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Scottish Music in History 2, B. Brown by Alistair Paterson Essay 17/04/2011 THE SCOTTISH LUTE MANUSCRIPTS Discuss the surviving sources of music for the lute family. How does the existing evidence have potential relevance in the traditional music scenes of today? What problems do these sources present? The lute is very rarely thought of as one of Scotland’s national and most culturally defining instruments. However, it is in the Scottish lute manuscripts of the seventeenth and early-eighteenth centuries that we find some of the ‘earliest written examples of Scottish instrumental music that have come down to us’ – a corpus of books that collectively contain over four hundred tunes, and provide us with an invaluable insight into a period of history when the ‘development of self- consciousness about what Scottish music is’ was at its strongest 1 . It is evident that the lute was an important instrument at some stage in Scotland’s musical past 2 , but when exactly was this period in time? We know that lute players were ‘fully established at the Royal Court’ by the end of the fifteenth century; in fact, ‘the lute was central to court entertainment’ during the reigns of King James I to James VI (1406 – 1603) (Spring 2001: 451 & Phillips 1995: 4). It cannot be determined exactly when the lute first appeared in 1 (Phillips 1995: 4; Taylor & Phillips 2007: liner notes and Purser 2007b: programme 23) 2 In his book Musical Memoirs of Scotland, Sir John Graham Dalyell gives the description ‘an instrument formerly in highest repute, and the most extensively cultivated by the most civilised of the European nations, was the lute’ (Dalyell 1849: 221). 1

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Scottish Music in History 2, B. Brown by Alistair PatersonEssay 17/04/2011

THE SCOTTISH LUTE MANUSCRIPTS

Discuss the surviving sources of music for the lute family. How does the existing

evidence have potential relevance in the traditional music scenes of today? What

problems do these sources present?

The lute is very rarely thought of as one of Scotland’s national and most culturally

defining instruments. However, it is in the Scottish lute manuscripts of the

seventeenth and early-eighteenth centuries that we find some of the ‘earliest written

examples of Scottish instrumental music that have come down to us’ – a corpus of

books that collectively contain over four hundred tunes, and provide us with an

invaluable insight into a period of history when the ‘development of self-

consciousness about what Scottish music is’ was at its strongest1. It is evident that

the lute was an important instrument at some stage in Scotland’s musical past2, but

when exactly was this period in time? We know that lute players were ‘fully

established at the Royal Court’ by the end of the fifteenth century; in fact, ‘the lute

was central to court entertainment’ during the reigns of King James I to James VI

(1406 – 1603) (Spring 2001: 451 & Phillips 1995: 4). It cannot be determined exactly

when the lute first appeared in Scotland, but it has certainly been known since at

least the thirteenth century, when it is mentioned in a poem by Thomas of

Ercildoune3:

Harpe and fethill both they fande,Getterne and als so the sawtrye; Lutte, and rybyte, both gangande,And all manner of mysntralse.

(Phillips 1995: 6; see also Taylor & Phillips 2007: liner notes)

There is insufficient surviving evidence to form any firm conclusions about the lute in

Scotland prior to James I; however there are ‘plentiful literary references to lute

playing in Scotland in the late fifteenth and throughout the sixteenth centuries, but no

1 (Phillips 1995: 4; Taylor & Phillips 2007: liner notes and Purser 2007b: programme 23)2 In his book Musical Memoirs of Scotland, Sir John Graham Dalyell gives the description ‘an instrument formerly in highest repute, and the most extensively cultivated by the most civilised of the European nations, was the lute’ (Dalyell 1849: 221).3 Thomas of Ercildoune (1219 – 1299) is believed to be the first poet of the ‘Inglis’ language in Scotland who we are able to identify from surviving sources (Lyle 2007: 7).

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Scottish Music in History 2, B. Brown by Alistair PatersonEssay 17/04/2011

Scottish lute sources survive from this period’ (Phillips 1995: 4 & Spring 2001: 454).

In addition to literary evidence from this earlier period, there is also iconographic

evidence, such as the stone carvings of lute players in Roslyn Chapel:

Stone engraving depicting lutar in Lady Chapel, Roslyn Chapel. www.rmguitar.info/lutemedieval (Mackillop 2002a)

Apart from the few pieces in English lute manuscripts from this time, such as ‘Hunt’s

Up’, which show some indication4 of a Scottish origin, no written music survives from

the ‘Golden Age’ of Scottish lute music – that of the two hundred years prior to 1603.

