Music in early modern Scotland

Last updated

A Scottish bagpiper, carved c. 1600 Bagpiper carving, c.1600.JPG
A Scottish bagpiper, carved c. 1600

Music in early modern Scotland includes all forms of musical production in Scotland between the early sixteenth century and the mid-eighteenth century. In this period the court followed the European trend for instrumental accompaniment and playing. Scottish monarchs of the sixteenth century were patrons of religious and secular music, and some were accomplished musicians. In the sixteenth century the playing of a musical instrument and singing became an expected accomplishment of noble men and women. The departure of James VI to rule in London at the Union of Crowns in 1603, meant that the Chapel Royal, Stirling Castle largely fell into disrepair and the major source of patronage was removed from the country. Important composers of the early sixteenth century included Robert Carver and David Peebles. The Lutheranism of the early Reformation was sympathetic to the incorporation of Catholic musical traditions and vernacular songs into worship, exemplified by The Gude and Godlie Ballatis (1567). However, the Calvinism that came to dominate Scottish Protestantism led to the closure of song schools, disbanding of choirs, removal of organs and the destruction of music books and manuscripts. An emphasis was placed on the Psalms, resulting in the production of a series of Psalters and the creation of a tradition of unaccompanied singing.

Contents

Despite the attempts of the Kirk to limit the tradition of secular popular music, it continued. This period saw the adoption of the highland bagpipes and the fiddle. Ballads, some of which probably date from the Middle Ages, existed as part of a distinctive oral tradition. Allan Ramsey advocated the creation of a national musical tradition and collaborated with Italian composer and cellist Lorenzo Bocchi on the first Scottish opera the Gentle Shepherd . A musical culture developed around Edinburgh and a number of composers began to produce collections of Lowland and Highland tunes grafted on to Italian musical forms. By the middle of the eighteenth century a number of Italian musicians and composers were resident in Scotland and Scottish composers of national significance had begun to emerge.

The court and noble households

The interior of the Chapel Royal, Stirling Castle, a major focus for liturgical music Stirling Castle Chapel Royal interior.jpg
The interior of the Chapel Royal, Stirling Castle, a major focus for liturgical music

In this era Scotland followed the trend of Renaissance courts for instrumental accompaniment and playing. James V, as well as being a major patron of sacred music, was a talented lute player and introduced French chansons and consorts of viols to his court, although almost nothing of this secular chamber music survives. [1] The return of Mary, Queen of Scots from France in 1561 to begin her personal reign, and her position as a Catholic, gave a new lease of life to the choir of the Chapel Royal, but the destruction of Scottish church organs meant that instrumentation to accompany the mass had to employ bands of musicians with trumpets, drums, fifes, bagpipes and tabors. Like her father she played the lute, virginals and (unlike her father) was a fine singer. [2] She brought French musical influences with her, employing lutenists and viol players in her household. [3]

James VI (r. 1566–1625) was a major patron of the arts in general. He rebuilt the Chapel Royal at Stirling in 1594 and the choir was used for state occasions like the baptism of his son Henry. [4] He followed the tradition of employing lutenists for his private entertainment, as did other members of his family. [5] When he went south to take the throne of England in 1603 as James I, he removed one of the major sources of patronage in Scotland. The Chapel Royal now began to fall into disrepair, and the court in Westminster would be the only major source of royal musical patronage. [4] Holyrood Abbey was remodelled as a chapel for Charles I's royal visit in 1633 and reclaimed by Charles II after the Restoration, becoming a centre of worship again during the future James VII's residency in the early 1680s, but was sacked by an anti-papist mob during the Glorious Revolution in 1688. [6]

These fashions permeated noble households, where resident musicians were employed, including viol and lute players. As elsewhere in Europe, musical ability became one of the major achievements expected of a nobleman or woman. Musicians were clearly employed as teachers for the children of the household, both male and female. [7] There is evidence for the late sixteenth and early seventeenth centuries of lessons being given in a variety of instruments and singing, and of the purchase of sheet music and instruments (including the virginals and harpsichords). In the Highlands clan chiefs continued to employ harpists, and increasingly, pipers as fili and bards, whose prowess and ability to glorify their ancestors was a key element in underlying a clan's status and heritage into the seventeenth century. [8] The earliest printed collection of secular music in Scotland was by publisher John Forbes in Aberdeen in 1662. Songs and Fancies: to Thre, Foure, or Five Partes, both Apt for Voices and Viols, known as Forbes' Cantus, was printed three times in the next twenty years. It contained 77 songs, of which 25 were of Scottish origin. [9]

