Chapter XLVI: Section I: Music

IN the preceding volumes frequent references were made to the national music, the music of schools, and teaching of music; and in this section a concise account of the progress of music and Scottish musicians in the eighteenth and nineteenth centuries will be presented.

The earliest collection of genuine Scottish melodies are those in the Skene manuscript, which belong to the early part of the seventeenth century. A translation of the manuscript was executed by George F. Graham, edited by William Dauney,¹ who added a dissertation on Scottish music, and published in 1838. The manuscript contains one hundred and fifteen airs, of these eighty-five were published, eleven were found to be duplicates, and the rest rejected as unintelligible or uninteresting. In the collection there are forty-five Scottish tunes, of which twenty-five were previously unknown.

¹ William Dauney was born in Aberdeen in 1800. He finished his
education at the University of Edinburgh, and was called to
the Scottish Bar in 1823. He found the Skene manuscript in
the Advocates’ Library, Edinburgh, and, as indicated above,
he devoted much attention and labour to it. In 1839 he left
Scotland for Demerara, where he became Solicitor General for
British Guiana. He died at Demerara in July, 1843.

The Celtic people had music from a very early period. In the last and present centuries many collections of Highland tunes, laments, marches, pibrochs, reels, and strathspeys have been published.

1. Until recently the dance music of Scotland mostly consisted of reels and strathspeys. The reel is probably of Celtic origin, and possibly indigenous. It was usually danced by two couples, and the figures differed slightly according to the locality; the dancers stand face to face, and when reeling describe a series of figures of eight. The music consists of eight bar phrases, generally in common time, but occasionally in 6‒4. The strathspey style of dance music derives its name from the valley of the Spey, where it appears to have been first practised. The word does not occur in connection with music till the last century, but earlier than this there were tunes suited to the strathspey style of dancing. The reel is a gliding dance, but the strathspey abounds in quick motions which brings every muscle into play.

The sword dance, and Highland fling are well-known styles of dancing. The first is performed thus:――Two swords are placed cross-wise, which gives four equal spaces between the points and the handles; the performer then begins to dance over the blade ends of the sword, and dances over each of the four parts in succession; he next dances heel and toe over the centre of the cross formed by the swords, and closes by dancing in quick time over all the spaces between the swords. In this dance the evolutions are very numerous, as they must all be performed without touching the swords; when properly and gracefully executed, it is a fine and beautiful ♦athletic exercise. The Highland fling, of which there are many varieties, is danced to the music of the strathspeys.¹

♦ “atheletic” replaced with “athletic”

¹ In a dissertation prefixed to “A collection of Highland
vocal airs, a few of the most lively reels, and some
specimens of bagpipe music,” published by the Rev. Patrick
Macdonald in 1781, Dr. Young says that――“at one time the
music of the reels and strathspeys over all Scotland was
played by the bagpipes, but at a later period Neil Gow
and his sons did much to promote the use of the violin in
playing Scottish dance music.... The Gow family, with the
famous Neil at their head, all showed great originality
in their tunes; ‘Caller Herrin’, by his son Nathaniel, has
deservedly taken its place among our local melodies since
Lady Nairne wrote her excellent words for it. But it is
to be regretted that by changing the characteristic names
of many of our old dance tunes, giving them the titles of
the leaders of fashion of the day, they have created much
uncertainty as to the age, and even the composition, of the
tunes themselves.”

