Since beginning this research into Dundee’s Leng Medal competitions, I’ve posted updates from time to time. Seven of them, to be precise! If you’d like to read more, I’ve put all the links on a special page dedicated to this project:-

Dr Karen McAulay explores the history of Scottish music collecting, publishing and national identity from the 18th to 20th centuries. Research Fellow at Royal Conservatoire of Scotland, author of two Routledge monographs.
Since beginning this research into Dundee’s Leng Medal competitions, I’ve posted updates from time to time. Seven of them, to be precise! If you’d like to read more, I’ve put all the links on a special page dedicated to this project:-

I’m re-blogging this post by Will Pooley, because it’s thought-provoking. It’s not about musicology, but history. And as historians, we do not always have neat answers to questions about the past. Read on …
After attending last week’s Donne launch (when I found the opportunity to mention my earlier work in the Whittaker Library), I looked back at my 2023 open access article about increasing women composers’ representation in the Whittaker Library. Just in case you missed it in 2023, here it is again, ‘Representation of Women Composers in the Whittaker Library’. Enjoy! Let me know what you think.
I’m no longer a librarian, focusing solely on my musicological research, but I can still look back with pride on some of my more notable successes. This was definitely one of them.
At home, I wonder if I’m perceived as somewhat perverse and illogical. Why would I want to go out early to examine archival records on a ‘Not Working’ day? (Contractually, Tuesday isn’t a day when I work.)
Should I need to justify myself? Arguably not. However, if retirement offers the opportunity to pursue interests, then surely one should pursue them most vigorously whilst one still has vigour? I’m sure scientists would say this was even good for one’s mental health.
If someone was interested in trains, no-one would think it odd if they wanted to find out where a loco was, at different points in time, and where it went – the track layout and the timetables. It follows, then, that real people, especially in your own city, and with a connection to your own institution, are every bit as interesting and worth researching. She was an organist, composer and music teacher.
[Incredulously] How many books? How many hours? Really?
So … I know a lot about the trumpet major’s youngest daughter, but if I find a new avenue to research, then naturally, I want to explore it.ย And this has been a most interesting and fruitful day, combing through half a dozen large and bulky old handwritten church minutes books.ย I now know when the lady in question began her quarter century of service as a church organist, and when she resigned. I’ve seen her resignationย copied into the records. (But it’s unclear precisely why.ย She gave a slightly vague explanation.ย Ah, well.)
There’s plenty more in my notes that I shall mull over. Just time for a quick coffee before I examine one last document …

To recap – I have done oral history interviews with a number of people who participated in Dundee’s Leng Medal competitions for Scots song singing – mostly as children, but a few teachers have also talked with me. I’ve checked the transcriptions of 25 out of the total 27 interviews, and I also have a few emailed responses too. If you’re one of the people I’ve interviewed or emailed, then can I offer a big thank you, right now, because I now have lots and lots of information and memories. I really am very grateful. I couldn’t have done this without you. You’ve shared your memories, you’ve made me smile, and some of you have even sung to me. Who could ask for more generosity of spirit than that?
So, what’s next?

And I have more than one string to my bow. I’m also still researching …

After my talk at the recent Royal Academy of Music conference, Women and Musical Histories, 1789-1914, I have continued researching Rose Smith’s life. I’ve already found out more, and tomorrow I’m off to consult an archive where I hope some of my still outstanding questions might be answered. I foresee a [second, more focused] research trip to Rose’s birthplace in the near future, before our Scottish days get short and wintry!
I’d also like to organise another event! But I really must focus on getting the Dundee research written up and celebrated before I get consumed by this other research thread.
It’s a good thing I’m semi-retired, really! If I was still cataloguing jazz CDs in the library, I certainly wouldn’t have time to plan research expeditions without taking annual leave.
I shouldn’t be sharing this yet, because I’m sure I haven’t got to the end of this thread. However, it’s too exciting a piece of trivia not to share.
I saw a pen-and-ink drawing of a local church interior, on eBay. Dated 1937, it’s a bit later than the era of that church that interests me. Nonetheless, I thought it would be a nice thing to have.
Last night, I looked up the name of the artist. And it turns out that what I actually have, is a framed drawing done by the rector of the church, made the same year that he took up his charge. Even if I don’t manage to establish any connection with the musical story that I’m working on, I’m delighted to have this piece of artwork just to look at.
So, watch this space. After my forthcoming trip to the archives, maybe I’ll manage to make a connection with the drawing. If I do, my excitement will be off the register. And if not – well, it was still a pleasing acquisition.
Image by congerdesign from Pixabay
Here we are in 2026 and women composers still don’t get their share of concert performances. Neither do those from the global majority. I’d appreciate it if, after reading this post, you could please share it as widely as possible. Thank you!
When I received an invitation to the launch of the Equality and Diversity in Global Repertoire 2025/26 report – at the Royal Albert Hall, no less – I hesitated for only a few seconds – it’s not exactly just down the road! And the trouble with the overnight sleeper (apart from the insomnia) is that you get there far too early…




