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By Donald Francis, Sir Tovey

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See For example Heinrich W. Schwab, Sangbarkeit, Popularita¨t und Kunstlied: Studien zu Lied und Lieda¨sthetik der mittleren Goethezeit, 1770–1814 (Regensburg: Gustav Bosse Verlag, 1965), 92, for some striking examples from the seventeenth century; and Walter Wiora, Europa¨ische Volksmusik und abendla¨ndische Tonkunst (Kassel: Johann Philipp Hinnenthal-Verlag, 1957), 90–1, for examples from an earlier period. On this general trend see Harry C. Payne, ‘‘Elite Versus Popular Mentality in the Eighteenth Century,’’ Studies in Eighteenth-Century Culture 8 (1979), 3–32.

In vol. 2 (c. 1728), Walsh appears to have copied ornament for ornament and word for word the song ‘‘The Bush aboon Traquair’’ from the 1725 edition of Orpheus Caledonius; but although this is one of the tunes Thomson had there attributed to Rizzio, the song bears no attribution in the Walsh collection (see 2: 166–7). London: J. Simpson. See Burns Martin, Bibliography of Allan Ramsay (Glasgow: Jackson, Wylie and Company, 1931), 52. Scots Magazine, October 1741, 455. 66 Something about the ascriptions to Rizzio made them highly volatile, despite the fact that they were fundamentally no different from so many other ascriptions at the time.

Donald F. , The Spectator (Oxford: Clarendon Press, 1965), 1: vii. Spectator, no. , 1: 20–2. ’’ After the Union of the Crowns in 1603 (when James VI of Scotland came to London and became James I of England and Scotland), Scotland was closer than ever before to English events, and by the second half of the 1600s, the cultural juxtaposition was beginning to seep through the public mind in England. ’’ Over the second half of the seventeenth century, collections such as John Playford’s English Dancing Master included more ‘‘Scotch’’ tunes in each edition;40 and after about 1695, there was also a sizable number of these so-called ‘‘Scotch tunes’’ used as entr’actes and incidental music on the London stage.

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