By Karen McAulay

One of many earliest documented Scottish track creditors really to head 'into the sector' to assemble his specimens, was once the Highlander Joseph Macdonald. Macdonald emigrated in 1760 - contemporaneously with the beginning of James Macpherson's well-known yet a lot disputed Ossian undertaking - and it fell to the Revd. Patrick Macdonald to complete and consequently put up his more youthful brother's assortment. Karen McAulay strains the complicated heritage of Scottish music gathering, and the e-book of significant Highland and Lowland collections, over the consequent a hundred thirty years.Looking at assets, authenticity, amassing method and layout, McAulay areas those collections of their cultural context and strains hyperlinks with modern attitudes in the direction of such wide-ranging issues because the embryonic tourism and trip undefined; cultural nationalism; fakery and forgery; literary and musical creativity; and the circulate from antiquarianism and dilettantism in the direction of an more and more scholarly and didactic tone within the mid-to-late Victorian collections. recognition is given to a few of the functionality matters raised, both in correspondence or within the paratexts of released collections; and the narrative is interlaced with references to modern literary, social or even political historical past because it affected the creditors themselves. most importantly, this research demonstrates a resurgence of cultural nationalism within the overdue 19th century.

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59 Highland Vocal Airs, p. 6. 57 58 Our Ancient National Airs 30 made them resemble those written in Italy or France, but compromised the tunes’ original purity. Gelbart, in The Invention of “Folk Music” and “Art Music”, observes that one can, in fact, detect a clear distinction between the collectors striving for simplicity and preservation (like MacDonald and Young), and those professional musicians whose art generated their income. 60 At this stage in our narrative, however, our focus is primarily on the enthusiastic amateurs intent on preserving their heritage.

1780–1800 Introduction The late eighteenth- and early nineteenth-century collections to be discussed in this chapter are characterized by a spirit of antiquarian zeal. The collectors convey a sense that the songs were rapidly disappearing, and an urge to collect and preserve their national repertoire by committing the repertoire to print. This is most clearly articulated by the English antiquarian, Joseph Ritson (1752–1803) in his Scotish Song (1794), with the overarching assumption that an earlier, more innocent pastoral age had now gone: The aera [sic] of Scotish music and Scotish song is now passed.

Henderson, ‘Callender, John’, rev. by Alexander Du Toit, ODNB. 36 Our Ancient National Airs said to have been of questionable originality, derivative but without attributing his sources. It is obviously impossible to know whether his proposed music book would have made an original contribution to knowledge. Nonetheless, his involvement in the Society of Antiquaries, his other publications, and a passing reference to the ‘Republic of Letters’ clearly define him as a typical member of the Edinburgh literati.

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