But, as I outlined in my last post,
If an opportunity presents itself, and you find yourself hesitating, ask yourself this one question:- If I pass this up, am I likely to regret it later? That, rather than other peopleโs opinions, should be your deciding factor.
Karen McAulay Musicologist blog, 22 Sept 2026
You have to be ‘in the room’ to be part of the change you want to see effected. So, since I had been invited, there I was.

I considered it an honour to attend the launch of the latest report of orchestral performances, comparing ratios of music by men and women, broken down further into music by living and deceased, white and global majority composers. The previous report had actually shown a slight downturn in the figures for women and global minorities, but things were marginally on the up again this year. However, Donne are impatient to see much bigger changes, and much of the talk not only by panellists but also invitees, was about how to quicken the pace.
It depends on so many things – boldness in programming. Funders. It’s not that the will isn’t there, amongst performers – artistic directors also need to be ready to make the changes. Not just having a ‘token’ woman’s piece on a programme. Capturing the interest of the audience. And recognising that it’s not enough just to premiere a new piece – because often we need to hear something more than once before we feel it’s something we like and would like to hear more of.
A distinguished panel had been convened, drawn from PRS Foundation; Black Lives in Music; the Musicians’ Union; one of the Oxford Colleges; and the Association of British Orchestras.
Equality and Diversity in Global Repertoire: 110 Orchestras Worldwide, Orchestras Season 2025-2026 / Donne, 2026.

You can find the report via the Donne – Women in Music Facebook page. It’s also worthwhile signing up to receive news from Donne (it’s the Italian for ‘women’, so you pronounce it ‘Don-ne‘) – I’ve just received the link to the latest report and highlights from the analysis.

And you’ll also learn about the latest very ambitious initiative, ’50 by 2030′. Donne founder Gabriella Di Laccio, MBE, is impatient to see a 50:50 balance of music by women and men by 2030. The current 8% ‘is not enough’, she says.

Put that way, who could argue?!
From the floor, we were encouraged to share our own insights. I hung back, but eventually couldn’t contain myself, and shared my opinion that if we wanted children to know about women’s music, and not just canonical (mostly deceased) white men’s compositions, then most crucially, we needed to target student teachers. If teachers aren’t sufficiently well-informed about women’s compositions, then the next generation will continue to miss out on what women have created.
I also mentioned my efforts to get as much music by women composers as possible into the Whittaker Library at the Royal Conservatoire of Scotland particularly in my last five years as a librarian there. (I got applause! There you are – my reward for speaking up.)
After the formal discussions, there was time to network before we all went our separate ways. I caught up with an acquaintance and met lots more.
And managed coffee with our London-based offspring before heading back home. A great day out!
Please don’t forget to share this!
I can’t be the only person who has quietly seethed when they feel limitations have been placed on them by someone else! It’s annoying both in everyday life, and when it happens at work. I’ve reached an age where I can see patterns, and when someone else identifies the same thing, then I relate to that! Perhaps you will too.
I donโt spend much time looking at LinkedIn, but I’m glad I did today. ‘Why your next career step could start with putting your hand up‘, was the eye-catching headline by Gwendoline Cazenave, CEO of Eurostar. You might reasonably ask why I, a semi-retiree, would even think about career steps. But that simply indicates that you don’t know me.
But never let someone else define what is possible for you.
(Gwendoline Cazenave, Eurostar CEO)
My first thought was the recollection of an indescribably trivial annoyance yesterday. Nothing whatsoever to do with careers, so let’s gloss over that for now.
And then my mind went back to my well-intentioned, but hardly confidence-instilling mother.
Things did change. I don’t remember precisely when I was jokingly told, ‘You’re a bloody librarian, woman.’ But I had a PhD, and was fortunate in getting research partial secondments.
To whichever unidentified academic who once asked my then line-manager, ‘What does a librarian want with a PhD?’, I would invite them to examine my publications record. I think I can demonstrate what I’ve done with my doctorate!
Another academic asked a subsequent line-manager what a librarian wanted with a teaching diploma. Do I have to spell it out? (The answer begins with ‘T’ …)
So, you can maybe begin to see why Cazenave’s LinkedIn article struck a chord. But, as I mentioned, I’m semi-retired. What this basically means is that I’m paid to do what I love, one and a half days a week, and I do it anyway, as circumstances permit, the rest of the time. But, because it was initially a struggle to establish myself as an equal academic – albeit only part of my working week – I feel as though I forced that door open, and am going to keep my foot in the door as long as I possibly can. I’m a retired librarian, but I consider myself only a mid-career academic.
Cazenave’s article is primarily aimed at folk still going up in their careers. I have to accept that this is not me. But I keep an eye open for interesting shorter-term opportunities. I’m fortunate to have had two fellowships, at the Universities of St Andrews and Edinburgh. In today’s financially straitened times, I worry for younger people, struggling for a foothold. I realise that there are probably those who think I’m old, have had my turn, and should move aside. But no, I have this expertise … so why not go on using it?
Moreover, I will not submit to age stereotyping, particularly when you consider that there’s as big a gap between 68 and 90, as there is between 18 and 40. There is no ‘typical’ older person.
Autobiographical narrative is more helpful if some helpful advice comes out of it, so here’s my advice!
So … ‘Never let someone else define what is possible for you.’ Yesterday, I was informed that I shouldn’t have spent five minutes having a coffee after unpleasant dental treatment. Says who?
I’ve just been to Edinburgh today, for a joyous semi-retired research day at the National Library of Scotland. Yesterday, for a few hours it looked as if this might be impossible. I can’t tell you the joy when I realised that my plans could go ahead.
Having done my research at NLS, did I have coffee afterwards? Hell, yes! Fate even found me a research friend to have coffee with.
Further to yesterday’s post, a quaint postscript. I’ve been wondering what to do with an embroidery transfer found amongst my late mother’s sewing things. It’s about 30 x 2″, showing a motif repeated four times: little girls and a baby, hanging out the washing. It’s both cute and politically incorrect – no little boys in sight! (Boys, hang out washing? In the ‘fifties or ‘sixties? Surely not.)
Then it came to me. I’m the mug that gets to hang out the laundry. It’ll make a great border for an apron. Might as well look the part!!

