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Whole Thesis V1.4 Clements, Joanna (2013) The creation of “ancient” Scottish music history, 1720-1838. PhD thesis. http://theses.gla.ac.uk/4699/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] The Creation of “Ancient” Scottish Music History, 1720-1838 Joanna Clements BMus (Hons) MMus, Musicology Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow June 2013 2 Abstract This thesis examines the writing of Scottish music history from the 1720s to 1838. It concludes that the Scottish music histories written over this period were fundamentally shaped by the interaction of ideas about universal historical progress with ideas specific to the Scottish context of the work. Ramsay’s pioneering claims that Scots songs were ancient were supported by parallels between the features of song – simplicity, pastorality and naturalness - and ideas about the nature of the past held more widely. The contrasts he drew with Italian music and English verse further supported his claims in ways specific to the Scottish context. In the later eighteenth century the Enlightenment model of universal historical progress – simple and pastoral societies developed into complex and commercial ones over time - came to underpin the continued perception that Scots songs were ancient. This same universal model underpinned narratives of scalic development, and narratives of preservation. Contemporary perceptions of the place of the Scottish Highlands and rural societies in the universal model of historical progress resulted in the collection of more purportedly historic song from Highlanders and the rural poor of the Lowlands and Borders. These same perceptions also seem to have resulted in the differing use of written sources to create a picture of a gradually evolving Lowland/Border music history and a static Highland music history. Specifically Scottish destructive events were used to explain the lack of other forms of evidence of purportedly ancient songs in the past: the Reformation, defeudalisation, and the modernisation of the countryside form turning points in many of the narratives. Writers’ reasons for writing Scottish music history similarly reveal twin concerns with the universal and the particularly Scottish. In foregrounding the social and cultural factors which underpinned the construction of Scottish music history in the eighteenth and early nineteenth centuries, this study challenges the continued inclusion of elements of the present-day received view. In addition, in demonstrating the parallels between music-historical and historical writings more broadly this thesis enriches our understanding of Enlightenment historical thought. 3 Contents Abstract .................................................................................................................................. 2 List of Tables ........................................................................................................................... 8 List of Figures ......................................................................................................................... 8 Acknowledgements ................................................................................................................ 9 Preface ................................................................................................................................. 10 1. Introduction ................................................................................................................. 22 1.1. The Problem with Farmer ...................................................................................... 22 1.2. Farmer’s Parallels with William Dauney ................................................................ 25 1.3. Secondary Literature ............................................................................................. 28 1.4. The Level of Interest in Scottish Music History ..................................................... 36 2. Scottish Music History, c.1720-1838 ............................................................................ 38 2.1. Allan Ramsay and The Tea-Table Miscellany ......................................................... 38 2.2. Orpheus Caledonius and David Rizzio.................................................................... 41 2.3. The Writing of Scottish Music History After 1770 ................................................. 43 2.3.1. The History of Scots Songs and Ballads .......................................................... 47 2.3.2. Origins ............................................................................................................ 61 4 2.3.3. Scale Types ..................................................................................................... 63 2.3.4. Bards and Minstrels ....................................................................................... 65 2.3.5. Written Sources ............................................................................................. 73 2.3.6. The Highlands ................................................................................................. 75 2.3.7. Instruments .................................................................................................... 78 2.4. Conclusion ............................................................................................................. 79 3. “The earliest testimony hitherto met with of the excellence and antiquity of Scotish music”: More on Allan Ramsay and the Beginning of the Writing of Scottish Music History.. ................................................................................................................................ 81 3.1. Songs from The Tea-Table Miscellany After Ramsay ............................................ 82 3.2. Scots Songs and Tunes Prior to Ramsay ................................................................ 84 3.3. Pastoral Poetry, Italian Music and English Verse: the Cultural Context of Ramsay’s Characterisation of Ancient Music and Song ................................................... 88 3.3.1. Parallels with Perceptions of Pastoral Poetry ................................................ 91 3.3.2. Contrast with the Italian ................................................................................ 95 3.3.3. Contrast with English Verse ........................................................................... 97 3.4. Conclusion ...........................................................................................................101 4. Enlightenment Models of Historical Progress and the Continued Perception that Scots Songs were “Ancient” ...............................................................................................102 5 4.1. Perceptions of Ramsay’s Work ............................................................................105 4.2. Enlightenment Ideas about the Nature of History and the Continued Perception that Ramsay’s Songs were Ancient ................................................................................109 4.3. Enlightenment Models of History and Collecting New Sources for the History of Music.. ...........................................................................................................................115 4.4. Enlightenment Ideas about Historical Progress and the Creation of Music- Historical Narrative ........................................................................................................118 4.4.1. Preservation and Corruption .......................................................................121 4.4.2. Parallel Traditions of Preservation ...............................................................124 4.5. Conclusion ...........................................................................................................128 5. Beyond Scots Songs and Ballads: The Use of Other Types of Sources to Write the History of Song ...................................................................................................................130 5.1. Manipulating the Past into the History of Song .................................................131 5.2. Non-Song Sources and the Different Histories of Lowland/Border and Highland Music… ...........................................................................................................................136 5.3. Ritson and the Music History of Literate Society ................................................139 5.4. The Use of Written Sources for the Music History of Literate Groups After Ritson…. ..........................................................................................................................146 5.5. Conclusion ...........................................................................................................150 6 6. “The æra of Scotish music and Scotish song is now passed”: Social Change and the Narrative
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