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.
Sir Giles Gilbert Scott, Tower architect – image from RIBA/ArtUK
Here’s a fantastic webpage devoted to the exhibition that Cambridge University Library mounted last year. It’s an excellent read, and I’ve got the link saved for addition to the next update of our network music legal deposit bibliography. But I can’t wait to share it with you, so here it is – for your mindful enjoyment:-
(I confess, I have just sauntered via the Amazon page to buy Stephen Fry’s novel, The Liar(2004) for my Kindle. It’s set in the University Library. But that’s for leisure reading, so I must leave it aside for a while!)
This is turning into a busy week! Here’s another interesting call for essays, this time from the Women’s Study Group. Picture me, if you will, twirling like a top as I decide which of all these opportunities to turn my attention to first!
Quoting, with permission, from the email that was kindly forwarded to me:-
“The Art and Science of Collecting in Eighteenth-Century Europe
Edited by Dr. Arlene Leis and Dr. Kacie Wills
“We are inviting chapter abstracts for a collection of essays designed for academics, specialists and enthusiasts interested in the interrelations between art, science and collecting in Europe during the long 18th century. Our volume will discuss the topic of art, science and collecting in its broadest sense and in diverse theoretical contexts, such as art historical, feminist, social, gendered, colonial, archival, literary and cultural ones. To accompany our existing contributions, we welcome essays that take a global and material approach, and are particularly keen on research that makes use of new archival resources. We encourage interdisciplinary perspectives and are especially interested in essays that reveal the way in which women participated in art, science, and collecting in some capacity.
“The compendium will consist of around 15 essays, 6000 words each (including footnotes), with up to four illustrations. In addition to these more traditional essays, we are looking for shorter (circa 1,000 words) case studies on material objects pertaining to collections/collectors from that period. The subject of art, science and collecting will also be central to these contributions. These smaller pieces will each include one illustration. The following topics/case studies are particularly desired:
Women’s Collecting Interests
Histories and methodologies of collecting, taxonomies, cataloging, arrangement, and modes of display
Cabinets of curiosities
Catalogues
Collections housed in art and/or science institutions
The boundaries between the natural and the artificial
Scientific and artistic tools and instruments
Seriality vs. Rare objects
Transitional Objects
Conservation
Collecting networks
The artist collector
The scientist collector
The overlapping of art, science and collecting in domestic spaces.
“Essay abstracts of 500 words and 300 word abstracts for smaller case studies are due January 30, 2019 and should be sent along with a short bio to: artsciencecollecting@gmail.com
“Finished case studies will be due July 30, 2019, and due date for long essays will be September 30, 2019.
Must be the start of the year – there’s a sudden outpouring of calls for papers, conference registrations and other exciting challenges. Here’s one for this morning – Musica Scotica is a network I’ve long been associated with.
We are delighted to announce that the Icepops 2019 call for contributions is now open. The conference is taking place on 26th June 2019 at the University of Edinburgh and you have from now until the 4th February to come up with an idea for your presentation.
We are looking for speakers on all aspects of copyright education from a variety of different perspectives. Last year we attracted expert speakers from educational & cultural institutions, publishing houses and government departments as well as an impressive number of international delegates. Our first keynote this year is composer, publisher and scholar Simon Anderson, who will be opening the conference with a musical theme. We particularly welcome sessions that might compliment this. However, we also retain the playful learning theme from last year and our afternoon keynote, the award-winning Charlie Farley from the University of Edinburgh will be leading an interactive workshop.
We would like to encourage presenters to address one of the themes of this year’s conference:
– Universal Copyright Literacy: bridging the gaps between lawyers, IP teachers, specialists and copyright muggles
– Engaging and creative approaches to copyright education including using games, music and performance
– Copyright education as part of digital and information literacy initiatives
– Copyright education in the cultural heritage sector
– Teaching copyright as part of scholarly and open practices
However, we wouldn’t want you to feel constrained if you have a great idea relating to copyright literacy that doesn’t fit 100% into any of the above. Please just let us know and we’ll see if it fits in the programme.