Dancing has always been popular in Scotland, and I will
adduce an instance in the person of a Scottish clergyman,
a well-known and influential man in his time:――“I was very
fond of dancing, in which I was a great proficient, having
been taught at two different periods in the country, though
the manners were then so strict that I was not allowed to
exercise my talent at penny-weddings or any balls but those
of the dancing-school. Even this would have been denied me,
as it was to Robertson and Witherspoon and other clergymen’s
sons at that time, had it not been for the persuasion of
those aunts of mine, who had been bred in England, and for
some papers in the _Spectator_ which were pointed out to my
father, which seemed to convince him that dancing would make
me a more accomplished preacher if ever I had the honour to
mount the pulpit. My mother, too, who generally was right,
used her sway in this article of education. But I had not
the means of using this talent, of which I was not a little
vain, till luckily I was introduced to Madame Violante, an
Italian stage-dancer, who kept a much frequented school for
young ladies, but admitted no boys above eight years of age,
so that she wished very much for senior lads to dance with
her grown-up misses weekly at her practisings. I became a
favourite of this dancing-mistress, and attended her very
faithfully with two or three of my companions, and had my
choice of partners on all occasions, insomuch that I became
a great proficient in this branch at little or no expense.”
――_Autobiography of the Rev. Dr. Alexander Carlyle, Minister
of Inveresk_, pages 47‒8, 1860. He was a minister from 1750
to 1805.

The period from the Revolution of 1688 till past the middle of the eighteenth century was a stirring one in music and song; yet much of the music was not really new, for the writers of the songs, or those who selected the tunes, usually adapted melodies which the people knew and could sing; thus many of the old favourite airs got new names, while others have been preserved by Jacobite verses, though their earlier names are lost. The song on the Battle of Killiecrankie has the honour of having a Latin translation. It is sung to a stirring Gaelic bagpipe tune, which is doubtless older than the song. This tune seems to have quickly spread, for it was found in a Northumbrian manuscript of 1694, under the name of the Irish Gillicranky.

It has been alleged that Neil Gow transformed some of our vocal melodies into dance tunes. “But the most that can be charged against him is that he altered the old names of many tunes, calling them after his patrons and patronesses, thus often rendering it doubtful whether a tune was his own composition or belonging to an earlier time.”

Scotland has no great musicians and composers like those of Italy, Germany, and France. Yet Scottish music is national, and within a limited circle has its own characteristics. This has been long recognised on the Continent. Its distinctive features mainly consist in the charming tunes associated with the national songs, bagpipe music, and violin playing. We have had notable vocalists, many eminent pipers, excellent violin players, and numerous performers on other instruments. It has been admitted that in the development of bagpipe music the Scots are pre-eminent. In the development of the opera, ♦oratorio, and orchestra, the Scottish composers have not attained a very high position.

♦ “oratario” replaced with “oratorio”

II. A brief account of noted Scottish musicians of the period is all that I can attempt. Adam Craig was born in 1667. He was an excellent violin player, a teacher, and composer. In 1730 he published a Collection of Scots Tunes. He died at Edinburgh on the 3rd of September 1741.

William Macgibbon was born in 1695, and was a noted violinist and composer. He published Six Sonatas for the German Flutes; and between 1740 and 1755 he compiled and edited three Collections of Scots Tunes, of which three editions were issued. He died at Edinburgh on the 5th of October 1756, and was interred in the Greyfriars Churchyard.

Robert Bremner was born about 1713. He acted for some time as a teacher of singing, but in 1748 he became a music seller in Edinburgh. He was the author of a number of works. His _Rudiments of Music_ was published in 1756, and reached a third edition in 1763; his _Collection of Reels and Country Dances_ appeared in 1761. He also published _Thoughts on the Performance of Concert Music_, and other works. He died on the 12th of May 1789.

John Riddell (of Glengarnock, Ayrshire,) was born on the 2nd of September 1718, and was a composer and compiler of music. He composed a number of strathspeys and reels, and several other pieces. Burns adapted Riddell’s tune, “Finlayston House,” to his fine song, “Fate gave the word, the arrow sped,” for insertion in Johnson’s _Musical Museum_. In 1776 he published two books of reels, etc. Some of his reels were popular, such as “The Merry Lads of Ayr.”

Francis Peacock was born in 1723, and was a dancing master in Aberdeen. In 1776 he published _Fifty Favourite Scotch Airs for a Violin, German Flute, and Violincello_; in 1805 he issued _Sketches relative to the History and Theory, but more especially to the Practice of Dancing, as a necessary accomplishment to the Youth of both Sexes_. He died in Aberdeen on the 26th of June 1807, at the advanced age of eighty-four. He bequeathed a sum of money to the charitable institutions of Aberdeen.