Church music

A reprint of the 1600 cover of The Gude and Godlie Ballatis Gude and Godlie Ballatis Cover 1600.jpg
A reprint of the 1600 cover of The Gude and Godlie Ballatis

The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver (c. 1488–1558), a canon of Scone Abbey. His complex polyphonic music could only have been performed by a large and highly trained choir such as the one employed in the Scottish Chapel Royal. James V was also a patron to figures including David Peebles (c. 1510–79?), whose best known work "Si quis diligit me" (text from John 14:23), is a motet for four voices. These were probably only two of many accomplished composers from this era, whose work has largely only survived in fragments. [10] Much of what survives of church music from the first half of the sixteenth century is due to the diligent work of Thomas Wode (d. 1590), vicar of St Andrews, who compiled a part book from now lost sources, which was continued by unknown hands after his death. [11]

The Reformation had a significant impact on church music. The song schools of the abbeys, cathedrals and collegiate churches were closed down, choirs disbanded, music books and manuscripts destroyed and organs removed from churches. [12] The Lutheranism that influenced the early Scottish Reformation attempted to accommodate Catholic musical traditions into worship, drawing on Latin hymns and vernacular songs. The most important product of this tradition in Scotland was The Gude and Godlie Ballatis (1567), which were spiritual satires on popular ballads composed by the brothers James, John and Robert Wedderburn. Never adopted by the kirk, they nevertheless remained popular and were reprinted from the 1540s to the 1620s. [13]

The Calvinism that came to dominate the Scottish Reformation would seek to replace Catholic musical tradition and popular music with metricised versions of the Psalms, which it considered inherently more biblical. The Scottish Psalter of 1564 was commissioned by the Assembly of the Church. It drew on the work of French musician Clément Marot, Calvin's contributions to the Strasbourg Psalter of 1539 and English writers, particularly the 1561 edition of the Psalter produced by William Whittingham for the English congregation in Geneva. The intention was to produce individual tunes for each psalm, but of 150 psalms, 105 had proper tunes and in the seventeenth century, common tunes, which could be used for psalms with the same metre, became more frequent in the seventeenth century. [14] Because whole congregations would now sing these psalms, unlike the trained choirs who had sung the many parts of polyphonic hymns, [13] there was a need for simplicity and most church compositions were confined to homophonic settings. [15]

During his personal reign James VI attempted to revive the song schools, with an act of parliament passed in 1579, demanding that councils of the largest burghs set up "ane sang scuill with ane maister sufficient and able for insturctioun of the yowth in the said science of musik". [16] Five new schools were opened within four years of the act and by 1633 there were at least twenty-five. Most of those without song schools made provision within their grammar schools. [16] Polyphony was incorporated into editions of the Psalter from 1625, but in the few locations where these settings were used, the congregation sang the melody and trained singers the contra-tenor, treble and bass parts. [13] However, the triumph of the Presbyterians in the National Covenant of 1638 led to and end of polyphony and a new psalter in common metre, but without tunes, was published in 1650. [17] In 1666 The Twelve Tunes for the Church of Scotland, composed in Four Parts (which actually contained 14 tunes), designed for use with the 1650 Psalter, was first published in Aberdeen. It would go through five editions by 1720. By the late seventeenth century these two works had become the basic corpus of the psalmody sung in the kirk. [18]

The statue of Habbie Simpson in Kilbarchan Habbie Simpson.jpg
The statue of Habbie Simpson in Kilbarchan

The secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings at which tunes were played. Large numbers of musicians continued to perform, including the fiddler Pattie Birnie and the piper Habbie Simpson (1550–1620). [19]

The first clear reference to the use of the Highland bagpipes is from a French history, which mentions their use at the Battle of Pinkie Cleugh in 1547. [20] George Buchanan claimed that they had replaced the trumpet on the battlefield. This period saw the creation of the ceòl mór (the great music) of the bagpipe, which reflected its martial origins, with battle-tunes, marches, gatherings, salutes and laments. [20] The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmonds, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands with Martin Martin noting in his A Description of the Western Isles of Scotland (1703) that he knew of eighteen players in Lewis alone. [21]

