162:, 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
148:
1304:
222:
372:
87:. 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.
83:, 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
19:
307:
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
275:
was published in five volumes between 1799 and 1818. It helped make
Scottish songs part of the European cannon of classical music, while Thompson's work brought elements of Romanticism, such as harmonies based on those of Beethoven, into Scottish classical music. Also involved in the collection and
170:
was founded in 1865 to promote liturgical study and reform and a year later organs were officially admitted to churches. 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
382:
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.
353:(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. In Scotland collectors included the Reverend James Duncan (1848–1917) and
357:(1856–1914), who collected over 1,000 songs, mainly from Aberdeenshire. 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.
90:
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
194:
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. The visit of American Evangelists
394:(1809–47) in the 1840s. 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
36:. 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
171:
of kirks had both organs and choirs. However, they remained controversial, with considerable opposition among conservative elements within the church and organs were never placed in some churches.
203:(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. Sankey made the
1365:
1340:
259:, published from 1793 to 1818, which adapted Scottish folk songs with "classical" arrangements. Thompson was inspired by hearing Scottish songs sung by visiting Italian
286:, 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
1405:
1385:
1415:
1202:
1123:
142:
263:
at the St
Cecilia Concerts in Edinburgh. He collected Scottish songs and commissioned musical arrangements from the best European composers, who included
1333:
349:
245:(1752–1803). Working with music engraver and seller James Johnson, Burns contributed about a third of the eventual songs of the collection known as
183:
49:
1497:
1370:
477:
191:
57:
229:
In the late eighteenth century and early nineteenth century there was and an attempt to produce a corpus of
Scottish national song, involving
890:
158:
The nineteenth century saw the reintroduction of accompanied music into the Church of
Scotland. This was strongly influenced by the English
1326:
178:
the influence of the Oxford
Movement and links with the Anglican Church led to the introduction of more traditional services and by 1900
451:(1868–1916). Mackenzie, who studied in Germany and Italy and mixed Scottish themes with German Romanticism, is best known for his three
440:
104:
71:
In the late eighteenth and early nineteenth century there was and an attempt to produce a corpus of Scottish national song, involving
1559:
1380:
1284:
953:
932:
869:
632:
590:
282:
428:(1880) for violin and orchestra, which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "
339:
From the late nineteenth century there was renewed interest in traditional music, which was more academic and political in intent.
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328:(1843–1927), known as the "Strathspey King", who played the fiddle in venues ranging from the local functions in his native
1528:
980:
495:(1897) and choral works on Scottish subjects have been described by I. G. C. Hutchison as the musical equivalent of the
406:
1146:
366:
154:, whose singing and compositions helped popularise accompanied church music in Scotland in the late nineteenth century
1049:
522:
In the late part of the century performers emerged who gained international reputations. These included the pianist
1564:
1390:
1349:
1192:
1109:
602:
S. J. Brown, "Scotland and the Oxford Movement", in S. J. Brown, Peter B. Nockles and Peter Benedict Nockles, eds,
523:
252:
190:, was more conservative over music, and organs were not permitted until 1883. Hymns were first introduced in the
116:
76:
56:, was more conservative over music, and organs were not permitted until 1883. Hymns were first introduced in the
18:
1487:
1156:
247:
136:
1477:
1274:
1151:
415:
216:
167:
115:. In the late part of the century, performers emerged who gained international reputations. They included
1001:
99:. Major composers included of the national school that developed in the late nineteenth century included
1451:
1395:
1289:
463:
for piano (1897), all involving Scottish themes and folk melodies. Wallace's work included an overture,
1033:
435:
Major composers included of the national school that developed in the late nineteenth century included
387:
207:
so popular that working-class mission congregations pleaded for the introduction of accompanied music.
