Women and Musical Histories, 1789-1914. Conference 2-4 September 2026: Website

Posted on by Dr Karen E McAulay
Old photo of a woman

I’m looking forward to my trip to London for this conference this week, and I’m grateful both for the invitation to give a paper, and for the support from my home institution, in the form of a Royal Conservatoire of Scotland Athenaeum Award. I thought it would be worthwhile sharing the link to the event again, now that the programme has been finalised.

Women and Musical Histories, 1789-1914

The organisers have shared the following information:-

The final programme can be accessed directly here:

View the full conference schedule.

A more comprehensive programme, including all presenter abstracts and biographies, is accessible as an Exposition on the Research Catalogue platform.

My paper is on the final afternoon, Friday 4th September:-

‘The Trumpet Major’s ‘Poetess’ Widow; the Scottish Shipping Magnate’s Daughter and the Retired Barrister: The Importance of Parental Support to Musically Gifted Girls in the Late Victorian and Edwardian Eras’.

ABSTRACT

Although I’ve encountered few women’s names in nineteenth- and early twentieth-century Scottish music publishing, I recently published an article about the five women that I did find. (Two were English by descent, but they all grew up in Scotland.) Meanwhile, in other unrelated research, I encountered a London-born Scotswoman with a completely different background, who made her career as a high-flying soprano recitalist. The common thread was their family background and/or support. In today’s paper, I’d like to focus on Rose Buchanan Smith (1870–1942), one of the Scottish-born Englishwomen, and Flora Woodman (1896–1981), the London-born Scot. The cut-off date of this conference, 1914, is significant for both women: it’s the latest possible date for Kerr’s fourth book of Kerr’s Merry Melodies, in which I first encountered Rose’s name; and the year of Flora’s concert debut in London’s Bechstein Hall.

One cannot generalise about women’s musical careers on the strength of two women’s stories. Nonetheless, when there are comparatively few stories substantial enough to draw any inferences from, those that do survive must perforce carry more weight. In my research, I have realised that it is sometimes surprisingly useful to attempt comparisons between individuals whose lives were entirely unconnected. How did these women curate their careers? What influence might their parents have had? Might their mothers have had a particular influence or been especially supportive? What about marital status? Did being a Scottish-born Englishwoman, or a London-born Scotswoman, have any particular effect on their careers? Did they make use of professional networks? And was the advent of new technologies reflected in their musical activities? I shall outline the resources to which I had access, in tracing their path from adolescence to late middle-age, and demonstrate the importance of families to a young Victorian or Edwardian woman establishing a musical career.

This project has been supported by the Royal Conservatoire of Scotland’s Athenaeum Awards.

Image by chenspec from Pixabay

Silver and Gold Leng Medal Memories, Update no.3. Posh Scots and Everyday Scots – the ‘Scottish Cringe’

Posted on by Dr Karen E McAulay
Merson - Head of a boy singing (Creative Commons licence)

It’s time for another update on the research that the Royal  Conservatoire of Scotland has awarded me an Athenaeum Award to conduct.

By the end of tomorrow I’ll have interviewed some 25 or so Leng medallists who were awarded their silver and gold medals between the 1960s and 1990s. They went to a wide range of schools, though one or two schools have featured more than once. And they sang a wide range of songs. Some were nervous, some excited. Some knew they could sing – others were surprised to win – and all were overjoyed to be winners. I’ve been shown a lot of medals, proudly kept through the decades.

Interestingly, social media has been very helpful in augmenting my research findings. On Facebook, I’ve found folk in groups like Dundee Pals enjoy answering quick questions, and their answers are often highly informative. When I asked how many people had three or more family members with medals, the number of replies was quite remarkable!

The ‘Scottish Cringe’?

It wasn’t until last weekend when I conducted a face-to-face interview in Dundee, that someone mentioned ‘the Scottish cringe’. I guessed what that meant, and when it was explained to me, it was rather as I had guessed. It refers to the inferiority complex that many in Scotland have, having grown up in a Scotland that felt it was always subordinate to England, and looked down on by many politicians south of the border. I did look up where the phrase originated, but I only made a hasty search, so I’ll hold my tongue until I am sure of my facts. An article in Glasgow University Magazine last year provides useful context:-

Didi Marina Salonia, Death to “Scottish Cringe” (28 April 2025)

In the context of my research into the Leng medal competitions, it occasionally led to pupils being encouraged to sing their songs in a refined, sanitised kind of accent – not exactly English, but certainly toned-down Scots. I’m sensing that this happened more amongst older medallists, and hopefully children now are encouraged to use their own natural accent – as they’d speak – rather than trying to put on something uncomfortably clipped and unnatural. Again, Facebook has been very helpful here – 38 comments in reply to my question! I’m bowled over.