Better get back to musicology now.

Biddy, the Maid of All Work is the title of a childrenโs book, dating from as early as 1871 in its original version. My own copy is an attractive bound compilation of three stories in a gift book from the turn of the century โ it was given to its original owner as a Sunday School prize, and I bought it when I was researching Bayley & Fergusonโs โservice of songโ books for magic lantern shows. As I have shared before, itโs a very moralistic Christian tale. (Iโll show you the opening paragraphs later on in this post.)
But why have I gone back to services of song? As a matter of fact, that wasnโt why I thought of Biddy. Yesterday, I was thinking about women and domestic labour, and pondering over not only what had changed, but also what seems to have stayed the same. When I was working full-time, we employed a cleaner for two hours a week โ weโd done so for three decades, and it certainly lessened the load. We donโt now โ partly because the agency was struggling to find cleaners, and partly because I donโt feel itโs justified. But somehow, although we used to share the cleaning bill, I alone have ended up with everything connected with running the house, from mending to muffins, and dusting to drain-unblocking. (Iโm told I donโt actually โdoโ the washing, because the modern home has white goods that do everything for me. All I can say is that the washer-dryer hasnโt yet learned how to gather up the laundry, sort it, hang it, iron it and put everything away again.)

Our house is contemporary with the lives of ‘my’ musical Scotswomen.ย It was built in 1904.ย It was occupied by the proprietor (a shipbuilding clerk), his wife and three daughters. It still has a wee chimney leading from where the scullery boiler would have been, on the ground floor.ย Itโs now our kitchen โ but it would have been the wash-house: a place of really hard work.ย We still have a โpulleyโ in what would have then have been the kitchen, and my office is what would have been the bed recess, under the stairs.ย Was there a servant sleeping in it? Well, there wasn’t, in the 1911 census.ย The range was where our dresser is. The kitchen sink? There’s now another bookcase. But the meal-preparation continues, in what was the wash-house. (A Cordon-Bleu cook would find it nightmarishly cramped!)
Anyway, Iโm suitably grateful that thereโs less ironing, with a much nicer iron than the first occupants would have had! I visualise scrubbed and starched cotton shirts and white frilled pinafores hanging from the pulley, where tee-shirts and jeans are now casually draped, and I do appreciate the advances in both textiles and technology!
The life of a servant like Biddy was certainly a hard one. The author asks us to have sympathy for her, not only for the hard work, but also for her feelings of being uncared-about. Now then, bear in mind that itโs a piece of fiction for children. It’s impossible to know how accurate the picture conveyed actually is. There must have been good and caring employers, and ‘Biddy’s’ employer isn’t portrayed as bad. But it was a different age. The history of domestic labour is not my area of research expertise!
Much more could be said about domestic labour, particularly about the present occupantsโ expectations and recollections of childhood and early adulthood which, I can assure you, were quite a long time ago. A different era, made more complicated by the fact that there are also two sets of memories, since our childhoods werenโt simultaneous! And I’ve heard it said that as we age, our most vivid memories are of our early adulthood, when everything was new and exciting. This book (on eBay) is from the ‘sixties: my childhood, not early adulthood. But it is, sadly, from an era when the ‘young wife’ did everything domestically-related. I feel as though I’m dragged back through a time-warp into those dizzy days six decades ago.