92:
1502:
1400:
487:
287:
268:
238:
44:
and links with the Anglican Church led to the introduction of more traditional services, and by 1900
386:
From the mid-nineteenth century classical music began a revival in Scotland, aided by the visits of
1431:
1161:
344:
325:
84:
1456:
1436:
1017:
535:
313:
33:
965:
D. Conway, '"Short, Dark and Jewish-Looking": Felix Mendelssohn in Britain', in S. Massil, ed.,
1176:
1171:
1166:
1132:
1089:
1055:
985:
949:
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907:
886:
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187:
68:
to Edinburgh and Glasgow in 1874–75 helped popularise accompanied church music in Scotland.
53:
147:
1507:
1308:
504:
333:
200:
159:
65:
41:
29:
includes all forms of music production in the period, in Scotland or by Scottish people.
1512:
1492:
496:
448:
375:
234:
112:
79:, which helped make Scottish songs part of the European cannon of classical music. The
1548:
1533:
1318:
1048:
I. G. C. Hutchison, "Workshop of Empire: The Nineteenth Century" in J. Wormald, ed.,
531:
429:
242:
196:
151:
124:
61:
309:
300:
277:
264:
230:
80:
72:
944:
A. C. Cheyne, "Culture: age of industry (1843–1914), general", in M. Lynch, ed.,
467:(1894). Drysdale's work often dealt with Scottish themes, including the overture
1446:
527:
354:
120:
225:
Francis James Child, one of the key figures in beginning the first folk revival
221:
712:
H. Matherson, "Robert Burns and national song", in D. Duff and C. Jones, eds,
923:
J. R. Baxter, "Culture, Enlightenment (1660–1843): music", in M. Lynch, ed.,
410:(Symphony No. 3). On his last visit to England in 1847, he conducted his own
419:
371:
321:
204:
32:
The nineteenth century saw the reintroduction of accompanied music into the
1482:
329:
260:
233:(1759–96) building on the work of antiquarians and musicologists such as
179:
45:
340:
304:
251:, issued between 1787 and 1803 in six volumes. Burns collaborated with
292:
164:
Harmonia Sacra: A Selection of the Most Approved Psalm and Hymn Tunes
1101:
647:
S. J. Brown, "Beliefs and religions" in T. Griffiths and G. Morton,
303:, which dealt with the lives of agricultural workers, who lived in
370:
317:
220:
166:, provocatively printed a frontispiece showing a small organ. The
146:
1322:
1105:
378:, one of the key composers of the Romantic movement in Scotland
562:
A Communion Sunday in Scotland ca. 1780: Liturgies and Sermons
883:
Electric Folk: The Changing Face of English Traditional Music
623:
D. W. Bebbington, "Episcopalian community" in M. Lynch, ed.,
1086:
No Gods and Precious Few Heroes: Twentieth-century Scotland
414:
with the Philharmonic Orchestra before Queen Victoria and
604:
The Oxford Movement: Europe and the Wider World 1830–1930
519:(1911) incorporated traditional Scottish folk melodies.
581:
R. W. Munro, "Churches: 2 1843–1929" in M. Lynch, ed.,
271:(1770–1827). Burns was employed in editing the lyrics.
1075:(Edinburgh: Edinburgh University Press, 2005), p. 196.
