Arts and Humanities Commons^™

Mapping Changes To The Songs In The Gentle Shepherd, 1725-1788, Brianna E. Robertson-Kirkland

Studies in Scottish Literature

Examines the varying ways in which the songs in Allan Ramsay's ballad-opera The Gentle Shepherd were published between the 170s and the 1780s, noting variation in how particular songs were titled, in which songs were included and how they were placed within the dramatic text, in which tunes were used for which song-texts, and in how words were related to music in editions providing both. The discussion is supported by extensive tables and lists of 18th century Ramsay editions, and illustrated with transcriptions of the music in two editions. Concludes that the addition of the music in later editions served …

Introduction: Allan Ramsay's Future, Murray Pittock, Craig Lamont

Studies in Scottish Literature

Presents an overview of the new AHRC-funded edition of the Collected Works of Allan Ramsay, and of related recent scholarly and community activity in relation to Ramsay's public recognition and heritage, both in the Pentlands area south of Edinburgh, near Penicuik and Carlops, and more broadly in Scottish literary history, specifically in relation to the origins of Scottish Romanticism.

The King And The People In Burns And Lady Nairne, With A Coda On Jane Austen’S Favorite Burns Song, Carol Mcguirk

Studies in Scottish Literature

Explores the treatment of the monarchy, and the Jacobite song tradition, in Robert Burns (who "refuses political silence yet ... embraces indirection, even contradiction") and Caroline Oliphant, Lady Nairne (whose "lyrics highlight Scottish solidarity... offering her readers [and the performers of her songs] an immersion experience in being Jacobite"), with discussion also of Jane Austen's favourite Burns song "“Their Groves of Sweet Myrtle,” suggesting that this is echoed in Austen's Emma.

Robert Burns: A Documentary Volume, Patrick Scott

Patrick Scott

"Auld Lang Syne", G. Ross Roy

Selected Essays on Robert Burns by G. Ross Roy

A short introductory account of the background, sources, and music, of one of the best-known Burns songs.

Robert Burns And The Merry Muses Of Caledonia, G. Ross Roy

Selected Essays on Robert Burns by G. Ross Roy

An introduction for a reprint of the first edition of The Merry Muses of Caledonia, collection of (sometimes) bawdy songs, including some by Burns, first printed in 1799, probably in Edinburgh, for the Crochallan Fencibles. an Edinburgh social club to which Burns belonged.

Robert Burns's Hand In 'Ay Waukin, O': The Roy Manuscript And William Tytler's Dissertation (1779), Patrick G. Scott

Studies in Scottish Literature

Discusses Robert Burns's sources and manuscripts for his expansion of the song "Ay waukin, O," first published as song 213 in James Johnson's Scots Musical Museum, III (1790); highlights an often neglected and misdated printed item, William Tytler’s Dissertation, as Burns's source for two of the four stanzas; considers the two full-length manuscripts, identifying one as being an Antique Smith forgery, and detailing the provenance and purpose, of the other, now at the Birthplace Museum; examines and reproduces the Roy manuscript and its pencilled additions; and so clarifies the relationship among the three genuine manuscripts to argue that …

The W. Ormiston Roy Memorial Lecture: Who Wrote The Scots Musical Museum? Challenging Editorial Practice In The Presence Of Authorial Absence, Murray Pittock

Studies in Scottish Literature

James Johnson’s Scots Musical Museum, published in six parts in Edinburgh over the period 1787-1803, is now inextricably linked to its greatest contributor, the poet, song-writer and song-collector Robert Burns. This lecture builds from Murray Pittock’s recent editorial work on Johnson’s collection, forthcoming in the new multivolume Oxford Edition of Robert Burns, based at the University of Glasgow. The lecture shows that the apparently-innocent question “Who wrote the Scots Musical Museum?” is a complex one, raising very fundamental questions about the nature of authorship and editorship in the necessarily collaborative and social enterprise of song publication, and it …

Robert Burns, James Johnson, And The Manuscript Of "The German Lairdie", Patrick G. Scott

Patrick Scott

Reports, illustrates, and assesses a fragment of manuscript music now in the G. Ross Roy Collection at the University of South Carolina, for Burns's song "The German Lairdie," headed in Burns's hand, and possibly with the music in his hand also. A note with the fragment, which was exhibited as Burns's autograph in 1896, states that it had been sent by Burns to the Edinburgh editor and publisher James Johnson, for inclusion in his Scots Musical Museum.

Robert Burns, James Johnson, And The Manuscript Of "The German Lairdie", Patrick Scott

Studies in Scottish Literature

Reports, illustrates, and assesses a fragment of manuscript music now in the G. Ross Roy Collection at the University of South Carolina, for Burns's song "The German Lairdie," headed in Burns's hand, and possibly with the music in his hand also. A note with the fragment, which was exhibited as Burns's autograph in 1896, states that it had been sent by Burns to the Edinburgh editor and publisher James Johnson, for inclusion in his Scots Musical Museum.

"And The Roadside Fire": Portrayals Of Home Through National Song In Stevenson's Scottish Adventures, Christy Danelle Di Frances

Studies in Scottish Literature

This article considers allusions to popular Scottish song in Stevenson’s work, especially in Kidnapped, to interrogate Stevenson’s broader configuration of home, as both personal and engaged with the Scottish national consciousness, exploring how he preserves home within his modern adventure aesthetic through reference to popular Scottish song, ballads and folk songs.

On Translating Burns: A Heavenly Paradise And Two Versions Of "A Red, Red, Rose", Marco Fazzini

Studies in Scottish Literature

Discusses, and prints, two different verse-translations from Scots into Italian of Robert Burns's well-known song "O, My Luve is Like a Red, Red, Rose," with brief comment on earlier Italian Burns translations. .

"O My Luve's Like A Red, Red Rose": Does Burns's Melody Really Matter, Kirsteen Mccue

Studies in Scottish Literature

Examines the musical sources and later published settings for Robert Burns's song "O, my luve is like a red, red rose," with particular focus on Niel Gow's setting "Major Graham's Strathspey."

Back To Burns, Fred Freeman

Studies in Scottish Literature

Argues that the published settings of the songs written and collected by the Scottish poet Robert Burns (1759-1796), especially the settings in George Thomson's series A Select Collection of Original Scottish Airs, conceal Burns's original intentions, and traces this to anti-Scottish critical prejudice that had driven the genuine folk tradition underground.

Original Sources And Modern Sources On Burns's Songs, Patrick Scott

Patrick Scott