I’m pleased to be sharing this call for essays, which I saw on a mailing-list to which I subscribe. I’m just quoting the entire call, by permission of the editors:-
Call for Essays
Impressions, Vol. 2: Essays on the Art of Printing, The Legacy Press
The Impressions series encompasses all the printing arts: relief, intaglio, lithographic, serigraphic, and digital, as well as related arts, such as stamping, stenciling, and pochoir.
Vol. 1 has filled, and we are taking essays for Vol. 2, which is open to any Impressions topic. Impressions welcomes published scholars, new authors, established areas of inquiry, and topics not previously addressed in other publications. Impressions is particularly interested in studies that use images both as evidence and examples for visual learning.
printing and printmaking
book arts
practical printing
bibliography
history and criticism (book, printing, literary, art, cultural)
interviews
digitization and the printing arts
conservation
archives, collections, libraries, information
collecting
If you have an essay in preparation or if you would like more information about Impressions, please email series editor Rebecca Chung: chung.rm@gmail.com
I am a Performing Arts Librarian 3.5 days a week, and a Postdoctoral Researcher 1.5 days a week. In this self-imposed annual review, I’m not listing routine activities conducted in either capacity; it goes without saying that I’ve answered queries, catalogued, delivered library research training to a number of different class groups, attended meetings, and pursued research-related activities and fieldwork.
From September 2017 to September 2018, I was the AHRC-funded Principal Investigator for a new research network, the Claimed From Stationers’ Hall music research project. Since then, I have continued to conduct research and network with the various scholars and libraries involved with this project, and in the new year shall be pursuing further grant-funding in order to extend the reach of the project.
As someone who continually asks themselves, “Am I doing enough?”, I feel that even I can be reasonably content with this year’s outputs!
JANUARY
Chaired sessions at Traditional Pedagogies, international conference at Royal Conservatoire of Scotland
Book chapter, ‘Wynds, Vennels and Dual Carriageways: the changing Nature of Scottish Music’, in Understanding Scotland musically: folk, tradition and policy. Abingdon, Oxon: Routledge, p. 230-239.
MARCH
Claimed From Stationers’ Hall Workshop, Royal Conservatoire of Scotland, (26 Mar)
Scottish Library & Information Council (SLIC) From PGCert to PG Certainty: Enabling the Distance Learner (invited talk, sectoral organisation) (March 2018)
APRIL
IAML(UK & Irl) Annual Study Weekend, invited talk, Pathways, outputs and impacts: the ‘Claimed from Stationers Hall’ music project takes wings
IAML(UK & Irl) Annual Study Weekend From PGCert to PG Certainty: Enabling the Distance Learner (quick-fire session) (April 2018)
EAERN (Eighteenth-century Arts Education Research Network), ‘Claimed From Stationers’ Hall: But What Happened Next?’ (University of Glasgow, 6 June)
Romantic Song Network steering group seminar at British Library
JULY
IAML/AIBM Annual Congress, Leipzig, ‘A Network of Early British Legal Deposit Music: Explored through Modern Networking
SEPT
RMA Conference, Bristol, ‘Overlapping Patterns: the Extant Late Georgian Copyright Music Explored by Modern Research Networking’
NOV
Field-trip to King’s Inns and Trinity College Dublin Libraries, and British Library
EFDSS Conference, London, ‘National Airs in Georgian British Libraries’
ARLGS (Academic and Research Libraries Group Scotland) Teachmeet at Glasgow University Library – speaker
Article, Trafalgar Chronicle, New Series 3 (2018), 202-212, jointly authored with Brianna Robertson-Kirkland, ‘My love to war is going’: Women and Song in the Napoleonic Era’.
DEC
Article, Information Professional, Nov-Dec 2018, ‘Coffee and Collaboration’ [teaching electronic resource strategies]
Additionally, I have authored 79 blogposts and 5 Newsletters in connection with the Claimed From Stationers’ Hall research project.
William Hawes (1785-1846) was a singer, conductor and composer in a variety of high-profile institutions, beginning with his appointment as a chorister at the Chapel Royal. Work as a deputy lay vicar at Westminster Abbey was followed by his becoming a Gentleman of the Chapel Royal, later becoming Master of the Choristers at St Paul’s and Master of the Children at the Chapel Royal. He was also an associate of the Philharmonic Society, a leading light in the Regent’s Harmonic Institution, a lay vicar of Westminster Abbey, conductor of the Madrigal Society, and organist of the Lutheran Chapel. And then there was his work with the operatic scene, too. He was clearly quite an important person on the contemporary London musical scene.