Anyway, my mind again turned to Rose Smith, the late Victorian/Edwardian church organist who didnโt let three children curtail her musical activities. How much help did she have around the house? So, letโs recap. Rose was born in 1870 in Lanark, and brought up by her widowed mother, mainly in Glasgow. They didnโt have a servant in the 1891 census โ indeed, her mother had two lodgers as well as Rose and her older sister to look after.
Rose married in 1898. I knew that Iden and Rose Rigdenโs first son was born in June 1899, so at the time of the 1901 census, there were Iden, a tax official; Rose, a teacher and church organist working from home on her โown accountโ (ie, she was self-employed) and Iden junior, aged nearly two. Idenโs wee brother wouldnโt come along until August 1903. Although it was a small household, there was also a live-in servant, the 17-year old Bella Johnston[e], who was born in Port Logan in Wigtonshire around 1884.
I donโt know exactly how long Johnston stayed with the Rigdens. They had their second son in 1903 and a daughter in 1907, and had moved house by 1911 – where there was no live-in servant. Of course, we donโt know if Rose perhaps had a daily, non-resident maid to help her. We do tend to assume that domestic service became a less common occupation after the Great War, yet here we find the Rigdens without a resident maid, three years before the War. Selina Todd, author of an excellent article on domestic service in the first half of the century, would be unsurprised by this, however, as she demonstrates how, although practices changed, domestic service did continue. Just in a different form:-
The โdisappearanceโ of service โ already heralded in the 1920s, when press coverage of โthe servant problemโ was filled with nostalgic laments for the faithful Victorian maid โ never happened. Change, of course, did occur โ the live-in housemaid of the 1900s was replaced with the part-time cleaner of the 1950s [โฆ]
(Todd, see reference below)
Meanwhile, Bella Johnston herself was still a live-in domestic servant in 1911, working back in Wigtonshire in Kirkmaiden (where her grandmother had lived), for the Cook family in Weston House, Church Street. She married a Kirkmaiden fisherman in 1915.
By 1921, the Rigdons had moved up in the world โ from a flat, to a house โ but there was still no maid in the census.
It set me wondering. What about the other women musicians whom Iโve researched? In all honesty, I donโt think the Census data is enough on which to base any conclusions, simply because we donโt know about the domestic servants who didnโt live in โ often called, โcharladiesโ. The term sounds derogatory now, but may not have been considered so at the time. If anything can be deduced from a rainy Friday morningโs searching, it is that having a resident servant seems, in the early 20th century, to have depended on the level of affluence and/or evident need for help.
One thing is certain: the newspapers were full of adverts for Situations Vacant, and from job-seekers.