There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century, including "Sir Patrick Spens" and "Thomas the Rhymer", but for which we do not have evidence until the eighteenth century. [22] Scottish ballads are distinct, showing pre-Christian influences in the inclusion of supernatural elements such as the fairies in the Scottish ballad "Tam Lin". [23] They remained an oral tradition until the increased interest in folk songs in the eighteenth century led collectors such as Bishop Thomas Percy to publish volumes of popular ballads. [23] The oppression of secular music and dancing began to ease between about 1715 and 1725 and the level of musical activity was reflected in a flood of musical publications in broadsheets and compendiums of music such as the makar Allan Ramsay's verse compendium The Tea Table Miscellany (1723) and William Thomson's Orpheus Caledonius (1725). [19]

Classical music

Allan Ramsay, poet and librettist, painted in 1722 by William Aikman Allan-Ramsay.jpg
Allan Ramsay, poet and librettist, painted in 1722 by William Aikman

From the late seventeenth music became less an accomplishment of the gentle classes and increasingly a skill pursued by professionals. It was enjoyed in otherwise silent concert rooms rather than as incidental entertainment in the houses of royalty and nobles. [24] The German flute was probably introduced into Scotland towards the end of the seventeenth century. [25] The Italian style of classical music was probably first brought to Scotland by the Italian cellist and composer Lorenzo Bocchi, who travelled to Scotland in the 1720s, introducing the cello to the country and then developing settings for Lowland Scots songs. He possibly had a hand in the first Scottish Opera, the pastoral The Gentle Shepherd , with libretto by Allan Ramsay. [26] Music in Edinburgh prospered through the patronage of figures including the merchant Sir John Clerk of Penicuik, who was also a noted composer, violinist and harpiscordist. [27] The growth of a musical culture in the capital was marked by the incorporation of the Musical Society of Edinburgh in 1728. [28]

A group of Scottish composers began to respond to Allan Ramsey's call to "own and refine" their own musical tradition, creating what James Johnson has characterised as the "Scots drawing room style", taking primarily Lowland Scottish tunes and adding simple figured basslines and other features from Italian music that made them acceptable to a middle class audience. [29] It gained momentum when major Scottish composers like James Oswald and William McGibbon became involved around 1740. Oswald's Curious Collection of Scottish Songs (1740) was one of the first to include Gaelic tunes alongside Lowland ones, setting a fashion common by the middle of the century and helping to create a unified Scottish musical identity. However, with changing fashions there was a decline in the publication of collections of specifically Scottish collections of tunes, in favour of their incorporation into British collections. [29] By the mid-eighteenth century there were Italians resident in Scotland, acting as composers and performers. These included Nicolò Pasquali, Giusto Tenducci and Fransesco Barsanti. [30] Thomas Erskine, 6th Earl of Kellie (1732–81) was one of the most important British composers of his era, and the first Scot known to have produced a symphony. [27]

Related Research Articles

<span class="mw-page-title-main">Scottish literature</span> Literature written in Scotland or by Scottish writers

Scottish literature is literature written in Scotland or by Scottish writers. It includes works in English, Scottish Gaelic, Scots, Brythonic, French, Latin, Norn or other languages written within the modern boundaries of Scotland.

<span class="mw-page-title-main">Music of Scotland</span>

Scotland is internationally known for its traditional music, which remained vibrant throughout the 20th century and into the 21st when many traditional forms worldwide lost popularity to pop music. Despite emigration and a well-developed connection to music imported from the rest of Europe and the United States, the music of Scotland has kept many of its traditional aspects and has influenced many other forms of music.

<span class="mw-page-title-main">Scottish folk music</span> Genre of traditional music from Scotland

Scottish folk music is a genre of folk music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Niel and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.

<span class="mw-page-title-main">Scottish Reformation</span> Religious and political movement that established the Church of Scotland

The Scottish Reformation was the process by which Scotland broke with the Papacy and developed a predominantly Calvinist national Kirk (church), which was strongly Presbyterian in its outlook. It was part of the wider European Protestant Reformation that took place from the sixteenth century.

<span class="mw-page-title-main">Scotland in the early modern period</span> Overview of Scotland in the early modern period

Scotland in the early modern period refers, for the purposes of this article, to Scotland between the death of James IV in 1513 and the end of the Jacobite risings in the mid-eighteenth century. It roughly corresponds to the early modern period in Europe, beginning with the Renaissance and Reformation and ending with the start of the Enlightenment and Industrial Revolution.