The year 1603, of course, marked significant change in Scotland with the Union of

the Crowns resulting in the court moving to London, and the royal patronage which

had kept ‘hardly less than four lutars at the court at any one time’ was now lost

(Phillips 1995: 4). The surviving Scottish manuscripts all date from post-1603, and

span a hundred year period, before another change impacted Scotland – The Treaty

of Union in 1707. These years, 1603 to 1706, were an interesting time for Scotland –

some argue that Scottish music ‘suffered greatly in comparison with the relatively

4 The Scottish versions of ‘Hunt’s Up’ retain the ‘lively driving rhythms’ as the English settings, but are also ‘characterised by a double-tonic on C and B flat’ – a feature found in much of the surviving Scottish lute music, such as those examples in the Balcarres MS (Spring 2001: 454).

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flourishing courtly musical activity that preceded it (Spring 2001: 456). However, Rob

Mackillop takes the opposite opinion of the ‘period when we fell back on our own

resources’ (Purser 2007b: programme 23). Following the Royal Union, there was

certainly increased intermingling of the different cultures in Scotland, mainly due to

the ‘new air of tolerance between the Lowlanders and Gaels’, and as such, this new-

found interaction is captured within the lute manuscripts of the seventeenth century,

a time when the lute lost its aristocratic status but became the instrument on which

many people began to rediscover and revert back to the native idiom for musical

inspiration (Phillips 1995: 4 & Mackillop 2007: 96). It is for this reason that a study, or

discovery, of the wealth of material to be found in the lute manuscripts of the

seventeenth- and early eighteenth-centuries is vital for anyone interested in Scottish

traditional music.

This essay will focus on arguably the five most important manuscripts of

direct relevance to Scottish lute music. They are, in chronological order of

composition – the Rowallan Manuscript, the Straloch Manuscript, the Skene

Mandore Manuscript, the Lady Margaret Wemyss Manuscipt and the Balcarres

Manuscript.

The earliest surviving Scottish lute manuscript – The Rowallan MS, is

believed to have originated around the years 1612 to 1628 (Spring 2001: 458). The

contents of this document have a significant continental influence5, but we also

observe that it ‘provides evidence of the change from the court-influenced practice of

the previous decade to the recording of the native song tradition’ (Phillips 1995: 21 &

Mackillop 2007: 78). Many of the arrangements in Rowallan are very plaintive and

the characteristic double-tonic effect is found in pieces such as ‘Corn Yairds’ (Phillips

1995: 21). Perhaps the most interesting and astounding find in this document

though, is a piece entitled ‘The Gypsie’s Lilt.’ The tune is noted for its repetition of

one very unusual ‘haunting’ chord6 throughout – B flatMaj7sus4, which John Purser

describes as being ‘like nothing else – nothing else at all’ (Mackillop 2007: 79 & 81;

Purser 2007a: 142 and Purser 2007b: programme 16):

5 The unnamed pieces and those with titles such as ‘Gabot’ (possibly ‘Gavotte’) and ‘Current’ are evidence of this continental influence.6 See chord in bars 5 and 7 of following notation as an example.

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Robert Phillips’ transcription of ‘The Gypsie’s Lilt’ (Phillips 1995: 27).

There is some dispute over whether this is in fact the chord the scribe intended, and

whether this is what would actually have been played. Those sceptical of its verity

argue that this chord can be obtained by the common scribal mistake of placing a

note on an adjacent string in the notation, and the fact that the Rowallan MS ‘shows

evidence of different workings of some of the airs, as if the scribe were dissatisfied

with the final result’ further enhances the possibility of this being true (Mackillop

2007: 77, 78 & 81). On the other hand, the chord appears in both versions of ‘The

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Gypsie’s Lilt’7 given in the Rowallan MS, and some say that it may have been an

attempt to convey a ‘dissonant bagpipe effect’ the lute-players heard being played by

the Gypsy musicians (Mackillop 2007: 81). In either case, it is a very unique and

most interesting piece to find in a Scottish manuscript of the early seventeenth-

century.

