From Caledonia to the Capital: Scottish Musicians, Music-Making and Culture in London during the Long Eighteenth Century - 1688-1815

我的研究问的是，在18世纪的伦敦，作为一名苏格兰音乐家意味着什么，以及苏格兰的从属关系和身份如何对首都的职业生活做出贡献。苏格兰音乐家和赞助人的网络是如何形成的，他们是如何在伦敦推广苏格兰音乐的？苏格兰音乐家住在首都的什么地方？在这一时期，谁在伦敦听并欣赏苏格兰音乐？为什么？尽管已有丰富的学术研究对这一时期的苏格兰音乐进行了探索，但对起源的关注导致了对散居在苏格兰表现文化形成中的关键作用的忽视。我对城市背景下的跨文化和跨国音乐体验的关注将代表这一领域的一种新方法，将对苏格兰音乐身份动态迁移的历史分析与对苏格兰音乐家在18世纪伦敦创造性背景下的作用的关注相结合。首先，我将探讨苏格兰音乐家如何断言，或者在某些情况下颠覆，他们的“苏格兰性”一旦定居在首都，询问苏格兰出生的“专业”音乐家如何在伦敦的音乐场景中互动，以及他们是否形成了一个独特的音乐苏格兰侨民。詹姆斯·奥斯瓦尔德（James Oswald, 1710-1769）的秘密“阿波罗神庙协会”在伦敦培养了一群苏格兰音乐家，这是一个案例研究，可以用来识别伦敦其他有影响力的苏格兰音乐家，比如在爱丁堡和伦敦都有业务的出版商罗伯特·布雷姆纳（Robert Bremner），以及作曲家和将军约翰·里德（John Reid）。我的第二个问题从个人转向了苏格兰音乐在伦敦的地理位置，特别是苏格兰音乐在哪里表演和欣赏得最多。在《Catch》和《Glee》俱乐部文化的背景下，伦敦举办了许多以苏格兰为重点的俱乐部和社团（例如，1778年成立的高地协会），这些俱乐部和社团是传播苏格兰文化和音乐的机制。大多数18世纪的苏格兰音乐家和赞助人都是共济会会员，我也将探讨共济会分会在首都推广苏格兰音乐方面的作用。许多苏格兰组织的总部都设在今天的伦敦西区（考文特花园/斯特兰德），这表明伦敦有可能成为苏格兰音乐侨民的地理中心。第三，我将试图建立不同阶级，性别和音乐能力的个人如何回应和互动苏格兰音乐文化和身份在伦敦。在1745年詹姆斯二世叛乱期间，人们对苏格兰文化越来越着迷，我将探索形成音乐享受基础的背景下的苏格兰元素，包括国内音乐制作，快乐花园和苏格兰乡村舞蹈聚会。在这里，女性参与将被视为一个重要的案例研究：在多大程度上欣赏苏格兰音乐是一种女性化的追求，如果是这样，是什么特征使它如此？在讨论18世纪移民音乐身份时，我的研究既建立在蓬勃发展的学术基础上，也解决了苏格兰历史研究中的一个重大空白。近几十年来，随着在苏格兰各地发现了一些重要的音乐手稿和收藏，苏格兰历史音乐文化的学术研究显著增加。根据这些发现，一些音乐历史学家已经建立了一个强大的文献，从苏格兰音乐的发展开始。通过上面概述的研究，我希望对苏格兰历史音乐研究领域做出重大贡献，通过分析苏格兰侨民和伦敦城市背景的交集来探索移民的文化影响，以便产生18世纪英国苏格兰音乐制作的新史学。

My research asks what it meant to be a Scottish musician in eighteenth century London, and how Scottish affiliations and identities contributed to professional lives in the capital. How were networks of Scottish musicians and patrons formed, and how did they act to promote Scottish music in London? Where did Scottish musicians live in the capital? Who listened to and enjoyed Scottish music in London during this period, and why? Although a rich body of existing scholarship has explored Scottish music of this period, a concentration on origins has led to neglect of the crucial role of diaspora in shaping Scottish expressive culture. My focus on transcultural and transnational musical experience in an urban context will represent a new approach in this field, combining a historical analysis of the dynamic migration of Scottish musical identity with a focus on the role of Scottish musicians in the creative context of eighteenth century London. First, I will explore how Scottish musicians asserted, or in some cases subverted, their "Scottishness" once settled in the capital, asking how Scottish-born 'professional' musicians interacted in London's musical scene, and whether they formed a distinct musical Scottish diaspora. A case study of James Oswald (1710-1769) whose secret 'Society of the Temple of Apollo' fostered a London circle of Scottish musicians, provides a case study from which to identify other influential Scottish musicians in London, such as the publisher Robert Bremner, who maintained businesses in both Edinburgh and London, and the composer and military general John Reid.My second question moves from individuals to the geography of Scottish music in London, specifically where Scottish music was most performed and appreciated. In the context of the well-established evidence for Catch and Glee club culture, London hosted many clubs and societies with a Scottish focus (for example the Highland Society, est. 1778), which acted as mechanism for the dissemination of Scottish culture and music. Most eighteenth century Scottish musicians and patrons were Freemasons and I will also explore the role of Masonic lodges in the promotion of Scottish music in the capital. Many Scottish organisations were based in modern day West End (Covent Garden/The Strand), suggesting the fascinating possibility of a geographical centre for musical Scottish diaspora in London.Thirdly, I will seek to establish how individuals of different classes, genders and musical capacity responded to and interacted with Scottish musical culture and identity in London. In the context of an increased fascination with Scottish culture surrounding the Jacobite Rebellion of 1745, I will explore Scottish elements in contexts which formed the basis for musical enjoyment, including domestic music making, the Pleasure Gardens, and Scottish Country dance gatherings. Here, female engagement will be considered as an important case study: to what extent was appreciation of Scottish music a feminised pursuit, and if so, what were the characteristics which made it so?In addressing emigrant musical identities in the eighteenth century, my research both builds upon a flourishing body of scholarship and addresses a significant lacuna in Scottish historical research. Recent decades have seen a notable increase in scholarship on historical Scottish musical culture, accompanied by the discovery of several important musical manuscripts and collections throughout Scotland. Drawing upon these finds, several music historians have established a strong literature on the development of Scottish music from its beginnings. Through the research outlined above, I hope to make a significant contribution to the field of Scottish historical musical research, exploring the cultural impact of migration through analysis of the intersection of Scottish diaspora and the urban London context, in order to produce a new historiography of Scottish music-making in eighteenth century Britain.