I’ve reached the point where I need to find more grant-funding! I seem to be at a bit of a cross-roads, needing to decide whether to forge ahead immediately with the Stationers’ Hall research, or take another road which will bring me back to it eventually, having gathered more useful data on the way.
There’s also the question of my own status as a researcher. Neither “new” enough nor “old” enough for early-career or emeritus awards, nor established enough to say that I’m in a “permanent academic post”. Permanent, yes. Academic-related, certainly. But ….!
Meanwhile, please do give me feedback on what the Claimed From Stationers’ Hall network has achieved so far.
- What have you enjoyed?
- What have you learned/gained from following it?
- Has it given you fresh ideas?
- Have you shared information with other people or taken new actions yourself?
I posted similar questions on the Facebook page yesterday. I am more than happy for you to talk to me and share your ideas!
Why have I fallen silent? Well, not totally mute, but the thing is … I’m looking for more grant-funding and trying to…
Posted by Claimed From Stationers Hall: Early Legal Deposit Music on Wednesday, March 20, 2019
Today, I attended the first meeting of a new research network – the Cultural History of Glasgow Network, organised jointly between the Open University in Scotland, and Glasgow City Archives, and funded by the Royal Society of Edinburgh. It was hosted by the Mitchell Library, Glasgow’s impressive flagship central public library. It’s always interesting to be involved with a new collaboration introducing a different mix of people, and this one’s particularly interesting being so close to home, as it were!
You might ask what any of this has to do with Georgian legal deposit music? On the face of it, not a lot. This is partly because although the web announcement named UWS and the titles of the talks, it didn’t name the department or that a couple of the presentations were based on Masters students projects. The department has a contemporary and recent contemporary, rather than a centuries-old historical focus, so there was a divergence of approaches between theirs and mine. Also, partly because I saw the words “reframing heritage” and “art practice”, and I read what I wanted to read. And that’s my fault – but don’t we often do this?! Obviously, “heritage” does not have to mean Georgian. “Reframing” can also include responding musically to something other than music, whilst my own research places heritage music as the primary focus and looks for ways to reframe that, to make it relevant and appealing to people today. But my research response is not to write music (although I’ve been known to write the odd self-indulgent tune!), and – until today – it wouldn’t have occurred to me to produce a documentary film about it.
Karen McAulay, Musicologist 