The nineteenth century saw the reintroduction of accompanied music into the Church of Scotland. Organs began to be added to churches in large numbers and by the end of the century, roughly a third of Church of Scotland, over 80 per cent of kirks, had both organs and choirs. Similarly, in the Episcopalian Church the influence of the Oxford Movement and links with the Anglican Church led to the introduction of more traditional services, and by 1900 surpliced choirs and musical services were the norm. The Free Church that broke away from the kirk in 1843 in the Great Disruption, was more conservative over music, and organs were not permitted until 1883. Hymns were first introduced in the United Presbyterian Church in the 1850s. The visit of American Evangelists Ira D. Sankey, and Dwight L. Moody to Edinburgh and Glasgow in 1874–75 helped popularise accompanied church music in Scotland.
In the late eighteenth and early nineteenth century there was and an attempt to produce a corpus of Scottish national song, involving Robert Burns and George Thomson, which helped make Scottish songs part of the European cannon of classical music. The bothy ballads, which dealt with the lives of agricultural workers, were mainly written in the period 1820–60 and then adapted and altered along with working life in the later part of the century. Evidence of continued activity in traditional music includes the manuscripts of James Simpson (f. 1820–30). The tradition continued with figures including James Scott Skinner. From the late nineteenth century there was renewed interest in traditional music, which was more academic and political in intent. In the late nineteenth century the revival would begin to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland.
The tradition of European concert music in Scotland, which had been established in the eighteenth century faltered towards the end of the century. From the mid-nineteenth century classical music began a revival in Scotland, aided by the visits of Frédéric Chopin and Felix Mendelssohn. Major composers included of the national school that developed in the late nineteenth century included Alexander Mackenzie, William Wallace), Learmont Drysdale and Hamish MacCunn. In the late part of the century, performers emerged who gained international reputations. They included Frederic Lamond, Mary Garden and Joseph Hislop.
Ira D. Sankey, whose singing and compositions helped popularise accompanied church music in Scotland in the late nineteenth century
The nineteenth century saw the reintroduction of accompanied music into the Church of Scotland. This was strongly influenced by the English Oxford Movement, which encouraged a return to Medieval forms of architecture and worship. The first organ to be installed by a Church of Scotland church after the Reformation was at St. Andrews, Glasgow in 1804, but it was not in the church building and was used only for weekly rehearsals. Two years later the city council was petitioned to allow it to be moved into the church, but they deferred to the local presbytery, who decided, after much deliberation, that they were illegal and prohibited their use within their jurisdiction. In 1828 the first organ was controversially installed in an Edinburgh church. Around the same time James Steven published his Harmonia Sacra: A Selection of the Most Approved Psalm and Hymn Tunes, provocatively printed a frontispiece showing a small organ.[1] The Church Service Society was founded in 1865 to promote liturgical study and reform and a year later organs were officially admitted to churches.[2] They began to be added to churches in large numbers and by the end of the century roughly a third of Church of Scotland ministers were members of the society and over 80 per cent of kirks had both organs and choirs. However, they remained controversial, with considerable opposition among conservative elements within the church[3] and organs were never placed in some churches.[1]
Similarly, in the Episcopalian Church the influence of the Oxford Movement and links with the Anglican Church led to the introduction of more traditional services and by 1900 surpliced choirs and musical services were the norm.[4] The Free Church that broke away from the kirk in 1843 in the Great Disruption, was more conservative over music, and organs were not permitted until 1883.[5] Hymns were first introduced in the United Presbyterian Church in the 1850s. They became common in the Church of Scotland and Free Church in the 1870s. The Church of Scotland adopted a hymnal with 200 songs in 1870 and the Free Church followed suit in 1882.[5] The visit of American Evangelists Ira D. Sankey (1840–1908), and Dwight L. Moody (1837–99) to Edinburgh and Glasgow in 1874–75 helped popularise accompanied church music in Scotland. The Moody-Sankey hymnbook remained a best seller into the twentieth century.[6] Sankey made the harmonium so popular that working-class mission congregations pleaded for the introduction of accompanied music.[7]
Francis James Child, one of the key figures in beginning the first folk revival