Daniel Dow was born in 1732, a native of Perthshire. He was a popular teacher of music, and an excellent composer of strathspeys and reels. He was the author of _Twenty Minuets and Sixteen Reels_, which appeared in 1775; and also of _Ancient Scots Music for the Violin_. Many of his tunes were highly esteemed, such as “Athole House,” “Monymusk,” “The Brig o’ Perth,” “The Duchess of Gordon,” and others. From 1765 he resided in Edinburgh, where he died on the 20th of January 1783.

John Holden was born about 1733. He was the author of a remarkable _Essay towards a Rational System of Music_, published at Glasgow in 1770, which reached a third edition in 1807. He also issued a _Collection of Church Music_ in 1766.

Neil Gow was born at Inver, Dunkeld, on the 22nd of March 1727. He began to play the violin when a boy, and was mainly self-taught; he received a few lessons from John Cameron, a violin player and teacher of music. He soon became distinguished as a violin player, especially of strathspeys and reels. He was exceedingly popular; for many years his service was in great request at fashionable assemblies and balls, and he was ably assisted on the violincello by his brother Donald. In short, Neil became a national favourite. As a performer on the violin of Scottish dance music he has perhaps never been excelled by any of his countrymen. In a notice which appeared in the _Scots Magazine_ in 1809, by one who knew Neil, and had often heard his stirring strains, describes his style thus:――“His bow-hand as a suitable instrument of his genius was uncommonly powerful, and when the note produced by the up-bow was often feeble and indistinct in other hands, it was struck in his playing with a strength and certainty which never failed to surprise and delight skilful hearers.... We may add, the effect of the sudden shout with which he frequently accompanied his playing in the quick tunes, and which seemed instantly to electrify the dancers, inspiring them with new life and energy, and rousing the spirits of the most inanimate.”

He composed seventy tunes, chiefly reels and strathspeys, many of which are much admired. He died at Inver on the 1st of March, 1809, in the eightieth year of his age. His fame still lives in the national mind, and is commemorated in the popular song:――

“Ye a’ hae heard o’ famous Neil,
The man that played the fiddle weel.”

He had four sons, all of whom were violinists, and composed music. William was a good violin player, and composed a few strathspeys and reels. He died in 1791. Andrew wrote some good reels and strathspeys. He died in 1803. John composed a considerable number of tunes, mostly strathspeys and reels. He died in London on the 22nd of November 1826. Nathaniel, the youngest son, was born at Inver on the 28th of May 1766, and was the most distinguished of the family. He studied under his father and Robert Mackintosh, and subsequently under Alexander M‘Glashan. He composed one hundred and thirty tunes, embracing strathspeys, reels, jigs, and other pieces. He edited and published nineteen _Collections_, including his own compositions and arrangements, and those of his father and his brothers. He was a musician of great abilities and remarkable industry. He died at Edinburgh on the 19th of January 1831.

Alexander M‘Glashan was born in Edinburgh in 1740. He was a violin player, composer, and teacher of music. In 1778 he published several collections of strathspeys and airs. He gave many concerts; and was a good teacher. He died at Edinburgh in 1797.

Robert Mackintosh was born in 1745. He was a noted violinist and teacher, and a composer of dance music. In 1793 he issued a work in four books, the first consisting of minuets, airs, gavottes, and reels; the second containing sixty-eight new reels, strathspeys, and quick steps, etc.; the third embracing sixty-eight new reels, and forty old reels for the violin and piano; and the fourth comprised new strathspeys and reels, and some old reels for the piano. Many of his strathspeys and other tunes were greatly admired. As a performer on the violin he was very highly esteemed. He died at London in 1807. His son Abraham, born on the 18th of June 1769, also attained distinction as a composer of reels and strathspeys.