For some reason, William Hawes had the Stationers’ Hall music registrations from 1789 to 1818 copied into a manuscript, A List of Music Entered at Stationers’ Hall, from January 1 1789, to January 1, 1819. 1818 had seen the inception of the Regent’s Harmonic Institution, and Krummel suggests in Kassler’s edition of Music Entries at Stationers’ Hall 1710-1818 (2004) that the manuscript was probably connected with establishing when music would go out of copyright (after twenty-eight years), becoming legally reprintable. (Kassler, ix)
By Charles Heath, after William Westall
You can read more about the Regent’s Harmonic Institution in Oxford Music Online. It’s an institution I’d like to learn more about in due course:-
“Regent’s Harmonic Institution [ Royal Harmonic Institution ] English firm of music publishers . It was founded in London in 1818 as a joint-stock company of 23 (then 21) professional musicians, including Attwood, Ayrton, J.B. Cramer, William Hawes, Ries, George Smart, Thomas Welsh and Samuel Wesley, to finance reconstruction of the Argyll Rooms, Regent Street…” Leanne Langley (2001)
But I digress. When Kassler produced his edition of Music Entries, he combined his own transcriptions from the Registers with those of Don Krummel and Alan Tyson, as far as the year 1810, but used Hawes’ transcription for the years 1811-1818. This became the cut-off point for Kassler’s edition, in order to restrict the work to one volume.
Now, I should like to extend transcriptions forward to 1836. That’s the year when new legislation changed the legal deposit stipulations, reducing the number of legal deposit libraries and for those that lost their privilege, instituting a new system of granting library book-budgets instead. How to make my idea happen is the question that is exercising me at the moment!
On this day … ballads, rondos, anthems, glees and variations on operatic themes
19th December 2018 is a significant day in Claimed From Stationers’ Hall terms, because the very last transcribed entries in William Hawes’ manuscript were those originally entered exactly 200 years ago. And it was a good day for music, albeit a busy one for warehouse keeper Mr Greenhill – no less than sixteen musical entries. Five from publisher Goulding, followed by six from Power, two from Birchall, one that may have been from Chappell alone (it’s hard to tell in Copac), one from Clementi, and one published by both Clementi and Chappell. This last isn’t in Copac, but a copy can be traced in Berlin via WorldCat.
Goulding
Samuel Webbe, Jr’s Edward, a ballad – surviving in the most likely copyright libraries:- Aberdeen, the Bodleian, the British Library, Glasgow and St Andrews.
Ferdinand Ries’ When the wind blows, rondo, no.1, op.84, surviving in Aberdeen, the British Library and Glasgow.
Ries’ Popular French air with variations, no.4, op.84 – the same five libraries above.
Henry Rowley Bishop’s I have kept the ways of the Lord, anthem (in memory of Queen Charlotte [died 17.11.1818]) – same five libraries, and also in Edinburgh (whose copy isn’t yet catalogued online)
Bishop’s Hark! The solemn, distant bell (again, in memory of Queen Charlotte [died 17.11.1818]) – same five libraries, and in Edinburgh (as above)
Power
Thomas Simpson Cooke’s The dandy beau: a song – Aberdeen, British Library, Glasgow and St Andrews
Thomas Attwood’s Her hands were clasp’d (a Thomas Moore text from Lalla Rookh) – Aberdeen, British Library, Glasgow and St Andrews
John Clarke’s The Peri pardoned (song from Lalla Rookh) – Aberdeen, Bodleian, British Library and St Andrews
Frances L Hummell, or Hunnell’s My love is like the red, red rose – only in the Bodleian and the British Library
Joseph William Holder’s La belle Hariette [Henriette] with variations – Aberdeen, British Library and St Andrews
Thomas Howell’s Six progressive sonatinas for piano forte – Aberdeen, the Bodleian, the British Library, Glasgow and St Andrews
Birchall
Carlo Michele Alessio Sola’s – Amabili Britanne, canzonetta – the same five libraries
Sola’s Amor possente amore, canzonetta – the same five libraries
Chappell?