In the late eighteenth century and early nineteenth century there was and an attempt to produce a corpus of Scottish national song, involving Robert Burns (1759–96) building on the work of antiquarians and musicologists such as William Tytler (1711–92), James Beattie (1735–1803) and Joseph Ritson (1752–1803).[8] Working with music engraver and seller James Johnson, Burns contributed about a third of the eventual songs of the collection known as The Scots Musical Museum, issued between 1787 and 1803 in six volumes.[9] Burns collaborated with George Thomson (1757–1851) in A Select Collection of Original Scottish Airs, published from 1793 to 1818, which adapted Scottish folk songs with "classical" arrangements. Thompson was inspired by hearing Scottish songs sung by visiting Italian castrati at the St Cecilia Concerts in Edinburgh. He collected Scottish songs and commissioned musical arrangements from the best European composers, who included Joseph Haydn (1732–1809) and Ludwig van Beethoven (1770–1827). Burns was employed in editing the lyrics. A Select Collection of Original Scottish Airs was published in five volumes between 1799 and 1818. It helped make Scottish songs part of the European cannon of classical music,[10] while Thompson's work brought elements of Romanticism, such as harmonies based on those of Beethoven, into Scottish classical music.[11] Also involved in the collection and publication of Scottish songs was Walter Scott (1771–1832), whose first literary effort was Minstrelsy of the Scottish Border, published in three volumes (1802–03). This collection first drew the attention of an international audience to his work, and some of his lyrics were set to music by Franz Peter Schubert (1797–1828), who also created a setting of Ossian.[12]
The bothy ballads, which dealt with the lives of agricultural workers, who lived in bothies or farm buildings, were mainly written in the period 1820–60 and then adapted and altered along with working life in the later part of the century. Evidence of continued activity in traditional music includes the manuscripts of James Simpson (f. 1820–30), a Dundee flautist, whose music incorporated reels and strathspeys with waltzes and quadrilles.[13][14] The tradition continued with figures including James Scott Skinner (1843–1927), known as the "Strathspey King", who played the fiddle in venues ranging from the local functions in his native Banchory, to urban centres of the south and at Balmoral.[15]
From the late nineteenth century there was renewed interest in traditional music, which was more academic and political in intent. Harvard professor Francis James Child's (1825–96) eight-volume collection The English and Scottish Popular Ballads (1882–92) has been the most influential on defining the repertoire of subsequent performers and the English music teacher Cecil Sharp was probably the most important in understanding of the nature of folk song.[16] In Scotland collectors included the Reverend James Duncan (1848–1917) and Gavin Greig (1856–1914), who collected over 1,000 songs, mainly from Aberdeenshire.[17] In the late nineteenth century the revival would begin to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland.[11]
Hamish MacCunn, one of the key composers of the Romantic movement in Scotland
The tradition of European concert music in Scotland, which had been established in the eighteenth century faltered towards the end of the century. The Edinburgh Musical Society gave its last concert in 1798 and was wound up in 1801, with its concert hall sold off to become a Baptist church.[18]
From the mid-nineteenth century classical music began a revival in Scotland, aided by the visits of Frédéric Chopin (1810–49) and Felix Mendelssohn (1809–47) in the 1840s.[19] Mendelssohn was probably the most influential composer of his era and visited Britain ten times, for a total of twenty months, from 1829. Scotland inspired two of his most famous works, the overture Fingal's Cave (also known as the Hebrides Overture) and the Scottish Symphony (Symphony No. 3). On his last visit to England in 1847, he conducted his own Scottish Symphony with the Philharmonic Orchestra before Queen Victoria and Prince Albert.[20]Max Bruch (1838–1920) composed the Scottish Fantasy (1880) for violin and orchestra, which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "Scots Wha Hae" by Burns.[21]
Major composers included of the national school that developed in the late nineteenth century included Alexander Mackenzie (1847–1935), William Wallace (1860–1940), Learmont Drysdale (1866–1909) and Hamish MacCunn (1868–1916).[11] Mackenzie, who studied in Germany and Italy and mixed Scottish themes with German Romanticism,[22] is best known for his three Scottish Rhapsodies (1879–80, 1911), Pibroch for violin and orchestra (1889) and the Scottish Concerto for piano (1897), all involving Scottish themes and folk melodies.[11] Wallace's work included an overture, In Praise of Scottish Poesie (1894).[23] Drysdale's work often dealt with Scottish themes, including the overture Tam O’ Shanter (1890), the cantata The Kelpie (1891).[24] MacCunn's overture The Land of the Mountain and the Flood (1887), his Six Scotch Dances (1896), his operas Jeanie Deans (1894) and Dairmid (1897) and choral works on Scottish subjects[11] have been described by I. G. C. Hutchison as the musical equivalent of the Scots Baronial castles of Abbotsford and Balmoral.[25] Similarly, McEwen's Pibroch (1889), Border Ballads (1908) and Solway Symphony (1911) incorporated traditional Scottish folk melodies.[26]
1 2 B. D. Spinks, A Communion Sunday in Scotland ca. 1780: Liturgies and Sermons (Scarecrow Press, 2009), ISBN0810869810, p. 149.