The Straloch Manuscript was compiled between 1627 and 1629, and

therefore is almost a contemporary of the Rowallan MS. The original document,

which contained seventy-nine pieces, was lost in the nineteenth-century; but copies

were made, the most complete remaining one being by George Farquhar Graham in

18398 (Mackillop 2007: 81; Phillips 1995: 37 and Spring 2001: 461). That being said,

only twenty-nine tunes were actually copied from the original by Graham into his

book, but these salvages give yet further crucial insights into the position of lute

playing and repertoire at the time. It is in this source that we find the earliest written

version to be found of the popular tune ‘Grein Greus ye Rashes’ [Green Grows the

Rashes], even although the tune is almost unrecognisable to the modern day

equivalent (Phillips 1995: 37). As this manuscript was compiled during the period

when we were ‘left to our own resources’, many ‘Scots nobles and gentry were sent

to France as a necessary ingredient for acquiring a liberal education’ and as a result,

the musical style and preferences of these individuals is highly likely to have been

influenced by these foreign connections. In fact, Robert Gordon of Straloch did

receive education in both Aberdeen and France, where it is thought ‘he may have

collected pieces for his lute manuscript’ (Spring 2001: 456). This may account for the

inclusion of continental pieces such as ‘Canaries’, which was a popular dance in

Scotland at the time, as well as other French, Italian and English pieces found in the

MS (Mackillop 2007: 86 & Phillips 1995: 37).

Another important manuscript from around the same period as the

Rowallan and Straloch manuscripts is the Skene Mandore9 Manuscript. The most

likely date of its composition is circa. 1630, although some cite it being possibly as

7 Recordings of ‘The Gypsie’s Lilt’ include those on The Scottish Lute by Ronn MacFarlane (track 13) and Notes of Noy, Notes of Joy by The Rowallan Consort (track 22). [see bibliography for references]8 Graham also copied excerpts into two other books, dated 1845 and 1847, with the latter being more detailed. See (Spring 2001: 462-4) for further information. 9A ‘small, treble lute, somewhat akin to, though predating the mandolin, but with only five courses.’ Various spellings exist including mandour and mandur but not mandora, which is a ‘much larger instrument known to J.S. Bach’ (Mackillop 2004: 56).

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early as 1615 (Brown 2006: 19; Mackillop 2007: 87 & Spring 2001: 464). The

compiler is a John Skene of Halyards, and the content reflects strongly what Skene’s

own personal musical tastes probably were, in that there is a large number of

‘fashionable songs of English composers like John Dowland’ included.10 However,

there are a significant number of Scottish airs and melodies in the manuscript as

well, and the names and titles given to these ‘establishes proof of their antiquity’

(Davie 1980: 9). To a modern audience, the most relevant, or interesting, of these is

the oldest version of ‘The Flowers of the Forest’ known; although, it is very much a

solo lute arrangement and does not coincide with the verses written by Jean Elliot of

Minto (1727 – 1805) (Mackillop 2007: 88). There is also one tune of the port type –

‘Port Ballangowne’, and this manuscript is possibly ‘the earliest source for harp

music in the port genre11’ (Brown 2006: 19). This topic is discussed in more detail

below.

A young Lady Margaret Wemyss started compiling her manuscript in 1643

at age 12. Unfortunately she only lived to age 18, after succumbing to a serious

illness, but left behind this manuscript of various Scottish and French lute solo

pieces, mainly in the older tuning12, but two ‘newer’ tunings are included as well

(Mackillop 2007: 89; Morton 2002: 4 & Phillips 1995: 53). There is a very strong

French influence in this particular source and the solo pieces are ‘equally divided

between Scottish melodies and French music’ (Spring 2001: 461). Robert Phillips

comments that Lady Margaret acknowledges the material in her book was learnt out

of her sister’s, and given the nature and origin of the pieces in question; it is very

likely that their teacher was French themselves (Phillips 1995: 53). The manuscript

also includes English tunes, some ports and, interestingly, an arrangement of ‘The

Day Dawes’ – a tune found in modern-day Shetland (Morton 2002: 4). The well-

known tune ‘Give me your hand’ (‘Tabhair dom do Lámh’) is also found in this

manuscript, and is very similar to a version collected by Edward Bunting in the late

eighteenth-century. Perhaps this is indicative of how competent some of the

notation/interpretation skills of the compilers of these lute manuscripts may have 10 (Brown 2006: 19; Davie 1980: 9; Mackillop 2007: 87; Morton 2002: 4 and Spring 2001: 464).11 If we factor in the uncertainty surrounding the date of composition for the Skene MS (1815 – 1830), some may then argue that the Straloch MS actually contains the earliest evidence of a port.12 This is referred to as ‘gautirs’ or ‘sharp’ tuning and was found in many French lute sources of that time. It is now seen as one of the ‘transitional’ tunings observed in lute playing before the more standardised tuning of the Baroque lute took effect in the eighteenth century (Phillips 1995: 53; Spring 2001: 461 & 470).