780:
778:
776:
774:
772:
22:
Frontispage of Burns, The Scots Musical Museum (1787)
649:
A History of Everyday Life in Scotland, 1800 to 1900
1521:
1470:
1424:
1358:
1267:
1216:
1185:
1139:
860:J. R. Baxter, "Music, Highland", in M. Lynch, ed.,
672:(Manchester: Manchester University Press, 2003),
324:. The tradition continued with figures including
556:
554:
60:in the 1850s. The visit of American Evangelists
1088:(Edinburgh: Edinburgh University Press, 1998),
984:(Cambridge: Cambridge University Press, 2005),
830:(Edinburgh: Edinburgh University Press, 2012),
788:(Edinburgh: Edinburgh University Press, 2005),
651:(Edinburgh: Edinburgh University Press, 2010),
643:
641:
606:(Cambridge: Cambridge University Press, 2012),
182:choirs and musical services were the norm. The
48:choirs and musical services were the norm. The
1334:
1117:
714:Scotland, Ireland, and the Romantic Aesthetic
280:(1771–1832), whose first literary effort was
273:A Select Collection of Original Scottish Airs
257:A Select Collection of Original Scottish Airs
186:that broke away from the kirk in 1843 in the
52:that broke away from the kirk in 1843 in the
8:
290:(1797–1828), who also created a setting of
143:Scottish religion in the nineteenth century
27:Music of Scotland in the nineteenth century
1341:
1327:
1319:
1124:
1110:
1102:
1054:(Oxford: Oxford University Press, 2005),
948:(Oxford: Oxford University Press, 2001),
927:(Oxford: Oxford University Press, 2001),
885:(Oxford: Oxford University Press, 2005),
864:(Oxford: Oxford University Press, 2001),
627:(Oxford: Oxford University Press, 2001),
585:(Oxford: Oxford University Press, 2001),
946:The Oxford Companion to Scottish History
925:The Oxford Companion to Scottish History
862:The Oxford Companion to Scottish History
828:Ourselves and Others: Scotland 1832–1914
625:The Oxford Companion to Scottish History
459:for violin and orchestra (1889) and the
350:The English and Scottish Popular Ballads
17:
1037:Scottish Composers: the Land With Music
1005:Scottish Composers: the Land With Music
981:The Cambridge Companion to the Concerto
807:Music; Classical, Romantic & Modern
550:
332:, to urban centres of the south and at
1498:Highland and Island Emigration Society
716:(Associated University Presse, 2007),
670:Scotland and the Music Hall, 1850–1914
478:The Land of the Mountain and the Flood
692:The Scottish Nation: A Modern History
347:'s (1825–96) eight-volume collection
7:
583:Oxford Companion to Scottish History
851:, Volumes 37–38 (2004), pp. 99–100.
1351:Scotland in the nineteenth century
276:publication of Scottish songs was
14:
1285:Scottish Alternative Music Awards
283:Minstrelsy of the Scottish Border
1302:
1280:Scottish Album of the Year Award
1462:Visit of George IV to Scotland
1:
1529:History of the United Kingdom
538:was founded in 1891 and the
465:In Praise of Scottish Poesie
758:(London: Routledge, 1993),
737:(London: Routledge, 1993),
475:(1891). MacCunn's overture
367:Classical music in Scotland
1581:
364:
214:
192:United Presbyterian Church
140:
134:
58:United Presbyterian Church
1298:
809:(Ayer Publishing, 1927),
756:The Songs of Robert Burns
735:The Songs of Robert Burns
695:(London: Penguin, 2012),
564:(Scarecrow Press, 2009),
526:(1868–1948), and singers
422:(1838–1920) composed the
1560:19th century in Scotland
1039:, retrieved 11 May 2012.
1024:, retrieved 11 May 2011.
1007:, retrieved 11 May 2012.
906:(Backbeat Books, 2001),
248:The Scots Musical Museum
137:Church music in Scotland
1457:Great Disruption (1843)
1275:Scots Trad Music Awards
1073:Modern Scottish Culture
786:Modern Scottish Culture
507:. Similarly, McEwen's
379:
226:
217:Folk music of Scotland
168:Church Service Society
155:
23:
1555:19th century in music
1452:Catholic emancipation
1290:Scottish Music Awards
1002:"Alexander Mackenzie"
374:
224:
150:
40:the influence of the
21:
1503:Highland Land League
967:The Jewish Year Book
471:(1890), the cantata
288:Franz Peter Schubert
269:Ludwig van Beethoven
1442:Evangelical revival
1432:Highland Clearances
1309:Scotland portal
1051:Scotland: A History
1034:"Learmont-Drysdale"
485:(1896), his operas
453:Scottish Rhapsodies
437:Alexander Mackenzie
400:(also known as the
345:Francis James Child
326:James Scott Skinner
176:Episcopalian Church
101:Alexander Mackenzie
85:James Scott Skinner
38:Episcopalian Church
1437:Lowland Clearances
1208:Nineteenth century
1203:Eighteenth century
978:S. P. Keefe, ed.,
849:Research Chronicle
536:Scottish Orchestra
380:
227:
174:Similarly, in the
156:
34:Church of Scotland
24:
1565:Music of Scotland
1542:
1541:
1316:
1315:
1133:Music of Scotland
1018:"William Wallace"
969:(2009), p. xviii.