<span class="mw-page-title-main">Early music of the British Isles</span>

Early music of Britain and Ireland, from the earliest recorded times until the beginnings of the Baroque in the 17th century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite. Each of the major nations of England, Ireland, Scotland, and Wales retained unique forms of music and of instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons, and the carol in the medieval era and English madrigals, lute ayres, and masques in the Renaissance era, which would lead to the development of English language opera at the height of the Baroque in the 18th century.

<span class="mw-page-title-main">Baroque music of the British Isles</span>

Baroque music of the British Isles bridged the gap between the early music of the Medieval and Renaissance periods and the development of fully fledged and formalised orchestral classical music in the second half of the eighteenth century. It was characterised by more elaborate musical ornamentation, changes in musical notation, new instrumental playing techniques and the rise of new genres such as opera. Although the term Baroque is conventionally used for European music from about 1600, its full effects were not felt in Britain until after 1660, delayed by native trends and developments in music, religious and cultural differences from many European countries and the disruption to court music caused by the Wars of the Three Kingdoms and Interregnum. Under the restored Stuart monarchy the court became once again a centre of musical patronage, but royal interest in music tended to be less significant as the seventeenth century progressed, to be revived again under the House of Hanover. The Baroque era in British music can be seen as one of an interaction of national and international trends, sometimes absorbing continental fashions and practices and sometimes attempting, as in the creation of ballad opera, to produce an indigenous tradition. However, arguably the most significant British composer of the era, George Frideric Handel, was a naturalised German, who helped integrate British and continental music and define the future of music in the United Kingdom.

<span class="mw-page-title-main">Renaissance in Scotland</span> Cultural and artistic movement in Scotland dating from the 15th century to the early 17th century

The Renaissance in Scotland was a cultural, intellectual and artistic movement in Scotland, from the late fifteenth century to the beginning of the seventeenth century. It is associated with the pan-European Renaissance that is usually regarded as beginning in Italy in the late fourteenth century and reaching northern Europe as a Northern Renaissance in the fifteenth century. It involved an attempt to revive the principles of the classical era, including humanism, a spirit of scholarly enquiry, scepticism, and concepts of balance and proportion. Since the twentieth century, the uniqueness and unity of the Renaissance has been challenged by historians, but significant changes in Scotland can be seen to have taken place in education, intellectual life, literature, art, architecture, music, science and politics.

<span class="mw-page-title-main">Women in early modern Scotland</span> Women in Scotland

Women in early modern Scotland, between the Renaissance of the early sixteenth century and the beginnings of industrialisation in the mid-eighteenth century, were part of a patriarchal society, though the enforcement of this social order was not absolute in all aspects. Women retained their family surnames at marriage and did not join their husband's kin groups. In higher social ranks, marriages were often political in nature and the subject of complex negotiations in which women as matchmakers or mothers could play a major part. Women were a major part of the workforce, with many unmarried women acting as farm servants and married women playing a part in all the major agricultural tasks, particularly during harvest. Widows could be found keeping schools, brewing ale and trading, but many at the bottom of society lived a marginal existence.

<span class="mw-page-title-main">Geography of Scotland in the early modern era</span>

The geography of Scotland in the early modern era covers all aspects of the land in Scotland, including physical and human, between the sixteenth century and the beginnings of the Agricultural Revolution and industrialisation in the eighteenth century. The defining factor in the geography of Scotland is the distinction between the Highlands and Islands in the north and west and the Lowlands in the south and east. The Highlands were subdivided by the Great Glen and the Lowlands into the fertile Central Lowlands and the Southern Uplands. The Uplands and Highlands had a relatively short growing season, exacerbated by the Little Ice Age, which peaked towards the end of the seventeenth century.

<span class="mw-page-title-main">Literature in early modern Scotland</span> Literature written in Scotland or by Scottish writers

Literature in early modern Scotland is literature written in Scotland or by Scottish writers between the Renaissance in the early sixteenth century and the beginnings of the Enlightenment and Industrial Revolution in mid-eighteenth century. By the beginning of this era Gaelic had been in geographical decline for three centuries and had begun to be a second class language, confined to the Highlands and Islands, but the tradition of Classic Gaelic Poetry survived. Middle Scots became the language of both the nobility and the majority population. The establishment of a printing press in 1507 made it easier to disseminate Scottish literature and was probably aimed at bolstering Scottish national identity.