“I was talking to a friend about the Leng medals yesterday and an interesting thing came up. Who was encouraged to sing their Scots song in their natural everyday accent? Did anyone get told to sing it ‘nicely’ in a posh concert-platform accent?!”

For the rest of this month, I’ll be going through my recordings and transcriptions, looking for interesting threads and making sure I have tabulated schools, songs and the names of long-remembered teachers! I’m also going to look at some archival material, which excites me considerably. Hopefully I could find further evidence of Mr Easson (and perhaps Mr Wiseman), the compilers of the Nelson Scots Song Books, around the time the books were published – and introduced into Dundee schools.

Excess Annual Leave Balance

I am taking annual leave in July. (If I don’t, I lose it, and that would never do.)

I won’t be capable of NOT blogging for a whole month, apart from which I do like to think that if someone comes back here after a couple of weeks away, there will always be something new for them to find. What it will be, I cannot yet say! (Additionally, as you’ll have noticed, I have a couple of research side-interests, so who knows what my month’s vacation might lead me to, if I feel the urge to investigate sudden bright ideas?)

Image: Head of a Boy Singing, by Merson (Creative Commons)

My Leng Medal Memories research is funded by an Athenaeum Award from the Royal Conservatoire of Scotland.

Silver and Gold Leng Medal Memories, Update no.2. Uplifting Conversations

Posted on by Dr Karen E McAulay
A Silver Leng Medal for Scots song singing

After some years researching the history of printed Scottish music and Scottish music publishing, I’m currently using oral history (talking to people about their memories) to find out what they recall about Dundee’s Leng Medal Scots Song Competitions. Did participation lead to a lifetime of music and song? Or stage fright?!  What do people remember?

I began the Athenaeum  Award funded project a couple of months ago. I posted the first update a month ago. It feels like time I posted another one, so here goes!

You’d be surprised how many people remember their music teachers. You’d also be surprised how many people have kept their Leng medals! For gold medal winners, Mozart Allan’s Morven Scottish song book was a prize for a number of years,  certainly into the 1970s. From the late 1990s, the prize changed to Wilma Paterson and Alasdair Gray’s lavish Songs of Scotland, published in 1996.

Are there any gold medallists out there from the 1980s or 1990s? What was your prize book? Have you still got it?

What I find so enjoyable about this project, is how uplifting these conversations are! Participants talk with such enthusiasm and affection about singing in school – not just in the Leng Medal competitions – and about other musical activities that enriched their childhood. Sir John Leng would be astonished at the impact his endowment has had.  I wish he could be a fly on the wall!

I haven’t nearly finished my interviews yet – as a part-time researcher, I’m just slowly and steadily making progress. Indeed, I’m heading to Dundee tomorrow for some face-to-face meetings. And then on Thursday, I’ll see about sending out some more meeting invites.

(If today’s posting is the first you’ve heard of my research project, then you can find out more about it here, and you can get in touch with me here. It’s not too late!)

My Leng Medal Memories research is funded by an Athenaeum Award from the Royal Conservatoire of Scotland.

Athenaeum Award Research Project: Silver and Gold Leng Medal Memories

Posted on by Dr Karen E McAulay
Microsoft Forms icon. Cartoon person sitting holding a notebook or tablet.

And I’ve started. I’m inching towards the part of the project where I start interviewing people, to see what they remember about this long-running Dundee schools singing competition. I’ve created a Microsoft mini-questionnaire so that people can contact me, and a poster for displaying or sharing. I’ve shared news of my oral history research project via Facebook, Bluesky and Linked in. And folk are getting in touch! I am really excited to say that in less than a week, I’ve already been contacted by quite a lot of people. Best of all, they’re already sharing memories of the Leng Scots Song competition that are exactly the kind of thing I was hoping to hear about – which goes to show that I’ve plainly come up with a really good topic to investigate (if I might be so bold as to say!)

Here’s the link to the questionnaire:- https://tinyurl.com/LengMemories

This research is being funded by an Athenaeum Award from the Royal Conservatoire of Scotland.