William Marshall was born in Fochabers on the 27th of December 1748. He was engaged as house steward and butler to the Duke of Gordon till 1790, and subsequently he acted as factor to the Duke till 1817. He was a famous violin player, and an able and assiduous composer. Two hundred and eighty-seven of his tunes has been published, in three collections, the first of which appeared in 1793, containing thirty-six tunes; the second in 1822, embracing one hundred and seventy tunes; and the third in 1847. Many of his strathspeys and reels were very spirited and highly popular, such as his strathspeys――“Craigellachie Bridge,” “The Marquis of Huntly,” “Forglen House,” and many others. He contributed much to advance violin music in Scotland. He died on the 29th of May 1833, in his seventy-fifth year.

Robert Petrie was born in Kirkmichael, Perthshire, in 1767. He was a violin player, a composer, and teacher of music. He published four collections of dance music. He played at many concerts and balls; and some of his strathspeys and airs were popular. He died in 1830.

Captain Simon Fraser (of Ardachie), was born in 1773. He was a violin player and composer of music. He edited a large and interesting collection of Gaelic airs published in 1816, many of which were traditionally associated with Prince Charles, and also embraced a number of Fraser’s own compositions. This work was republished in 1884. He rescued from oblivion many fine native airs, and it is said that a number of the tunes in the collection were composed by his grandfather. He died in 1852.

John Gunn was born in Edinburgh in 1765. He was a player and teacher of the violincello and flute, and the author of the following works:――_Forty Scottish Airs arranged for the flute, violin, and violincello_; _The Theory and Practice of Fingering the violincello, with a Dissertation on Stringed Instruments_; _The Art of Playing the German Flute, on New Principles_; in 1807 his work entitled, _An Historical Inquiry respecting the Performance on the Harp in the Highlands of Scotland from the earliest times until it was discontinued about the year 1754_, was published. He died in 1824. His wife, Annie Young, was an accomplished player on the piano and teacher of music. She published _An Introduction to Music_, illustrated by musical games, with accompanying apparatus familiarly and popularly explained, of which a second edition appeared in 1820, and a third in 1827. She died at Edinburgh on the 25th of February 1826.

James Davie was born in 1783, and attained distinction as a flute player, composer, and teacher of music. He resided at Aberdeen and played in the orchestra of the theatre. His works consist of――_A Collection of Psalmody_; _An Introduction to the Art of Singing_; _The Vocal Harmonist_; and the _Caledonian Repository_, a collection of strathspeys, reels, etc., which extends to six books, and is a valuable and interesting work. He died at Aberdeen on the 19th of November 1857.

George Hogarth was born at Carfral Mill, Lauderdale, 1783, and was educated for the law. He studied music, and became a musicographer and musical critic. He married a daughter of George Thomson, the friend and correspondent of Burns. In 1830 he became a contributor to the _Harmonicon_; and in 1834 he settled in London, and was appointed musical critic of the _Morning Chronicle_. From 1846 to 1866 he was musical critic of the _Daily News_. In 1835 he issued a volume under the title of _Musical History, Biography, and Criticism_, which was enlarged and republished in 1838, in two volumes. The same year, his _Memoirs of the Musical Drama_, in two volumes, appeared. His style of criticism was considerate and candid. His musical compositions consist of a few glees and songs. He died in London on the 12th of February 1870, at the advanced age of eighty-seven.

George F. Graham was born in Edinburgh on the 28th of December, 1789, and educated at the High School and University of Edinburgh. He studied music, and became a musicographer, critic, and composer. In 1815 he acted as joint-secretary with George Hogarth of the Edinburgh Musical Festival, and the following year he issued an account of the Festival, to which he added some observations on music. He sojourned some time in Italy to extend his knowledge of music. He edited _Wood’s Songs of Scotland_, issued in 1848‒49, and republished in 1887. He wrote the article “Music” for the seventh edition of the _Encyclopædia Britannica_, which was republished separately in 1838, with the addition of “An Essay on the Theory and Practice of Composition.” He also wrote the article “Organ” for the eighth edition of the _Encyclopædia Britannica_. He contributed a number of articles to musical and literary journals which tended to improve the public taste. He composed a few vocal tunes which were much admired. He died at Edinburgh on the 12th of March, 1867.