<span class="mw-page-title-main">Music in Medieval Scotland</span>

Music in Medieval Scotland includes all forms of musical production in what is now Scotland between the fifth century and the adoption of the Renaissance in the early sixteenth century. The sources for Scottish Medieval music are extremely limited. There are no major musical manuscripts for Scotland from before the twelfth century. There are occasional indications that there was a flourishing musical culture. Instruments included the cithara, tympanum, and chorus. Visual representations and written sources demonstrate the existence of harps in the Early Middle Ages and bagpipes and pipe organs in the Late Middle Ages. As in Ireland, there were probably filidh in Scotland, who acted as poets, musicians and historians. After this "de-gallicisation" of the Scottish court in the twelfth century, a less highly regarded order of bards took over the functions of the filidh and they would continue to act in a similar role in the Scottish Highlands and Islands into the eighteenth century.

<span class="mw-page-title-main">Classical music in Scotland</span>

Classical music in Scotland is all art music in the Western European classical tradition, between its introduction in the eighteenth century until the present day. The development of a distinct tradition of art music in Scotland was limited by the impact of the Scottish Reformation on ecclesiastical music from the sixteenth century. Concerts, largely composed of "Scottish airs", developed in the seventeenth century and classical instruments were introduced to the country. Music in Edinburgh prospered through the patronage of figures including the merchant Sir John Clerk of Penicuik. The Italian style of classical music was probably first brought to Scotland by the cellist and composer Lorenzo Bocchi, who travelled to Scotland in the 1720s. The Musical Society of Edinburgh was incorporated in 1728. Several Italian musicians were active in the capital in this period and there are several known Scottish composers in the classical style, including Thomas Erskine, 6th Earl of Kellie, the first Scot known to have produced a symphony.

<span class="mw-page-title-main">Scots-language literature</span>

Scots-language literature is literature, including poetry, prose and drama, written in the Scots language in its many forms and derivatives. Middle Scots became the dominant language of Scotland in the late Middle Ages. The first surviving major text in Scots literature is John Barbour's Brus (1375). Some ballads may date back to the thirteenth century, but were not recorded until the eighteenth century. In the early fifteenth century Scots historical works included Andrew of Wyntoun's verse Orygynale Cronykil of Scotland and Blind Harry's The Wallace. Much Middle Scots literature was produced by makars, poets with links to the royal court, which included James I, who wrote the extended poem The Kingis Quair. Writers such as William Dunbar, Robert Henryson, Walter Kennedy and Gavin Douglas have been seen as creating a golden age in Scottish poetry. In the late fifteenth century, Scots prose also began to develop as a genre. The first complete surviving work is John Ireland's The Meroure of Wyssdome (1490). There were also prose translations of French books of chivalry that survive from the 1450s. The landmark work in the reign of James IV was Gavin Douglas's version of Virgil's Aeneid.

<span class="mw-page-title-main">Church music in Scotland</span>

Church music in Scotland includes all musical composition and performance of music in the context of Christian worship in Scotland, from the beginnings of Christianisation in the fifth century, to the present day. The sources for Scottish Medieval music are extremely limited due to factors including a turbulent political history, the destructive practices of the Scottish Reformation, the climate and the relatively late arrival of music printing. In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, which led to the development of a distinct form of liturgical Celtic chant. It was superseded from the eleventh century by more complex Gregorian chant. In the High Middle Ages, the need for large numbers of singing priests to fulfill the obligations of church services led to the foundation of a system of song schools, to train boys as choristers and priests. From the thirteenth century, Scottish church music was increasingly influenced by continental developments. Monophony was replaced from the fourteenth century by the Ars Nova consisting of complex polyphony. Survivals of works from the first half of the sixteenth century indicate the quality and scope of music that was undertaken at the end of the Medieval period. The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver, who produced complex polyphonic music.

<span class="mw-page-title-main">Royal Court of Scotland</span>

The Royal Court of Scotland was the administrative, political and artistic centre of the Kingdom of Scotland. It emerged in the tenth century and continued until it ceased to function when James VI inherited the throne of England in 1603. For most of the medieval era, the king had no "capital" as such. The Pictish centre of Forteviot was the chief royal seat of the early Gaelic Kingdom of Alba that became the Kingdom of Scotland. In the twelfth and thirteenth centuries Scone was a centre for royal business. Edinburgh only began to emerge as the capital in the reign of James III but his successors undertook occasional royal progress to a part of the kingdom. Little is known about the structure of the Scottish royal court in the period before the reign of David I when it began to take on a distinctly feudal character, with the major offices of the Steward, Chamberlain, Constable, Marischal and Lord Chancellor. By the early modern era the court consisted of leading nobles, office holders, ambassadors and supplicants who surrounded the king or queen. The Chancellor was now effectively the first minister of the kingdom and from the mid-sixteenth century he was the leading figure of the Privy Council.