956:, pp. 143–6.
891:978-0-19-517478-6
540:Glasgow Athenaeum
534:(1884–1977). The
483:Six Scotch Dances
461:Scottish Concerto
455:(1879–80, 1911),
445:Learmont Drysdale
412:Scottish Symphony
407:Scottish Symphony
402:Hebrides Overture
392:Felix Mendelssohn
211:Traditional music
199:(1840–1908), and
109:Learmont Drysdale
97:Felix Mendelssohn
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1522:Related articles
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54:Great Disruption
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160:Oxford Movement
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390:(1810–49) and
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365:Main article:
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1366:Architecture
1300:
1268:Music awards
1207:
1198:Early modern
1096:, pp. 136–8.
1085:
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935:, pp. 140–1.
924:
919:
904:Celtic Music
903:
898:
882:
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872:, pp. 434–5.
861:
856:
848:
843:
827:
822:
806:
805:A. E. Hull,
801:
796:, pp. 195–6.
785:
766:, pp. 16–18.
755:
750:
734:
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691:
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668:P. Maloney,
664:
648:
635:, pp. 234–5.
624:
619:
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488:Jeanie Deans
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481:(1887), his
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432:" by Burns.
423:
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131:Church music
89:
73:Robert Burns
70:
31:
26:
25:
15:
1478:Romanticism
1447:Radical War
1084:C. Harvie,
893:, pp. 31–8.
881:B. Sweers,
826:G. Morton,
593:, pp. 91–2.
528:Mary Garden
515:(1908) and
499:castles of
491:(1894) and
355:Gavin Greig
314:strathspeys
237:(1711–92),
184:Free Church
121:Mary Garden
50:Free Church
1549:Categories
1406:Literature
1376:Demography
1094:0748609997
1060:0191622435
990:052183483X
912:0879306238
836:0748620486
815:0836958039
794:0748620273
764:0203991117
745:, p. 1054.
743:0203991117
722:0838756182
701:0718196732
678:0719061474
657:0748621709
612:1107016444
570:0810869810
501:Abbotsford
473:The Kelpie
404:) and the
343:professor
322:quadrilles
141:See also:
1471:Movements
1386:Education
1259:2000–2009
1254:1990–1999
1249:1980–1989
1244:1970–1979
1239:1960–1969
1234:1950–1959
1229:1900–1949
1224:1500–1899
1147:Classical
1062:, p. 197.
992:, p. 130.
680:, p. 197.
659:, p. 122.
572:, p. 149.
542:in 1893.
420:Max Bruch
205:harmonium
180:surpliced
46:surpliced
1483:Tartanry
1416:Religion
1396:Language
1391:Identity
1193:Medieval
1022:Allmusic
914:, p. 55.
838:, p. 195
817:, p. 99.
724:, p. 77.
614:, p. 73.
511:(1889),
505:Balmoral
334:Balmoral
330:Banchory
261:castrati
1381:Economy
509:Pibroch
493:Dairmid
457:Pibroch
341:Harvard
318:waltzes
305:bothies
1425:Events
1359:Topics
1092:
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293:Ossian
64:, and
1411:Music
1172:Opera
1152:Court
1140:Forms
546:Notes
316:with
310:reels
1186:Eras
1167:Jazz
1162:Folk
1090:ISBN
1056:ISBN
986:ISBN
950:ISBN
929:ISBN
908:ISBN
887:ISBN
866:ISBN
832:ISBN
811:ISBN
790:ISBN
760:ISBN
739:ISBN
718:ISBN
697:ISBN
674:ISBN
653:ISBN
629:ISBN
608:ISBN
587:ISBN
566:ISBN
503:and
320:and
312:and
299:The
123:and
111:and
95:and
75:and
1401:Law
1371:Art
1177:Pop
107:),
1551::
1020:,
771:^
640:^
553:^
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336:.
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119:,
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