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

我的研究问题是，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认同对首都的职业生活有何贡献。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？在这段时间里，谁在伦敦听和欣赏苏格兰音乐？为什么？尽管现有的丰富的学术团体探索了这一时期的苏格兰音乐，但对起源的关注导致了对散居海外者在塑造苏格兰表现文化中的关键作用的忽视。我对城市背景下跨文化和跨国音乐体验的关注将代表着这一领域的一种新方法，结合了对苏格兰音乐身份动态迁移的历史分析，并关注苏格兰音乐家在18世纪伦敦创造性环境中的作用。首先，我将探讨苏格兰音乐家如何断言或在某些情况下颠覆了他们在首都定居后的“苏格兰气质”，询问在苏格兰出生的“专业”音乐家如何在伦敦的音乐界互动，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》(Society Of The Temple Of Apollo)培养了伦敦的一群苏格兰音乐家，这是一个案例研究，可以从中辨认出伦敦其他有影响力的苏格兰音乐家，如在爱丁堡和伦敦都有生意的出版商罗伯特·布雷姆纳(Robert Bremner)，以及作曲家兼军事将领约翰·里德(John Reid)。我的第二个问题从个人转移到苏格兰音乐在伦敦的地理位置，特别是苏格兰音乐在伦敦最受欢迎和表现的地方。在捕捉和欢乐合唱团文化的确凿证据的背景下，伦敦主办了许多以苏格兰为重点的俱乐部和协会(例如，高地协会，EST)。1778年)，作为苏格兰文化和音乐的传播机制。大多数18世纪的苏格兰音乐家和赞助人都是共济会会员，我还将探讨共济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设在今天的伦敦西区(考文特花园/斯特兰德)，这意味着在伦敦建立一个散居海外的苏格兰音乐中心的可能性是迷人的。第三，我将寻求建立不同阶层、性别和音乐能力的个人如何回应和互动伦敦的苏格兰音乐文化和身份认同。在围绕1745年雅各布人起义的苏格兰文化越来越着迷的背景下，我将探索构成音乐享受基础的苏格兰元素，包括国内音乐制作、愉悦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：对苏格兰音乐的欣赏在多大程度上是一种女性化的追求，如果是这样的话，是什么特征导致了这种追求？在解决18世纪移民音乐身份的问题上，我的研究既建立在繁荣的学术机构之上，又填补了苏格兰历史研究的一个重大空白。近几十年来，随着苏格兰各地发现了几部重要的音乐手稿和收藏品，关于苏格兰历史音乐文化的学术研究显著增加。根据这些发现，几位音乐历史学家从一开始就建立了关于苏格兰音乐发展的强有力的文献。通过以上概述的研究，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，以期产生一部关于18世纪英国苏格兰音乐创作的新史学。

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.