Early Scottish Popular Songs by Charles  Knutson

Contents Introduction and Bylaws Interpretive Clothing Scottish Culture History Music and Dance Military Life Language Bibliography, Sources and Library Materials

Breaking forth in song is so natural that we can safely say it is one of the earliest forms of literary composition in any culture.  In Scotland, we know that the death of Alexander III (1286 AD) was mourned musically, and Scots sang ditties and songs about Edward I and Sir Wm.  Wallace.  Allusions to popular songs were made in histories written in the 14th and 15th centuries and a whole catalogue of songs were listed in the comic piece, Cockilby's Sow.  An interesting phenomenon that persisted as late as the mid-1500's is that while Scotland boasted a number of poets, few of their works were intended to be set to music.  Of the series of poems in the Bannatyne Manuscript (c.  1568), only two have passed into collections as popular songs.  In all but comparatively recent times, the People have been the makers of their own music.  A man felt the charms of his mistress, and a song came forth from his heart.  An official was caught red-handed, and news of it laughingly spread through song.  It was "beneath" the Poets of Culture to use anything so natural and "common" as a subject for their muses. Today, anyone with a tape recorder can save their songs (however inane) for posterity.  But the tragedy is that only the titles, or at best, odd lines and verses of these early Scottish songs have been preserved.  The most we know about the songs from the Bruce and early Stuart reigns is that they existed - a fact that common sense would have assured us. It has been suggested that the long period of religious struggles helped rub out "vulgar and sinful" popular songs.  Evidence of this appears in the Buke of Godly Sangs printed in 1599 and again in 1621.  The "Buke" was a collection of dull religious songs.  Many were composed to the tunes of vulgar songs of the day in the hope of replacing them -"for the avoidance of sin and harlotrie." How successful was this Calvinist musical plot in suppressing thoughts of bonny lassies, ale and merry-making? God and the devil only know, but I'll wager a shilling on human nature any day! This is not to suggest that music itself was frowned upon, merely the coarse or "childish" words that were sung to the music.  As early as the reign of Charles I there existed the "Skene Manuscript." It contains 85 tunes, many of which were dances.  It is said to be the lute-book of a lady of the family of Skene of Hallyards (hence its name).  While some of the tunes may well have been airs to popular songs of the day, few can be recognized as melodies still known. It seems it is not until the reigns of Charles II and James II that popular songs began to be recognized as having merit.  Ironically, it was also in England, not Scotland, that they began to emerge in polite society.  Those who supplied music at the court and its circles in London were the saviors of Scottish popular songs as they wrote new verses for the old tunes or new tunes in the "Scotch manner." Strange to say, some of the latter made their way back to Scotland and were accepted as if they were true Scottish productions.  (The old theme of English affectations being accepted as Scottish culture??) With very little early Scottish "pop" music surviving, Clann Tartan is left in a musical tight spot for accurately portraying Scots of 1630.  Needless to say, we don't want to stop playing music at appearances.   However, in order to maintain and to build upon the reputation we are earning as interpreters, we have to be aware of every detail of our activities.  While compromises are necessary, or this ceases to be a viable hobby, we have to know when we are making compromises and the reasons why we make them, or we are just out playing "let's pretend." To propose a possible policy for historical music I suggest we set following goals as priorities: -Find and learn Scottish music that dates at least from before 1700. -Find and learn music we know is period, but not necessarily Scottish. In actual practice, however, we should be able to round out the music we play with traditional tunes that may not all be period, but represent the Scottish/ Celtic traditions we are attempting to preserve. "But!" you say, "where do I look for period music?" I'm glad you asked! The Clann Library now owns music from The Skene Manuscript, excerpts from the book, Songs of Scotland Prior to Burns, (songs that seem to date from before 1700), and Songs and Marches of the Roundheads and Cavaliers (a well-researched book of English Civil War music) You have merely to borrow them from the Clann Library. Source: Songs of Scotland Prior to Burns, Editor: Chambers, Robert.  (W & R Chambers, Edinburgh and London.  1862.)