Lawrence E. Bethune's
M.U.S.I.C.s Project

Musical UniqueScottish Identifiable Characteristic

 

Home Dissertation Outline Introduction Scots to North Carolina Into the Crucible The Rules of MUSICs The Rules Applied Bibliography

Dissertation Outline


Phase 1: 1 and 2

Phase 2: 3, 4, & 5

Phase 3: 6, 7, &8


Introduction

1. Scots to Colonial North Carolina before 1775

1.1. why Cape Fear/Argyll colony?

1.1.1. first major concentration of Scots

1.1.2. even today, largest concentration of Scots heritage

1.2. describe colonial NC, the people and brief political history

1.3. how did the Scots get there?

2. Society and Culture in Colonial Cape Fear

2.1. what was the culture/society like in NC?

2.2. groups: Scots (High and Low), Scots-Irish, English, Germans, Africans, others

2.3. main characteristics of each; culture and music

2.4. mixing or isolated

2.5. what kind of interaction?

3. Inventory of music: Scotland and whole tunes that migrated to NC

3.1. did the Scottish music migrate?

3.1.1. evidence in songs known in NC...catalogs (mention, but list comes later)

3.1.2. conjecture: folk music may travel w/common folk, not just “listed” musicians

3.1.3. musical life in colonies; Virginia quote

4. The Music in Scotland and compositional observations and analyses

4.1. who composed in Scotland?

4.2. what kind of music?

4.3. what were the characteristics or rules of that music?

4.4. how did it differ from Irish and English folk songs?

4.5. How did Highland differ from Lowland?

5. The Music in Colonial NC: an introduction

5.1. who composed in NC?

5.2. what kind of music?

5.3. How did Highland music fare in NC?

6. The “emerging” rules for composing folk music using Scottish elements [the “system”]

6.1. by 1800, what survived?

6.1.1. whole tunes

6.1.2. fragments and elements uniquely Scottish

6.2. compositional observations and analyses

6.3. what survived or emerged as the new rules for identifying Scottish elements?

7. Testing those rules on music of the start of the Early American Period

8. Conclusions & Plan for next phase (establish the system, test the system, interview contemporary composers on what they hear as “Scottish,” ask them where in tunes they have written can they identify Scottish “licks,” create new Scottish licks that sound like old and test Scottish composers and common folk for recognition, verify MUSICS for today, codify set of rules for contemporary composers who want to sound “Scottish,” produce catalog of 18th century Scottish tunes still alive today as well as contemporary tunes that have MUSIC fragments/elements.