Finlay Dun was born in Aberdeen on the 24th of February, 1795. He was an able teacher of music, and a vocal composer. In 1829 he issued _A Collection of Solfeggios for Daily Vocal Exercise_, which was well received. In conjunction with John Thomson he edited _Paterson’s Vocal Melodies of Scotland_, which were begun in 1837. He also issued in 1848 a Gaelic collection, entitled _Orain na’h Albain_. He died at Edinburgh on the 28th of November, 1853.

John Sinclair was born in Edinburgh in 1790. He was a celebrated singer and a vocal composer. His voice was very melodious and sweet. As a composer he is remembered by his songs, “The Bonnie Breast Knots,” “The Mountain Maid,” and others. He died at Margate on the 23rd of September, 1857.

John Templeton was born at Riccarton, Kilmarnock, on 30th of July, 1802. He was a famous tenor singer. His voice was rich and melodious, and of pretty wide compass. From 1833 to 1836 he sang with the renowned Madame Malibran, who preferred him to any other tenor singer. In 1846 he commenced his first tour as a public performer, and was very successful in this country and in America. He retired from public life in 1852, and died in the vicinity of London on the 2nd July, 1886. He had four brothers, all remarkable for their vocal gifts.

Isabella M. Scott was born in Edinburgh in 1786. She was a vocal singer and composer. In 1818 she married the well-known artist, Patrick Gibson. She composed the music to Lord Byron’s fine song, “Lochnagar,” and a number of Psalm tunes. She died at Edinburgh on the 28th of November, 1838.

Mary Anne Paton was born in Edinburgh in 1802. She was a celebrated and highly gifted singer. Her voice was powerful, sweet, and very expressive. In 1826 Weber first visited London, bringing with him his opera, “Oberon,” which was specially written for the English stage, and was produced at Covent Garden under his own eye. On this historic occasion Mary A. Paton sang her part in a style which delighted the heart of the composer, and enraptured the crowded audience. In 1824 she married Lord William Pitt Lennox, from whom she obtained a divorce in 1831. Subsequently she married Joseph Wood, a vocalist. In 1834‒36 she visited the United States of America, and sang in London in 1837 and 1844. She retired in 1845, and resided abroad with her husband from 1854 till 1863. She died at Wakefield on the 28th of July, 1864.

David Kennedy was born in Perth on the 15th of April, 1825. He was a famous singer, and a very popular concert-giver. With his highly gifted family, he travelled over many parts of the globe in his musical tours, and everywhere was well received. In America, Australia, New Zealand, and elsewhere, they attracted large and enthusiastic audiences. His eldest son David was born in 1849. He was an excellent tenor singer, and wrote an account of their musical tours. He died at Pietermaritzburg on the 5th of December, 1885. James was born in 1856, and was a fine baritone singer. His daughter Helen was a good soprano singer. Marjory was a sweet and expressive contralto singer. His two younger daughters, Kate and Lizzie, were both charming singers. It is very sad to relate that three of those gifted singers, James, Kate, and Lizzie perished in the fire which consumed the Opera House of Nice on the 23rd of March, 1881. David himself, the head of the family, died at Ontario, Canada, on the 12th of October, 1886. But his son, Robert, an able tenor singer, has been giving concerts alone since 1892.

Alexander Mackenzie was born in Montrose in 1819. He was an excellent violinist. From 1846 he was leader at the Theatre Royal, Edinburgh. He issued _The Dance Music of Scotland_; and composed a few airs for songs. He died at Edinburgh on the 2nd of October, 1857.

Angus Mackay was born in 1813. He was piper to Her Majesty the Queen. In 1838 he published a _Collection of Sixty Pibrochs_, which are very highly esteemed. He was accidentally drowned in the river Nith on the 21st of March, 1859.