Clarinda Augusta Webster (1844-1920), was a music educationalist, and school proprietor in Aberdeen before she moved down to London. No census entry has been traced for 1901. In 1911 in Streatham, Webster employed 31-year old general servant Julia Fullick, who must have been either married or widowed at the time, because her name was the same in 1921, and she was then described as a widow, living with her sister and brother-in-law. Fullickโs occupation was now, โcharwomanโ. Webster had died in 1920; I donโt know if Fullick worked for Webster right up to when she died.
Mary Kerr (ca.1848-1908), was the wife of Glasgow music publisher James S. Kerr, and inheritor of the publishing firm. The couple had a servant whilst their family were young. Widowed and living in Saltcoats in 1901, Mary still had a โgeneral servant domesticโ, 21-year old Sarah Reid. By this time she had two adult children, two teenagers and a mother of 82 living with her, so I imagine Kerr and Reid would both have been kept busy! Kerr and her mother later moved back to Glasgow with at least one of the adult children โ but I donโt know how much paid help they had latterly. (Maryโs mother actually outlived her by three months, living to the grand old age of 90.)
Euphemia Allan (1861-1948) was the sister of Glasgow music publisher Mozart Allan; she was a music teacher and also involved in the family firm. Thereโs no record of a resident servant either in Mozart Allanโs home in 1901 or 1911, or when Euphemia and her nephew (also Mozart Allan) lived there in 1921. I wonder whether Euphemia and her nephew had a charwoman โ surely they must have done?!
Kate Logan (1862-1936) grew up in Inverness, where her parents had a servant and three lodgers by 1881, when Kate was the last of their offspring still at home, working as a music teacher. By 1901, her husband David was working as a music seller and employer, whilst Kate was certainly working as a pianist, although thereโs no job designated against her name in the census. There was no live-in servant at that point, but after her husbandโs family firm went bankrupt, Kate opened her Pianoforte and Music Saloon in 1904. Thus, by 1911 they were both designated as music sellers โ and were employing 17-year old Daisy Shaw as their live-in servant. However, by 1921, the census listed no servant.
Flora Woodman (1896-1981) was a famous coloratura soprano, born in London to a mother with โprivate meansโ. Her mother grew up in Glasgow; in 1891 there had been two servants to look after a widow and three adult children. It comes as no surprise to learn that Floraโs own single mother had a servant, 18-year old Annie F. Butler, in the 1901 census; 22-year old Emily Owen in the 1911 census; and 34-year old Louie Hurst in 1921.
As a musicologist, I havenโt had to think about domestic service in the context of social history, but as a working mother myself, obviously I can draw on my own lived experience of running a household. Iโm still left feeling distinctly impressed with Rose Smith Rigden, who performed the same juggling act of balancing a career with raising a family, when the physical work was unarguably harder. Meanwhile, I also take pleasure in the fact that I’ve memorialised the names of a number of female servants who have probably never before been mentioned in print!
| NAME | BIOGRAPHY |
| Bella [Isabella] Johnstone [Johnston]. | Born ca.1884, Wigtonshire. Worked for the Rigdens aged 17 in 1901. Aged 27, a live-in servant in Kirkmaiden in 1911. Married a fisherman in Kirkmaiden, Wigtonshire, in 1915. |
| Julia Mullins. | Born ca.1880. Aged 21, a servant in Bexley in 1901. Aged 31, now Julia Fullick working for Clarinda Webster, in 1911. A widowed charlady living with her sister and brother-in-law in 1921. |
| Sarah Reid. | Born ca.1880. Aged 21 in 1901, working for Mary Kerr. |
| Daisy [Margaret?] Shaw. | Born ca.1894. Aged 17 in 1911, working for the Logans. |
| Annie F. Butler. | Born ca.1883. Aged 18 in 1901, working for Jane [Janie] Sillars. |
| Emily Owen. | Born ca. 1889. Aged 22 in 1911, working for the Woodmans |
| Louie Hurst. | Born ca. 1887. Aged 34 in 1921, working for the Woodmans. |
If youโre interested in the broader subject, Selina Toddโs article, is informative:- โDomestic Service and Class Relations in Britain 1900โ1950โ, in Past & Present, Volume 203, Issue 1, May 2009, Pages 181โ204, https://doi.org/10.1093/pastj/gtp014.
You can read more about my Scottish ladies in my recent RMA Research Chronicle article, or various other articles all listed on my publications page. https://karenmcaulaymusicologist.blog/my-publications/
Biddy, Tibby and French Bessie, by S. C. P. (Edinburgh and London: Oliphant, Anderson & Ferrier). I initially thought this was published in 1900, but I think it was mentioned in the press in 1897 โ whether or not it was an identical edition. It also seems to have appeared as three individual titles in 1871. The anonymous S. C. P. also wrote other titles in the publisherโs โSixpenny Books for Young Peopleโ series.
Hereโs a taster of Biddy:- the opening of Chapter 1.
Biddy worked hard, and got few thanks for it, – poor Biddy! She was maid-of-all work in a large family; and it was, โBiddy, do this,โ and โBiddy, do that,โ from the time she got up in the morning, till she tumbled into her hard bed at night. She had come to Glasgow from Ireland a warm-hearted, impulsive girl; but had been gradually going through a hardening process, till she was practically saying in her heart, โI care for nobody, for nobody cares for me.โ Mrs Pettigrew, her present mistress, was just and faithful in all her dealings with her, and valued Biddy highly as an active, honest, efficient servant; but she was โonly a servantโ to her, and any other girl who worked as well could have supplied her place; and she never dreamt of the large fund of love lying unkindled at the bottom of that servantโs heart, which a little kindness and sympathy on her part would have touched like a spark amongst gunpowder, and brought forth blazing into loving action.
Mistresses lose much who have no sympathy with their servants. How many hearts are saddened and steeled for want of it, even as Biddyโs was!