page_title: Music of Scotland in the nineteenth century
section_title: Traditional music
hierarchical_section_title: Music of Scotland in the nineteenth century / Traditional music
caption_attribution_description: Francis J. Child, head-and-shoulders portrait, facing right.
context_page_description: Music of Scotland in the nineteenth century includes all forms of music production in the period, in Scotland or by Scottish people.
  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.
context_section_description: 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). 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. 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 (1732–1809). 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, 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 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.
  The bothy ballads, which dealt with the lives of agricultural workers, who lived in bothys 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. 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.
  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. In Scotland collectors included the Reverend James Duncan (1848–1917) and Gavin Greig (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.
caption: Francis James Child, one of the key figures in beginning the first folk revival
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