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been, or as John Purser says, ‘just how conservative oral tradition can be’ (Purser

2007a: 151 and Purser 2007b: programme 16).

Undoubtedly the most important of the later lute sources13, and perhaps

the most significant of all, is the Balcarres manuscript. Despite this, of all the

surviving Scottish lute books, its history and origins of composition, or collation, are

probably the most ambiguous. A date for its compilation cannot be distinguished

precisely14, although it at least fifty years younger than the Wemyss MS and is

believed to have been created by someone in the Crawford-Lindsay family of

Balcarres, Fife (Mackillop 2007: 92; Morton 2002: 5 & Spring 2010: xv, xvii). So why

is this collection so important and significant? The end of the seventeenth-century is

‘at the very end of the lute’s development as an instrument of the late Renaissance

and Baroque periods’ and yet the contents of Balcarres ‘show that re-engaging with

Scotland’s native musical idioms didn’t leave us looking backwards, but led to

experiment and innovation’ (Mackillop 2007: 92 & Purser 2007b: programme 23).

This is seen most clearly in the development of bass lines, and the inclusion of some

of these in ‘second strains’ of several pieces in Balcarres. Most of the older lute

books had just one strain, but the addition of bass lines in Balcarres is evidence of

the influence of Baroque musical fashion (Mackillop 2007: 93 & 94 & Spring 2001:

489). However, more remarkable is the nature of these bass lines – they are

‘experimental’ (Purser 2007b: programme 23). Taking ‘I love my love in secret, mr

lesslie’s way’ (number 216) as an example, its bass line begins on the fifth of the

scale, then rises up to the flattened seventh before returning to the root – movement

that is ‘unheard of’ in music of the time. Rob Mackillop comments, ‘Now you’ll never

find a more Scottish bass line than that. It’s just incredible – I’ve never seen a bass

line like that in any pieces from that period’ (Mackillop 2007: 94 & Purser 2007b:

programme 23). Another distinguishing feature of the Balcarres MS is that almost

every piece has been credited to one, or usually two people. A ‘Mr Beck’ is the most

frequent name associated with the arrangements15, although his provenance is

unclear – some believe ‘Beck’ is an Anglicisation of Beag, and that he is of Highland

13 Those post-164014 Most sources agree that its copying took place in the last few years of the seventeenth-century and an estimate time-scale for its compilation is probably from 1700 to 1702. See (Spring 2001: 475 and Spring 2010: xvii).15 His name is associated with 185 of the 252 pieces in the book (Spring 2010: xxi).

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origin, but others claim he was ‘a German music tutor employed at Balcarres16

(Mackillop 2007: 93; Morton 2002: 5; Spring 2001: 478 and Spring 2010: xxi). The

scribe(s) is/are not known either; however, he/she notated the majority of the MS

very accurately and may represent the work of a professional, even though other

parts of it are ‘clearly amateur’ (Mackillop 2007: 93 and Spring 2010: vxii). This is in

contrast with most of the other lute MSS which are not as clear or as accurate, and

thus often contain scribal errors.

In addition to providing us with an invaluable repository of music and

many insights into the culture of the period, we are also presented with some

problems when dealing with these particular sources. With the possible exception of

Balcarres17, we must remember that these MSS were compiled by amateur

musicians for their own personal reference. As a result, the notation is usually vague

and seemingly incomplete – supplying us with only the basic structure of the

melodies and no embellishments or variations, and often there are mistakes in the

tablature itself (Morton 2002 ch 2:1 and Spring 2010: xvii). In particular, the Wemyss