Alexander M‘Donald, a native of Badenoch, was a famous piper and composer. For a number of years he was piper to the late Earl of Fife. He gained a valuable gold medal at one of the competitions. He was one of the best pipers in Scotland. He died at Aberlour House, Banffshire, in 1884.

William Ross was born in 1815, a native of Ross-shire. In 1839 he joined the 42nd Regiment, and continued in the service till 1854, when upon the recommendation of the late Cluny Macpherson, he was appointed piper to Her Majesty the Queen. In 1876 he published a large _Collection of Pipe Music_, embracing forty-one piobaireachds and four hundred and thirty-seven marches, strathspeys, and reels, which was prefaced by an admirable essay on The Bagpipe and its Music, composed by the late Dr. Norman Macleod. The work was dedicated to the Queen, and a second edition was issued in 1885. Ross died in August 1891.

James S. Robertson (of Edradynate, Perthshire), was born on the 15th of March, 1823. He was educated for the legal profession, and in 1846 he was admitted a member of the Society of Writers to the Signet. When young he became a warm admirer of Highland music. He was instructed by Duncan M‘Kercher, John M‘Alpine, and other musicians. He took an active part in instituting the Edinburgh Highland Reel and Strathspey Society in 1881, of which he was President. He edited _The Athole Collection of Reels, Strathspeys, etc._, which appeared in 1884, in two volumes, one of the largest collections ever published in Scotland.

William R. Broomfield was born in Inveraray on the 14th of October, 1826. He was a writer on music, and a composer. He edited and arranged a _Collection of National Songs_ in four-part harmony, which was published in 1848‒52. His very useful _Manual of Harmony_ appeared in 1857; and _The Principles of Ancient and Modern Music_ was published in 1863. He also composed a number of psalm tunes. He was a very quiet and unassuming man. He died in Aberdeen on the 17th of October, 1888, where in 1889 a monument was erected to his memory with one of his popular tunes――“St. Kilda” carved upon it.

James Walker was born in Aberdeen on the 6th of July, 1827, a son of the late William Walker, merchant. He received a liberal education, and always took a keen interest in music and art. In many ways he endeavoured to diffuse a higher taste for music. His work entitled _Just Intonation in Song and Speech_ was printed at Aberdeen in 1876 for private circulation, a valuable and instructive volume. He had formed a valuable collection of musical books and manuscripts, comprising five hundred volumes, which he presented to the Public Free Library of Aberdeen. Personally, he was a quiet, genial, and kind-hearted man. He died in Aberdeen on the 29th of January, 1895.

III. In psalmody and church music there has been a remarkable progress during the period under review. John M‘Lachlan was born in Glasgow in 1740. In 1776 he published _The Precentor, with a Collection of Psalm Tunes_, which reached a sixth edition in 1799. In 1779 he issued an _Easy Introduction to Church Music_, which was republished in 1782. He died at Glasgow in 1791.

John Sievewright was born in 1771, he was a teacher of music, and published a _Collection of Church Tunes and Anthems_. He died at Old Meldrum, Aberdeenshire, in 1846. Neil Dougall was born in Greenock on the 9th of December, 1776. He was a teacher of music, and a composer of psalmody. He composed nearly one hundred psalm and hymn tunes, and anthems. He died on the 1st of October, 1862. James Farquharson was born in 1789. He was a composer and teacher of music; and in 1824 he published a _Collection of Sacred Music_, which contained a few original tunes. Charles Hutcheson was born in 1792. In 1832 he issued a volume entitled _Christian Vespers_, containing tunes in three and four parts, and an _Introductory Essay on Church Music_. Some of his tunes are fine. He died in Glasgow on the 20th of January, 1860.

