List of Illustrations

Fig. 1.1

Group songs in various interactional contexts. Figure created by author (2021).

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Fig. 1.2

Some carriers of song and scenarios of transmission. Figure created by author (2021).

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Fig. 1.3

The opening of the nursery rhymes Twinkle, Twinkle Little Star and Baa Baa Black Sheep (and Ah! Vous-dirai je maman). Set by author using MuseScore (2021).

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Fig. 1.4

Tune M1, based here on the version printed in vol. V of the Scots Musical Museum transposed from D to C and with minor changes to the rhythm. Set by author using MuseScore (2021).

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Fig. 1.5

Tune M2, basic tune from author’s oral memory. Set by author using MuseScore (2021).

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Fig. 1.6

Tune M3, based on the Tannahill Weaver’s recording. Set by author using MuseScore (2021).

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Fig. 2.1

Old Long Syne, facsimile of broadside published ca. 1701 and held in the National Library of Scotland, shelfmark Ry.III.a.10(070), CC BY 4.0.

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Fig. 2.2

Old-Long-Syne from James Watson (ed.), A Choice Collection of Comic and Serious Scots Poems, III (Edinburgh: James Watson, 1711), 71–74.

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Fig. 2.3

Allan Ramsay’s Auld Lang Syne, as printed in The Tea-Table Miscellany (Edinburgh: Thomas Ruddiman, 1724), 97–99.

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Fig. 2.4

M-1 as it appears in the Sinkler Manuscript, early eighteenth century. Set by author using MuseScore (2021).

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Fig. 2.5

“For old long Gine my Joe” (M-1), in Henry Playford’s A Collection of Scotch Tunes (London: Henry Playford, 1700), 11, https://digital.nls.uk/94577928, CC BY 4.0.

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Fig. 3.1

The tunes published with (a) Ramsay’s and (b) Burns’s texts in vols I and V respectively of Johnson’s Scots Musical Museum. Reproduced here from the National Library of Scotland’s digitization of the 1787 and 1839 editions: Glen Collection of Printed Music. Shelfmarks Glen.201 and Glen.201d, https://digital.nls.uk/87794113, https://digital.nls.uk/87802617. CC BY 4.0.

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Fig. 3.2

Comparison of M-1 and M1. Set by author using MuseScore (2021).

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Fig. 3.3

Burns’s Now Spring Has Clad Her Groves in Green, set to M1 by Koželuch as Thomson’s song No. 91; first published 1799, taken here from the edition published as Fifty Scottish Songs, vol. II (Edinburgh: Printed for G. Thomson by J. Moir, 1801). Digitized by Western University, Ontario — University of Toronto Libraries. CC BY-SA 4.0.

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Fig. 3.4

M2 as given by William Shield in the overture to Rosina, from an edition for keyboard instrument published by J. Dale, ca. 1786–1791; EUL Special Collections, shelfmark Mus.s.624/3. Image by author (2021), with permission from Edinburgh University Library.

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Fig. 3.5

Comparison of possible sources for M2 according to Glen’s Early Scottish Melodies (Edinburgh: J. & R. Glen, 1900), https://digital.nls.uk/special-collections-of-printed-music/archive/94645804, CC BY 4.0.

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Fig. 3.6

M1 and M2, combined, with the rhythm synchronized, and harmonized. Set by author using MuseScore (2021).

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Fig. 3.7

The tunes of (a) “Aul’ Langsyne”, collected from Robert Alexander, and (b) “Langsyne”, collected from John Johnstone, as published in The Greig-Duncan Folk Song Collection, VI (Aberdeen: Aberdeen University Press, 1981ff.), 184–185. © University of Aberdeen; reproduced by permission. All rights reserved.

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Fig. 3.8

The text of the “Aberdeenshire” version, quoted here from Anon., 1921, “‘Auld Lang Syne’: The Authorship of the Old Aberdeenshire Version’”, Aberdeen Daily Journal, 16 July, 3–7.

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Fig. 4.1

A snuff-box presented to King George IV on his trip to Scotland in 1822, engraved with the first verse and music of Burns’s Auld Lang Syne. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

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Fig. 5.1

Käthe Kollwitz, Solidarität / Wir schützen die Sowjetunion (Propellerlied), 1931–1932; lithographic crayon, NT 1229, Cologne Kollwitz Collection © Käthe Kollwitz Museum Köln.

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Fig. 7.1

(a) and (b) Some typical alterations to the opening of M2 in nineteenth-century instrumental variations. Figures created by author (2021).

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Fig. 7.2

(a) Frontispiece and (b) final verse images from a book edition of Auld Lang Syne published in 1905 (NLS shelf mark T.8.g); artist not credited; and (c) an alternative frontispiece image, by Gordon Browne, from an edition published in 1908 as Auld Lang Syne and Other Poems (London: Ernest Nister; New York: E. P. Dutton & Co.). Image for (c) from a copy in the author’s possession; also held in the British Library, UIN BLL01000543385.

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Fig. 8.1

Text of Peter Livingston’s A Guid New Year, taken here from Livingston 1873 [1846], 126–127; textual similarities to Burns’s Auld Lang Syne in bold.

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Fig. 8.2

Church bell programmes from New York, New Year 1898–1899. New York Times, 1 January 1899. Public domain.

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Fig. 9.1

Comparison of Beethoven’s setting as published in the Gesamtausgabe in 1862 with the version published by Thomson in 1841. Main differences are highlighted with boxes; arrows point to melodic/harmonic differences specifically. Figure created by author (2021).

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Fig. 9.2

Scouts from several nations join hands to sing Auld Lang Syne at the first World Jamboree, 1920. Image: The Scouts (UK) Heritage Service, CC BY 4.0.

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Fig. 9.3

Sevin’s French version (quoted here from Jeunesse qui chant, 1946); variants of the third and fourth verses (quoted from Passant en Paris, 1948), are given in brackets; for comparison, the version by Jerzy Litwiniuk sung by Polish scouts.  

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Fig. 9.4

The three most common post-war German versions of Auld Lang Syne.

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Fig. 10.1

Text of Jesu Nkosi Yokuthula by Princess Constance Magogo, from a recording made in 1976; transcribed and translated into English for this book by Mmangaliso Nzuza with assistance from Magogo’s granddaughter.

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Fig. 10.2

Aakjær’s translation of Auld Lang Syne, attributed to Burns, as published in Syng: Gesangbog for Danmark, ca. 1943, 52.

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Fig. 10.3

Hotaru no hikari (Fireflies); translated by Mark Jewel. Copyright (c) 2018 by The Liberal Arts Research Center, School of Political Science and Economics, Waseda University. Reproduced by permission of the translator.

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Fig. 10.4

The text, and the verse music and start of the chorus, of Paul Pelham and J. P. Lang’s You Used To Be A Friend to Me (For the Sake of Auld Lang Syne) (1910).

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Fig. 10.5

A song abroad. Relative weighting of lines indicates relative significance/import: stronger lines indicate clear adoption of the tradition/element concerned. Figure created by author (2021).

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Fig. 12.1

The thirteen recorded versions of Auld Lang Syne by Scottish musicians discussed in this chapter.

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