Ries’ La charmante Gabrielle, with variations [cannot trace Ries’s piece in Copac, but maybe it could be a piece indexed as by Onslow, published by Chappell]
Clementi
Ries’ Venetian air, with variations – Aberdeen and the British Library
Clementi, Cheapside, and Chappell, New Bond Street
Ries’ Air from Griselda (by Ferdinand Paer) with variations [again not in Copac but in Worldcat we find: A favorite air from Paer’s Celebrated Opera Griselda. Can only trace in the Berlin Staatsbibliothek – and digitised under the auspices of the Europeana project.
Considering what was registered, it’s not surprisingly a very typical collection of pieces for the era. I’ve found the library locations of surviving copies listed online, generally using Copac but occasionally also resorting to WorldCat – but this doesn’t mean that a few more might not yet turn up in collections not fully catalogued online to date. I wonder if anyone would like to check their card catalogues?! You’ll observe that there’s a fairly clear pattern of which libraries kept their legal deposit music. In the ensuing 200 years, it isn’t too surprising that the numbers of surviving copies varies just a little. Indeed, I find it quite remarkable that as many copies do survive!
Season’s Greetings to all followers of the Claimed From Stationers’ Hall music research project. I bring you pictures of Edinburgh in festive mode, after yesterday’s trip to the University Library! There’s a big posting coming up tomorrow – do check back in to see!
JISC mail members of the Claimed From Stationers Hall network can look forward to the latest issue of the Newsletter hitting their in-boxes any minute now! But if you’re not signed up to this, then don’t worry – you can read it right here instead.
Put the kettle on, put your feet up, and enjoy!
As always, the link to the Newsletter has been added to the Newsletter tab on our homepage, too.
On the left – Dr William Kitchiner, lecturing on optics
Since my kitchen is littered with (most of) the ingredients for our Christmas cake, it seems appropriate to devote a short post to a significant publication from 1817 (yes, my new favourite year!) – Dr William Kitchiner’s The Cook’s Oracle. We’ve encountered Dr Kitchiner before, on account of his patriotic and sea song books. They weren’t particularly well-received.
Dr Kitchiner had other interests, though. He lectured on optics, and was a published expert on cookery and nutrition. He hoped that his cookbook would provide good, solid nutritional guidelines. Wikipedia reports that he was an exceptional cook, and his was a household name. I haven’t gone so far as to check this out, but I’ve found you a simple suet pudding to try!
You can read the ENTIRE book online, if you’re so inclined:-
(The 2nd edition even begins with an Anacreontic Song, if you please, combining his passions for music and food.)
Whilst checking the King’s Inns guardbooks for national songbooks, I naturally looked for Kitchiner, though I didn’t really imagine there would be much appetite for English national songs. I was unsurprised to find it absent from the catalogue – but there was clearly an appetite for Apicius Redivivus! There it was, in the guardbook under Kitchiner’s name. Perhaps struggling to decide where to shelve it, the Victorian librarians ended up putting it in the “literature” section – the same as the minstrelsy material.
But it wasn’t on the shelves. (Someone kindly checked for me!) Who borrowed the cookbook and didn’t return it? Or misshelved it? Or dropped it in the broth, or used it until it fell to bits? I have a good imagination, but maybe I should stick to hard facts. And, tempting as it is to try the recipes straight away, I should probably bake our own Christmas cake first! My family will probably be glad to learn that Dr Kitchiner only mentions Christmas in connection with the seasons for oysters and House Lamb – which differs from Grass Lamb , and is eaten from Christmas until Lady-Day. So their annual treat won’t be any different from previous iterations!
We are delighted to announce that the Icepops 2019 
I am a Performing Arts Librarian 3.5 days a week, and a Postdoctoral Researcher 1.5 days a week. In this self-imposed annual review, I’m not listing routine activities conducted in either capacity; it goes without saying that I’ve answered queries, catalogued, delivered library research training to a number of different class groups, attended meetings, and pursued research-related activities and fieldwork.
Institutional Repository: Pure. My profile:- 
Karen McAulay, Musicologist 