↑ R. W. Munro, "Churches: 2 1843–1929" in M. Lynch, ed., Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), ISBN0-19-211696-7, pp. 91–2.
↑ S. J. Brown, "Scotland and the Oxford Movement", in S. J. Brown, Peter B. Nockles and Peter Benedict Nockles, eds, The Oxford Movement: Europe and the Wider World 1830–1930 (Cambridge: Cambridge University Press, 2012), ISBN1107016444, p. 73.
↑ D. W. Bebbington, "Episcopalian community" in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), ISBN0-19-211696-7, pp. 234–5.
1 2 S. J. Brown, "Beliefs and religions" in T. Griffiths and G. Morton, A History of Everyday Life in Scotland, 1800 to 1900 (Edinburgh: Edinburgh University Press, 2010), ISBN0748621709, p. 122.
↑ P. Maloney, Scotland and the Music Hall, 1850–1914 (Manchester: Manchester University Press, 2003), ISBN0719061474, p. 197.
↑ H. Matherson, "Robert Burns and national song", in D. Duff and C. Jones, eds, Scotland, Ireland, and the Romantic Aesthetic (Associated University Presse, 2007), ISBN0838756182, p. 77.
↑ D. A. Low, ed., The Songs of Robert Burns (London: Routledge, 1993), ISBN0203991117, p. 1054.
↑ D. A. Low, ed., The Songs of Robert Burns (London: Routledge, 1993), ISBN0203991117, pp. 16–18.
1 2 3 4 5 M. Gardiner, Modern Scottish Culture (Edinburgh: Edinburgh University Press, 2005), ISBN0748620273, pp. 195–6.
↑ A. E. Hull, Music; Classical, Romantic & Modern (Ayer Publishing, 1927), ISBN0836958039, p. 99.
↑ G. Morton, Ourselves and Others: Scotland 1832–1914 (Edinburgh: Edinburgh University Press, 2012), ISBN0748620486, p. 195
↑ K. E. McAuly, Research Chronicle, Volumes 37–38 (2004), pp. 99–100.
↑ J. R. Baxter, "Music, Highland", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), ISBN0-19-211696-7, pp. 434–5.
↑ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), ISBN978-0-19-517478-6, pp. 31–8.
↑ K. Mathieson, Celtic Music (Backbeat Books, 2001), ISBN0879306238, p. 55.
↑ J. R. Baxter, "Culture, Enlightenment (1660–1843): music", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), ISBN0-19-211696-7, pp. 140–1.
↑ A. C. Cheyne, "Culture: age of industry (1843–1914), general", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), ISBN0-19-211696-7, pp.143–6.
↑ D. Conway, '"Short, Dark and Jewish-Looking": Felix Mendelssohn in Britain', in S. Massil, ed., The Jewish Year Book (2009), p. xviii.
↑ "Learmont-Drysdale"Scottish Composers: the Land With Music, retrieved 11 May 2012.
↑ I. G. C. Hutchison, "Workshop of Empire: The Nineteenth Century" in J. Wormald, ed., Scotland: A History (Oxford: Oxford University Press, 2005), ISBN0191622435, p. 197.
↑ M. Gardiner, Modern Scottish Culture (Edinburgh: Edinburgh University Press, 2005), p. 196.
↑ C. Harvie, No Gods and Precious Few Heroes: Twentieth-century Scotland (Edinburgh: Edinburgh University Press, 1998), ISBN0748609997, pp. 136–8.
Jakob Ludwig Felix Mendelssohn Bartholdy, widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the mature Violin Concerto, the String Octet, and the melody used in the Christmas carol "Hark! The Herald Angels Sing". Mendelssohn's Songs Without Words are his most famous solo piano compositions.
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 influenced many other forms of music.
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.
Hamish MacCunn, néJames MacCunn was a Scottish composer, conductor and teacher.
