authors, 2020 Images included in this volume appear by permission of the named copyright holders. Tis volume is freely available to download, in line with our mission to promote scholarship and knowledge exchange. Further distribution, including of excerpts, is subject to this being credited appropriately. ISBN 0-9548865-9-3 Glasgow: Musica Scotica Trust, 2020 Table of Contents About the Authors Gordon Munro & Introduction 1 M. J. Grant Hugh Cheape Raising the Tone: Te Bagpipe and the Baroque 3 Joshua Dickson A Response to ‘MacLeod’s Controversy’: Further 19 Evidence of the Pibroch Echo Beat’s Basis in Gaelic Song Elizabeth C. Ford Te Crathes Castle Flute: Artistic License or Historical 31 Anomaly? John Purser James Oswald (1710–1769) and Highland Music: 39 Context and Legacy Per Ahlander Te Seal Woman: A Celtic Folk Opera by Marjory 55 Kennedy-Fraser and Granville Bantock Stuart Eydmann & Seeking Héloïse Russell-Fergusson 73 Hélène Witcher Marie Saunders We’re All Global Citizens Now, and Yet … 84 About the authors Per G. L. Ahlander read modern languages, musicology, opera theatre and fne arts at Stockholm University, music at the Royal Swedish Academy of Music and is a graduate of the Stockholm School of Economics. He completed his doctorate in 2009 at the University of Edinburgh, where he subsequently held postdoctoral research fellowships at the Institute for Advanced Studies in the Humanities and the Department of Celtic & Scotish Studies. His PhD thesis, ‘Marjory Kennedy-Fraser (1857–1930) and Her Time: A Contextual Study’, won the 2010 Ratclif Prize. He has presented papers and lectured throughout the UK, including at the Edinburgh Festival, in France and in Sweden, contributed to exhibitions, radio and TV broadcasts, and published extensively. His current research interests include opera and art songs in Britain and on the continent and the Celtic Revival movement in Scotland. Now based in Stockholm, he enjoys a parallel career in fnance and business. Hugh Cheape teaches a postgraduate programme through the medium of Scotish Gaelic at Sabhal Mòr Ostaig, the National Centre for Gaelic Language and Culture, in the University of the Highlands and Islands. Te MSc Cultar Dùthchasach agus Eachdraidh na Gàidhealtachd (‘Material Culture and Gaelic History’) draws on a former career in the National Museums Scotland (1974–2007) and research and publication in ethnology and musicology. He created a piping collection for the National Museums towards a baseline organology for the bagpipe as European instrument. Joshua Dickson is Head of Traditional Music at the Royal Conservatoire of Scotland. His ground-breaking anthology of piping studies, Te Highland Bagpipe: Music, History, Tradition was published by Ashgate (2009). Other published work (in the journals Scotish Studies and Review of Scotish Culture, 2013) has brought to light the role of women in traditional Gaelic canntaireachd in Hebridean life. In addition to these and other research publications, he has contributed extensively to higher music education through the design of the BMus (Hons) Traditional Music programme at the Royal Conservatoire, through the establishment of innovative performance assessment practices, and through the founding of the international conference series Pedagogies, Practices and the Future of Folk Music in Higher Education. Stuart Eydmann performs, researches, and writes on Scotish vernacular music and is particularly concerned with aspects of the revivals of the twentieth century. He was a lecturer on traditional music history at the Royal Scotish Academy of Music and Drama (now RCS) and on popular music at the Open University and both Post-doctor- al Research Fellow and Traditional Artist in Residence at the School of Scotish Studies, University of Edinburgh. He is a postgraduate tutor at Edinburgh School of Architec- ture and Landscape Architecture, University of Edinburgh and curator of the online au- dio archive raretunes.org. About the authors Elizabeth Ford won the 2017 National Flute Association Graduate Research Award for her doctoral research on the fute in eighteenth-century Scotland. She was the 2018– 2019 Daiches-Manning Memorial Fellow in 18th-century Scotish Studies, Institute for Advanced Studies, University of Edinburgh. Her complete edition of William McGibbon’s sonatas is published by A-R Editions, and her monograph, Te Flute in Scot- land fom the Sixteenth to the Eighteenth Century, is part of the Studies in the History and Culture of Scotland series from Peter Lang Press. In the 2021 academic year, Elizabeth will hold the Martha Goldsworthy Arnold Fellowship at the Riemenschneider Bach In- stitute, the Abi Rosenthal Visiting Fellowship in Music at the Bodleian