Robert A. Smith was born on the 16th of November, 1780. He was originally a weaver, but assiduously studied music, and attained distinction as a singer, teacher, compiler, and composer. In 1807 he was appointed precentor at the Abbey Church of Paisley; and in 1823 choirmaster at St. George’s Parish Church, Edinburgh. He was gifted with a sweet voice, a fine sense of melody, and a pretty clear knowledge of harmony. He was very industrious, and his works are numerous. In 1810 he issued _Devotional Music, Original and Selected_; in 1819 his _Anthems in Four Vocal Parts_; in 1820 _Sacred Harmony_, for the use of St. George’s Church, Edinburgh: and other three of his _Collections of Psalmody_ appeared in 1825, 1828, and 1829. He also composed a considerable number of single pieces: and edited the _Scottish Minstrel_, in six volumes, published in 1821‒24, which contained some of his own songs; and the _Irish Minstrel_ issued in 1825. He died in Edinburgh on the 3rd of January, 1829. In a notice of his death, George Hogarth in the _Edinburgh Courant_ wrote:――“Smith was a musician of sterling talent. His merits have been long recognised.... His compositions partake of the character of his mind: they are tender and generally tinged with melancholy, simple and unpretending, and always graceful and unaffectedly elegant.... He had the admirable good sense to know how far he could safely penetrate into the depths of counterpoint and modulation without losing his way, and accordingly his music is entirely free from that scientific pedantry which forms the prevailing vice of the modern English school.”

William Smith was born in 1803. He was a musician of ability and refined taste. His _People’s Tune Book_ was published in 1844, a work of much merit. He died at Newtyle on the 31st of August, 1878.

Thomas L. Hately was born at Greenlaw, Berwickshire, on the 26th of September, 1815. In 1844 he was appointed precentor to the Free Church Assembly. He edited a collection of tunes entitled _The Free Church Psalmody_, which appeared in 1845; and _Scottish Psalmody_, issued in 1852. He also published _Historical Lectures on Psalmody_, with illustrations; and contributed a number of articles on music to various journals. He died at Edinburgh on the 22nd of March, 1867.

John Campbell was born in Paisley on the 2nd of February, 1807. He was a teacher of music and composer. In 1847 he published _The Sacred Psaltery_, comprising about fifty tunes, mostly original, and his anthem, “Rejoice in the Lord.” He also edited a _Collection of Anthems, Choruses, and Sanctuses_. He died in Glasgow on the 7th of October, 1860.

In the present century Hymn Books have been introduced in the Presbyterian Churches of Scotland. Much improvement has been effected in the rendering of church music by the organisation and special training of choirs; and the introduction of organs. The question whether organs should be used in the service of Presbyterian and Congregational Churches, has been practically settled in the affirmative.

A Chair of Music was instituted in the University of Edinburgh in 1839, and was endowed by General Reid. He was born at Straloch, Perthshire, on the 13th February, 1720, and was himself an amateur musician. He published a _Set of Minuets and Marches_, containing the famous air, “In the Garb of Old Gaul,” and _Six Solos for a German Flute or Violin_. He died in London on the 6th of February, 1807. An annual concert is given on the 13th of February――the General’s birthday――when one of his tunes must be performed. John Thomson was the first Professor of the new Chair. He was born at Sprouston on the 28th of October, 1805. He conducted the first Reid Concert, given in Edinburgh on the 13th of February, 1841. He composed three operas and a number of other pieces. He died in Edinburgh on the 6th of May, 1841.

William Ewing was born in Partick, Glasgow, on the 20th of May, 1788. He was an enthusiastic collector of music, and in the course of his long life had accumulated a valuable library of musical and other works. He bequeathed the larger portion of his musical library to Anderson’s College, Glasgow, with a sum of £1000 for maintaining it; the remainder was left to the University of Glasgow. In 1866 he founded a Lectureship on Music in connection with Anderson’s College. He died in Glasgow on the 12th of May, 1874, at the advanced age of eighty-six.

During the last sixty years many musical associations, societies, and choral unions have been instituted to promote the culture of music, and diffuse a higher appreciation of it among the people. Music touches the soul and heart of humanity more effectively than any other art. Let us hope that in the future it will be taught even more universally than in the past.