<span class="mw-page-title-main">Music of Scotland in the eighteenth century</span>

Music of Scotland in the eighteenth century includes all forms of music made in Scotland, by Scottish people, or in forms associated with Scotland, in the eighteenth century. Growing divisions in the Scottish kirk between the Evangelicals and the Moderate Party resulted in attempt to expand psalmondy to include hymns the singing of other scriptural paraphrases.

<span class="mw-page-title-main">History of popular religion in Scotland</span> 1500, John Konx, John Calvin ,

The history of popular religion in Scotland includes all forms of the formal theology and structures of institutional religion, between the earliest times of human occupation of what is now Scotland and the present day. Very little is known about religion in Scotland before the arrival of Christianity. It is generally presumed to have resembled Celtic polytheism and there is evidence of the worship of spirits and wells. The Christianisation of Scotland was carried out by Irish-Scots missionaries and to a lesser extent those from Rome and England, from the sixth century. Elements of paganism survived into the Christian era. The earliest evidence of religious practice is heavily biased toward monastic life. Priests carried out baptisms, masses and burials, prayed for the dead and offered sermons. The church dictated moral and legal matters and impinged on other elements of everyday life through its rules on fasting, diet, the slaughter of animals and rules on purity and ritual cleansing. One of the main features of Medieval Scotland was the Cult of Saints, with shrines devoted to local and national figures, including St Andrew, and the establishment of pilgrimage routes. Scots also played a major role in the Crusades. Historians have discerned a decline of monastic life in the late medieval period. In contrast, the burghs saw the flourishing of mendicant orders of friars in the later fifteenth century. As the doctrine of Purgatory gained importance the number of chapelries, priests and masses for the dead within parish churches grew rapidly. New "international" cults of devotion connected with Jesus and the Virgin Mary began to reach Scotland in the fifteenth century. Heresy, in the form of Lollardry, began to reach Scotland from England and Bohemia in the early fifteenth century, but did not achieve a significant following.

<span class="mw-page-title-main">Music of Scotland in the nineteenth century</span>

Music of Scotland in the nineteenth century includes all forms of music production in the period, in Scotland or by Scottish people.

Church music during the Reformation developed during the Protestant Reformation in two schools of thought, the regulative and normative principles of worship, based on reformers John Calvin and Martin Luther. They derived their concepts in response to the Catholic church music, which they found distracting and too ornate. Both principles also pursued use of the native tongue, either alongside or in place of liturgical Latin.