MS is difficult to interpret as ‘the music is confusingly written out, with inconsistent

rhythm and bar-lines, possibly because these were Margaret’s first attempts at

setting music down’ (Mackillop 2007: 90). It is apparent that there is also the

influence of continental or other playing traditions of more recent (at the time) cultural

import in the content of MSS. It is probable that ‘much European, and especially

French lute music’ was played in the Scottish court18 during the sixteenth century,

because ‘the cultural connection with France was particularly strong at this time’

(Spring 2001: 454). This influence is identified with the large proportion of French

(and other European) melodies in all the lute MSS, though to a lesser extent in

Balcarres, which provides evidence that many of the popular French pieces of the

sixteenth-century were ‘coming to the end of their currency’ (Spring 2001: 456 & 461

and Spring 2010: xxiv). It is also in Balcarres we see the influence of Western music

making an impact as ‘continental harmonic ideas filtered into native pieces’19

(Mackillop 2007: 95).

16 There is also a reference to a musician named ‘Beck’ in records of the Edinburgh music and dance scene of that time. See (Spring 2010: xi). 17 This seems to have had a more professional influence in its compilation.18 Or court circles19 See Rob Mackillop’s analysis of the evidence of melodic conformity to Western conventions in ‘Aboyne’s Air’ (Mackillop 2007: 95).

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The lute MSS are an important source of early music otherwise

unrecorded for instruments such as the clarsach, and particularly for evidence of the

port tune type. However, problems arise as we are unable to distinguish how these

tunes were altered by the instruments who adopted them, and ‘principal amongst

these is the lute’ (Morton 2002: ch. 3, pg. 7). Taking ‘Port Ballangowne’ in the Skene

MS as an example, Kinnaird and Sanger believe that the given variation is the

lutenist’s attempt to recreate the variation(s) made by the harper, particularly the

‘semi-quaver clusters’ which could be ‘an attempt to write out the ornamentation of

the wire harp’ (Kinnaird & Sanger 1992: 182 and Morton 2002: ch 3: 7):

An

excerpt from Rosie Morton’s descriptive transcription of ‘Port Ballangowne’ showing the semiquaver

‘clusters’ Kinnaird and Sanger refer to (Morton 2002: Appendix 3A).

From the ports found in the Balcarres we are able to see a difference in their

characteristic features from those examples in the earlier lute MSS. Whether all of

these pieces were originally harp/clarsach pieces is also another question, given that

some settings fit the lute very well, and some are impossible to play on a diatonic

instrument such as the clarsach.20 Whether these are genuinely remnants of the

ancient clarsach tradition or not, they are nonetheless precious sources of music that

otherwise may have been lost forever, and ‘the degree to which they were altered by

the lute is mostly conjecture now’21 (Morton 2002: ch 1:1; ch 3: 9).

20 Some settings include accidentals that would not have been possible on the wire-strung clarsach (particularly some examples in the Straloch MS).21 We can track the development of the ports to some extent. Refer to those examples in Daniel Dow’s Ancient Music of Scotland and observe that some of the variations ‘fill in’ the gapped scales with quaver runs (Morton 2002: ch 3: 1).

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So, why might these manuscripts be of relevance to traditional musicians

in the modern-day? Firstly, as part of the recent revival of the ancient clarsach

tradition, they may hold the earliest examples of the repertoire of this particular

instrument, and are yet more important because there is no evidence Scottish

harpers ever wrote their music down; however these lutenists may have heard such

music in person. We can hardly get closer to this lost tradition than through these

lute MSS. The lute may not be a prominent instrument in the Scottish tradition

anymore, but a variety of fretted instruments do hold such a place nowadays, and

perhaps guitarists, mandolin/bouzouki players etc. could find inspiration in some of

the material in these sources, or in the playing style/technique/tuning of the lute

itself. These sources are also of relevance to us today because they were compiled

during a time when there was less division between ‘folk’ and ‘art’ music. These

‘boundaries’ became gradually more polarised in the eighteenth-, nineteenth- and

twentieth-centuries, but we are slowly seeing a reversal in this trend. It would be

worthwhile for anyone interested in ‘crossing the genre divide’, so to say, to study the

content of these books. Finally, as these manuscripts provide us with the earliest

known examples of many popular tunes and songs, Matthew Spring believes that

they ‘form part of the bedrock of Scottish national music’ (Spring 2001: 494). This is

most certainly true, and as such, it is perhaps the obligation of anyone studying, or

interested, in Scottish music in its historical context to take note of, and discover for

themselves, these invaluable sources.