Classical music of the United Kingdom is taken in this article to mean classical music in the sense elsewhere defined, of formally composed and written music of chamber, concert and church type as distinct from popular, traditional, or folk music. The term in this sense emerged in the early 19th century, not long after the United Kingdom of Great Britain and Ireland came into existence in 1801. Composed music in these islands can be traced in musical notation back to the 13th century, with earlier origins. It has never existed in isolation from European music, but has often developed in distinctively insular ways within an international framework. Inheriting the European classical forms of the 18th century, patronage and the academy and university establishment of musical performance and training in the United Kingdom during the 19th century saw a great expansion. Similar developments occurred in the other expanding states of Europe and their empires. Within this international growth the traditions of composition and performance centred in the United Kingdom, including the various cultural strands drawn from its different provinces, have continued to evolve in distinctive ways through the work of many famous composers.
Romanticism in Scotland was an artistic, literary and intellectual movement that developed between the late eighteenth and the early nineteenth centuries. It was part of the wider European Romantic movement, which was partly a reaction against the Age of Enlightenment, emphasising individual, national and emotional responses, moving beyond Renaissance and Classicist models, particularly into nostalgia for the Middle Ages. The concept of a separate national Scottish Romanticism was first articulated by the critics Ian Duncan and Murray Pittock in the Scottish Romanticism in World Literatures Conference held at UC Berkeley in 2006 and in the latter's Scottish and Irish Romanticism (2008), which argued for a national Romanticism based on the concepts of a distinct national public sphere and differentiated inflection of literary genres; the use of Scots language; the creation of a heroic national history through an Ossianic or Scottian 'taxonomy of glory' and the performance of a distinct national self in diaspora.
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.
Scottish religion in the nineteenth century includes all forms of religious organisation and belief in Scotland in the 19th century. This period saw a reaction to the population growth and urbanisation of the Industrial Revolution that had undermined traditional parochial structures and religious loyalties. The established Church of Scotland reacted with a programme of church building from the 1820s. Beginning in 1834 the "Ten Years' Conflict" ended in a schism from the established Church of Scotland led by Dr Thomas Chalmers known as the Great Disruption of 1843. Roughly a third of the clergy, mainly from the North and Highlands, formed the separate Free Church of Scotland. The evangelical Free Church and other secessionist churches grew rapidly in the Highlands and Islands and urban centres. There were further schisms and divisions, particularly between those who attempted to maintain the principles of Calvinism and those that took a more personal and flexible view of salvation. However, there were also mergers that cumulated in the creation of a United Free Church in 1900 that incorporated most of the secessionist churches.
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.
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.
Poetry of Scotland includes all forms of verse written in Brythonic, Latin, Scottish Gaelic, Scots, French, English and Esperanto and any language in which poetry has been written within the boundaries of modern Scotland, or by Scottish people.
Scottish literature in the nineteenth century includes all written and published works in Scotland or by Scottish writers in the period. It includes literature written in English, Scottish Gaelic and Scots in forms including poetry, novels, drama and the short story.
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 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.
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.
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.
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.
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.
The evangelical revival in Scotland was a series of religious movements in Scotland from the eighteenth century, with periodic revivals into the twentieth century. It began in the later 1730s as congregations experienced intense "awakenings" of enthusiasm, renewed commitment and rapid expansion. This was first seen at Easter Ross in the Highlands in 1739 and most famously in the Cambuslang Wark near Glasgow in 1742. Most of the new converts were relatively young and from the lower groups in society. Unlike awakenings elsewhere, the early revival in Scotland did not give rise to a major religious movement, but mainly benefited the secession churches, who had broken away from the Church of Scotland. In the late eighteenth century and early nineteenth century the revival entered a second wave, known in the US as the Second Great Awakening. In Scotland this was reflected in events like the Kilsyth Revival in 1839. The early revival mainly spread in the Central Belt, but it became active in the Highlands and Islands, peaking towards the middle of the nineteenth century. Scotland gained many of the organisations associated with the revival in England, including Sunday Schools, mission schools, ragged schools, Bible societies and improvement classes.
Scottish Protestant missions are organised programmes of outreach and conversion undertaken by Protestant denominations within Scotland, or by Scottish people. Long after the triumph of the Church of Scotland in the Lowlands, Highlanders and Islanders clung to a form of Christianity infused with animistic folk beliefs and practices. From 1708 the Society in Scotland for Propagating Christian Knowledge (SSPCK) began working in the area. In 1797 James Haldane founded the non-denominational Society for the Propagation of the Gospel at Home. Dozens of lay preachers, divinity students and English preachers were sent to the region. In the early nineteenth century a variety of organisations were formed to support evangelism to the region.
Learmont Drysdale was a Scottish composer. During a short career he wrote music inspired by Scotland, particularly the Scottish Borders; this included orchestral music, choral music and songs.
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