500 Piano Intros for the Great Standards (The Steinway by Ed Shanapy

By Ed Shanapy

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If musicians were trained in literate discourse, the matter of genre would present itself. If not, they would address the same questions in other terms. For the arrangement and layout of material, there was an available spectrum from high to low; but, paralleling the situation in literature, these characterizations were attached to the expressive and situational purposes of the music – its function – and not to any origin-based criteria, such as its presumed composer or its first intended public.

33 The invention of ‘‘folk music’’ and ‘‘art music’’ The most infamous tradition of attribution in the history of musical Scotland seems to have begun with William Thomson’s 1725 collection Orpheus Caledonius. Thomson was a Scottish singer who went south to London and made a career performing ‘‘Scotch songs’’ there. His 1725 collection was the first large-scale publication of Scottish songs containing both music and words. 61 Then, in 1742 or 1743, James Oswald published his Second Collection of Curious Scots Tunes,62 attaching the name David Rizo to six of them, and the backlash began.

Smout, A History of the Scottish People, 1560–1830 (New York: Charles Scribner’s Sons, 1969), 111–13, 332–4. Edmund Burt had noted in the 1720s that Lowlanders did not even venture into the Highlands without first making a will, and indeed such perceptions lasted most of the way through the century. See Davidson, Origins of Scottish Nationhood, 63–72, 75–6; T. M. Devine, The Scottish Nation: 1700–2000 (London: Penguin, 1999), 231–3. Sir John Clerk of Penicuik, one of the Scottish politicians who signed the Treaty of Union in 1707, and himself an amateur composer who had studied with Corelli in Rome, was one of the many Lowlanders trying to rewrite Scottish history at the time to erase the idea that Scotland had once been a Celtic nation either linguistically or racially (see Devine, Scottish Nation, 29).

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