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One of the earliest documented Scottish song collectors actually to go 'into the field' to gather his specimens, was the Highlander Joseph Macdonald. Macdonald emigrated in 1760 - contemporaneously with the start of James Macpherson's famous but much disputed Ossian project - and it fell to the Revd. Patrick Macdonald to finish and subsequently publish his younger brother's collection. Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections, over the ensuing 130 years. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context and traces links with contemporary attitudes towards such wide-ranging topics as the embryonic tourism and travel industry; cultural nationalism; fakery and forgery; literary and musical creativity; and the move from antiquarianism and dilettantism towards an increasingly scholarly and didactic tone in the mid-to-late Victorian collections. Attention is given to some of the performance issues raised, either in correspondence or in the paratexts of published collections; and the narrative is interlaced with references to contemporary literary, social and even political history as it affected the collectors themselves. Most significantly, this study demonstrates a resurgence of cultural nationalism in the late nineteenth century.
First Published in 1998. Irish traditional music is one of the richest treasuries of folk music in the world. Being an oral tradition, much of it has already been lost, and what has been recorded is only partially available in isolated collections. Until now, no composite picture has yet been presented, showing its remarkable range and diversity over four centuries. This volume covers Irish materials in general collections up to 1800 and in Irish collections up to and including Petrie's Ancient Music of Ireland (1855).The purposes of the project are to identify Irish dance tunes and songs; to present the scholar with a mass of material showing the evolution of the Irish vocal and instrumental folk style, period by period, from the earliest recorded tune up to the middle of the last century; to put into circulation many of the splendid airs which were lost but have now been located. Some 6,000 songs and dance tunes are presented, also including Scottish and English tunes. Included are Scottish tunes that were used by 18th-century Irish poets for their verses, and both English and Scottish tunes that are still current among Irish traditional musicians. Tunes of present-day currency which do not seem to be included may still be located by comparing their first 12 notes in the thematic index at the end of the volume.To make the vast array of material readily available, an index allows readers to locate a tune by its melodic incipit, by any of its titles, or by the first line of its text. Unfortunately, the vast majority of Irish songs noted up to the end of the last century lack texts, since the collectors were ignorant of the Irish language. But almost every other facet is covered-provenance, tonality structure, and variants.
The Modern Language Review (MLR) is an interdisciplinary journal encompassing the following fields: English (including United States and the Commonwealth), French (including Francophone Africa and Canada), Germanic (including Dutch and Scandinavian), Hispanic (including Latin-American, Portuguese, and Catalan), Italian, Slavonic and East European Studies, and General Studies (including linguistics, comparative literature, and critical theory).