BIBLIOGRAPHY

BALTERSAN CASTLE (2011) ‘Traditional Music’

<

http://www.baltersan.com/events_and_visitor_attractions/traditional_mus

ic> [accessed 14/04/2011]

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Scottish Music in History 2, B. Brown by Alistair PatersonEssay 17/04/2011

BROWN, Barnaby (ed.) (2006) book and sleevenotes from Silva Caledonia: Scottish

Harp Music of the 17th Century Javier Sainz (Siubhal)

COLLINSON, Francis (1966) The Traditional and National Music of Scotland

(London: Routledge & Kegan Paul)

DALYELL, Sir. John Graham (1849) Musical Memoirs of Scotland (Edinburgh:

Thomas G. Stevenson)

DAVIE, Cedric Thorpe (1980) Scotland’s Music (Edinburgh: William Blackwood)

DOW, Daniel (1776) A Collection of Ancient Scots Music (Edinburgh)

ELLIOT, Kenneth and Frederik RIMMER (1973) A History of Scottish Music (London:

British Broadcasting Corporation)

FARMER, Henry George (1947) A History of Music in Scotland (London: Hinrichsen)

LYLE, Emily (2007) Fairies and Folk – Approaches to the Scottish Ballad Tradition

(Trier: Wisssenschaftlicher Verlag Trier)

MACKILLOP, Rob (2007) ‘For kissing for clapping for loving for proveing:

Performance Practice and Modern Interpretation of the Lute Repertoire’ in

Defining Strains (ed.) James Porter (Bern: Peter Lang AG)

(2004) ‘Towards a Revival of the Old Scottish Smallpipe with

Closed Fingering’ and ‘The Traditional Repertoire in Scottish Lute, Cittern

and Guittar Manuscripts’ in Out of the Flames (ed.) Roderick Cannon (The

Lowland and Border Pipers’ Society)

(2002a) ‘The Scottish Medieval Lute’

<http://www.rmguitar.info/lutemedieval.htm> [accessed 14/04/2011]

(2002b) The Healing (Greentrax) CDTRAX 227

(1998) Flowers of the Forest (Greentrax) CDTRAX 155

(n.d.) ‘Contemporary Scottish Lute Music’

<http://www.rmguitar.info/contemporary.htm> [accessed 14/04/2011]

MCFARLANE, Ronn (1990) The Scottish Lute (Dorian Recordings) DOR-90129

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MORTON, Rosie (2002) ‘A Study of the ‘Port’ Tune Type, Focussing on the Scottish

Lute and Mandour Manuscripts of the 17th century’, RSAMD Dissertation

PHILLIPS, Robert (1995) Music for the Lute in Scotland (Midlothian: Kinmor Music)

PURSER, John (2007a) Scotland’s Music – A History of the Traditional and Classical

Music of Scotland from early times to the present day (Edinburgh:

Mainstream Publishing)

(2007b) Scotland’s Music (50 part radio series), produced by David

McGuinness, © BBC 2007; programmes - 7 (aired 18/02/07), 8 (25/02/07),

10 (11/03/07), 14 (15/04/07), 16 (29/04/07), 18 (13/05/07) & 23 (17/06/07)

RSAMD (2002) No. 1 Scottish Traditional Music from the RSAMD (Greentrax)

CDTRAX 310; track 13 – ‘Incholm/Salve Splendor’, performed by Rob

Mackillop

SANGER, Keith and Alison KINNAIRD (1992) Tree of Strings: Crann nan Teud

(Midlothain: Kinmor Music)

SPRING, Matthew (ed.) (2010) The Music of Scotland: The Balcarres Lute Book

(The Universities of Glasgow and Aberdeen)

(2001) ‘Scottish Lute Music’ in The Lute in Britian: A History

of the Instrument and its Music (Oxford: Oxford University Press)

STANDING STONES (n.d.) ‘Scottish Lute Manuscripts’

<http://www.standingstones.com/lutemss.html> [accessed 14/04/2011]

TAYLOR, William and Robert PHILLIPS (2007) Liner notes from Notes of Noy/Notes

of Joy – Early Scottish Music for the lute, clarsach and voice. The

Rowallan Consort (Temple) COMD205

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