Libraries, and the American Society for Eighteenth Century Studies-Burney Centre Fellowship at McGill University. She is co-founder of Blackwater Press. M. J. Grant is a musicologist based at the Reid School of Music, University of Edinburgh, and a member of the Editorial and Advisory Board of Musica Scotica. Her work on Scotland’s music includes the book Auld Lang Syne: A Song and Its Culture, forthcoming from Open Book Publishers. She has also published extensively on new and experimental composition. Her current research focuses on the musicology of war and collective violence, and includes work on the military bagpiping tradition. Gordon Munro is Director of Music at the Royal Conservatoire of Scotland and Gen- eral Editor of Musica Scotica. His PhD thesis, ‘Scotish Church Music and Musicians, 1500–1700’ was completed under the supervision of the late Kenneth Elliot at the University of Glasgow. He has contributed articles to various publications including the Oxford Dictionary of National Biography. John Purser is a composer, poet, and author of Erik Chisholm, Scotish Modernist and the award-winning Scotland’s Music, a third edition of which is in preparation. He has won awards as an archaeomusicologist and, with Dr. Graeme Lawson, has writen up the discovery of a c. 500 BCE bridge for a stringed instrument found on Skye, to be published by Oxbow as part of the whole site report. In 2007 he received the Scotish Traditional Music Association Award for Services to Industry. In 2009 the University of Aberdeen conferred on him the Degree of Doctor Honoris Causa, and in 2011 he was made an Honorary Fellow of the Association of Scotish Literary Studies. With Dr. Meg Bateman, Purser has co-authored Window to the West – Culture and Environment in the Scotish Gàidhealtachd, recently published by Clò Ostaig. Purser lives and crofs on the Isle of Skye. Marie Saunders came to postgraduate music studies in later life, afer a teaching career in sociology and the humanities, spanning over thirty years. She obtained both a Dip- loma in Music and an M.A. in Music with the Open University. In 2019 Marie obtained an MPhil in Music at City University London. She has presented papers at conferences in Britain including Glasgow University, Newcastle University, City University London, the Institute for Musical Research in London and the Royal Conservatoire of Scotland. About the authors She uses her membership of the British Forum for Ethnomusicology and the Royal Mu- sical Association to keep informed about developments in music research. Her particu- lar interests are in the feld of music and identity, diaspora and music, and neuroscience and music. Hélène Witcher grew up by Loch Lomond and studied at Stirling University before becoming a primary teacher. Work with bilingual children and with Travellers took her back to Stirling to research issues of equality in Scotish education. Tereafer, her career focused on promoting diversity across Scotish schools and colleges. Eventual retire- ment and interest in family history prompted Hélène’s research into the life of Héloïse Russell-Fergusson, an aunt she had met only once. Her biography, Madame Scotia, Madam Scrap, was shortlisted for the Scotish Book Trust’s New Writers Award in 2016 and published in 2017 by Te Islands Book Trust. In 2019, Hélène commissioned digit- isation of Héloïse’s four EPs from the 1960s and their production on a CD entitled Out Tere. Sharing Héloïse’s life and music at festivals, book groups and local history groups is now a valued part of Hélène’s life. Introduction Gordon Munro and M. J. Grant Musica Scotica was founded under the general editorship of the late Dr Kenneth Elliot in 1996. Te frst publications (both by Elliot) were Te Complete Works of Robert Carver and a pamphlet study of ‘Te Paisley Abbey Fragments’. Te decades since have witnessed a blossoming of academic research into the musical cultures of Scotland, and the conferences organised by the Musica Scotica Trust over the past ffeen years have witnessed and – we hope – contributed to this trend. Te Musica Scotica Trust itself has published seven further volumes of scholarly editions of Scotish music, two further his- torical studies of Scotish music, and several miscellaneous pieces. Te conferences have formed an essential part of the Trust’s mission to promote scholarship on all aspects of music in and from Scotland. Atended by leading scholars and early career researchers alike, Musica Scotica conferences provide an accessible academic environment for the presentation of research and work in progress – truly to hear (to listen to, learn about and investigate) Scotland’s musical

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