References

Notes

  1. ↑ J. Patrick, Renaissance and Reformation (London: Marshall Cavendish, 2007), ISBN   0-7614-7650-4, p. 1264.
  2. ↑ A. Frazer, Mary Queen of Scots (London: Book Club Associates, 1969), pp. 206–7.
  3. ↑ M. Spring, The Lute in Britain: A History of the Instrument and Its Music (Oxford: Oxford University Press, 2006), ISBN   0-19-518838-1, p. 452.
  4. 1 2 P. Le Huray, Music and the Reformation in England, 1549–1660 (Cambridge: Cambridge University Press, 1978), ISBN   0-521-29418-5, pp. 83–5.
  5. ↑ T. Carter and J. Butt, The Cambridge History of Seventeenth-Century Music (Cambridge: Cambridge University Press, 2005), ISBN   0-521-79273-8, pp. 280, 300, 433 and 541.
  6. ↑ D. J. Smith, "Keyboard music in Scotland: genre, gender, context", in J. Porter, ed., Defining Strains: The Musical Life of Scots in the Seventeenth Century (Peter Lang, 2007), ISBN   3-03910-948-0, p. 99.
  7. ↑ D. MacKinnon, "'I have now a book of songs of her writing: Scottish families, orality, literacy and the transmission of musical culture c. 1500-c. 1800", in E. Ewan and J. Nugent, Finding the Family in Medieval and Early Modern Scotland (Ashgate, 2008), ISBN   0-7546-6049-4, pp. 44–6.
  8. ↑ K. Brown, Noble Society in Scotland: Wealth, Family and Culture from Reformation to Revolution (Edinburgh: Edinburgh University Press, 2004), ISBN   0-7486-1299-8, pp. 216–18.
  9. ↑ A. D. McLucas, "Forbes' Cantus, Songs and Fancies revisited", in J. Porter, ed., Defining Strains: The Musical Life of Scots in the Seventeenth Century (Peter Lang, 2007), ISBN   3-03910-948-0, p. 269.
  10. ↑ J. E. A. Dawson, Scotland Re-Formed, 1488–1587 (Edinburgh: Edinburgh University Press, 2007), ISBN   0-7486-1455-9, p. 118.
  11. ↑ J. R. Baxter, "Culture: Renaissance and Reformation (1460–1560)", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), ISBN   0-19-211696-7, pp. 130–2.
  12. ↑ A. Thomas, "The Renaissance", in T. M. Devine and J. Wormald, The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), ISBN   0-19-162433-0, pp. 198–9.
  13. 1 2 3 J. Wormald, Court, Kirk, and Community: Scotland, 1470–1625 (Edinburgh: Edinburgh University Press, 1991), ISBN   0-7486-0276-3, pp. 187–90.
  14. ↑ T. Duguid, Metrical Psalmody in Print and Practice: English 'Singing Psalms' and Scottish 'Psalm Buiks', 1547-1640 (Ashgate, 2014), pp. 171-179.
  15. ↑ Thomas, "The Renaissance", p. 198.
  16. 1 2 G. Munro, "'Sang schools' and 'music schools': music education in Scotland 1560–1650", in S. F. Weiss, R. E. Murray, Jr., and C. J. Cyrus, Music Education in the Middle Ages and the Renaissance (Indiana University Press, 2010), ISBN   0-253-00455-1, p. 67.
  17. ↑ J. R. Baxter, "Music, ecclesiastical", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), ISBN   0-19-211696-7, pp. 431–2.
  18. ↑ B. D. Spinks, A Communion Sunday in Scotland ca. 1780: Liturgies and Sermons (Scarecrow Press, 2009), ISBN   0-8108-6981-0, pp. 143–4.
  19. 1 2 J. Porter, "Introduction" in J. Porter, ed., Defining Strains: The Musical Life of Scots in the Seventeenth Century (Peter Lang, 2007), ISBN   3-03910-948-0, p. 22.
  20. 1 2 J. E. A. Dawson, Scotland Re-Formed, 1488–1587 (Edinburgh: Edinburgh University Press, 2007), ISBN   0-7486-1455-9, p. 169.
  21. ↑ J. Porter, "Introduction" in J. Porter, ed., Defining Strains: The Musical Life of Scots in the Seventeenth Century (Peter Lang, 2007), ISBN   3-03910-948-0, p. 35.
  22. ↑ E. Lyle, Scottish Ballads (Edinburgh: Canongate Books, 2001), ISBN   0-86241-477-6, pp. 9–10.
  23. 1 2 J. Black, et al., eds, "Popular Ballads" in The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century (Broadview Press, 2006), ISBN   1-55111-611-1, pp. 610–17.
  24. ↑ Edward Lee, Music of the People: a Study of Popular Music in Great Britain (London: Barrie & Jenkins, 1970), p. 53.
  25. ↑ P. Holman, "A little light on Lorenzo Bocchi: an Italian in Edinburgh and Dublin", in R. Cowgill and P. Holman, eds, Music in the British Provinces, 1690–1914 (Aldershot: Ashgate, 2007), ISBN   0-7546-3160-5, p. 79.
  26. ↑ R. Cowgill and P. Holman, "Introduction: centres and peripheries", in R. Cowgill and P. Holman, eds, Music in the British Provinces, 1690–1914 (Aldershot: Ashgate, 2007), ISBN   0-7546-3160-5, p. 4.
  27. 1 2 N. Wilson, Edinburgh (Lonely Planet, 3rd edn., 2004), ISBN   1-74059-382-0, p. 33.
  28. ↑ E. G. Breslaw, Doctor Alexander Hamilton and Provincial America (Louisiana State University Press, 2008), ISBN   0-8071-3278-0, p. 41.
  29. 1 2 M. Gelbart, The Invention of "Folk Music" and "Art Music" (Cambridge: Cambridge University Press, 2007), ISBN   1-139-46608-9, p. 30.
  30. ↑ Gelbart, The Invention of "Folk Music" and "Art Music", p. 36.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.