Faculty of Music Faculty of MusicA full catalogue describing these items, and listing other Acoustical Apparatus of the University, has been written by Christopher Field and Arnold Myers, and is available price 5.00 pounds.
The Faculty of Music gratefully acknowledges the contribution of the Trustees of the National Museums of Scotland, Edinburgh University Library, and St Andrews University Library who have lent items for this exhibition.
The organisers are grateful to Edinburgh University Library Special Collections Department for permission to reproduce documentary material.
Text: Christopher D.S. Field and Arnold Myers, with assistance from Alison Morrison-Low and Raymond Parks.
As a young man John Donaldson (1792-1865) was an accomplished pianist and composer, but he also took a keen interest in `the elucidation of the phenomena of sound, and the general theory of acoustics'. He was much influenced by the innovative teaching methods of Johann Bernhard Logier, and built up a successful practice as a `professor of music' in Glasgow. In the 1820s he turned to law, and in 1826 was called to the Scottish bar as an advocate, but he did not give up his interest in the science of music. On being appointed Reid Professor of Music at Edinburgh in 1845 he set about equipping his classroom with experimental apparatus - much of it imported from the firm of Deleuil in Paris - to illustrate his lectures. He attached great importance to the teaching of acoustics, a branch of study which he considered `not only leads to greater excellence in the art itself, but enlarges the understanding, and strengthens the intellectual powers'. He wanted to see the subject being taught in an attractive and practical way, with General Reid's endowment being used to provide `such philosophical apparatus as would make the results perceptible to the ear and eye as well as to the understanding'.
Within a few months of his appointment, however, arguments began within the University over Professor Donaldson's demands upon the Reid Fund. These led to an epic legal battle between the Town Council (who as Patrons of the University supported Donaldson) and the Principal and Professors (who as Trustees of the Reid Fund opposed him). The question of expenditure on `musical apparatus' featured prominently in the case, which was eventually settled in 1855 in the Donaldson's favour.
The most obvious consequence of the settlement was the erection in 1858-9 of this building - the first substantial expansion of the University outwith the bounds of Old College - as a `School of the Theory of Music'. What is now the concert hall was the `Music Class Room', which from 1861 housed a 4-manual organ constructed by William Hill & Sons to Donaldson's specifications (including a unique 14-rank mixture, justly tuned), while this gallery was a `Museum of Instruments' where apparatus and musical instruments were kept and displayed. During the 1850s the professor continued to add to the array of acoustical equipment, much of which was specially manufactured to his own requirements. Though much of his collection of apparatus has been lost, some items are still in the University and a few others were transferred in 1972 to the Royal Scottish Museum (now the National Museums of Scotland). This Exhibition brings together the most important of them for the first time for nearly 70 years.
Donaldson's lifetime coincided with the birth of modern acoustical science, and he took a close interest in the work of Chladni, Biot, Cagniard de la Tour, Savart, Wheatstone and others. Though he published little himself, at least one Fellow of the Royal Society, Alexander John Ellis, was influenced by his teaching. It is gratifying to learn that Sir John Herschel urged the University of Cambridge to appoint to its vacant Chair of Music in 1856 a professor able to give `lectures in which the principles of the physical science of sound shall be made (as at a scientific university they ought to be) an integral feature - to do, in short, for Cambridge what Donaldson is doing for Edinburgh'.
In an age of conspicuous advances in the design and manufacture of many musical instruments, part of the purpose of Donaldson's teaching was `to discover the true principles on which musical instruments ought to be constructed, and which may lead, and have led, to the invention of new ones'. Some of the instruments that he acquired for the Music Classroom can be seen both in the Exhibition itself and in the surrounding display.
New System of Musical Tuition as taught by Mr Donaldson (1816) (photocopy). In this pamphlet Donaldson announced that, having returned from visiting Dublin to study the methods of Johann Bernhard Logier, he would be offering class tuition according to Logier's system at his house in George's Place, Glasgow, from 1 November 1816 at a fee of 4 guineas per quarter. (At this time he also had a music-selling business, Donaldson & McFeat, at 50 Glassford Street.) Donaldson's approach to teaching the theory of music to groups of university students 30 years later, and his imaginative use of visual aids, may have owed something to his early experience of Logierian ideas. [Bodleian Library, Oxford].
John Donaldson: Sonata, for the Piano Forte (1822) (photocopy).
This Sonata in G minor - one of the most ambitious sonatas by any native British composer of the period - is Donaldson's only known published composition. It appeared shortly before Donaldson gave up being a `professor of music' in Glasgow in order to study law, and bears the watermark date 1822. It was published in London by Clementi & Co, and was dedicated to Muzio Clementi, to whom Donaldson had been introduced by the piano manufacturer William Frederick Collard. Collard wrote of `the very high opinion he [Clementi] entertained of Mr Donaldson's talents as a pianoforte player', and of the pleasure with which he received the dedication of the sonata. The piece demands the full resources of a 5 `To the Very Reverend the Principal and Professors of the University of Edinburgh': extract from Donaldson's printed letter of application for the Chair of Music, October 1841 (photocopy).
When the Reid Chair of Music fell vacant following John Thomson's untimely death on 6 May 1841 Henry Bishop, Donaldson and Samuel Sebastian Wesley emerged as the leading candidates. In this letter Donaldson set out his proposals for a course of lectures embracing rudiments, thoroughbass, harmony and counterpoint, analysis (both grammatical and critical), philosophy of music (including `an examination of the doctrine of Acoustics'), and history of music. He also stressed the need for `a musical apparatus ... of somewhat complex and intricate mechanism' and for `such philosophical apparatus as would make the results [of his acoustical demonstrations] perceptible to the eye as well as to the understanding'. In the deciding ballot of the Senatus Bishop was elected by 14 votes to Donaldson's 8. [Edinburgh University Library, Da 46.9].
Autograph letter from Donaldson to the Rev Dr John Lee, Principal of the University of Edinburgh, 5 December 1843 (photocopy).
This is Donaldson's letter of application for the Reid Chair of Music following Sir Henry Bishop's resignation on 21 November 1843. Though Bishop had planned and conducted the Reid Memorial Concerts of 1842 and 1843 in fine style, his classes had been a fiasco. In June 1843 the Reid Trustees asked him to explain `why the lectures on the Theory of Music were not delivered during the late Session'; Sir Henry replied that although he had advertised the lectures hardly anyone - on one occasion nobody at all - had turned up. In September he wrote again to assure the Trustees of his intention to lecture once or twice a week, starting on 3 November 1843 at 2 p.m. and continuing until the Reid Concert in February, after which he would have to return to London to conduct the Concerts of Ancient Music. Still the Trustees were unhappy. On 31 October he wrote from London to say that because of ill-health he would not be able to lecture on the following Friday. His resignation followed three weeks later. In the ensuing election the Senatus, unable to choose between Donaldson and William Sterndale Bennett, turned to a third candidate, Henry Hugo Pierson, who was appointed but failed to take up the post. Donaldson was eventually chosen to fill the void in 1845. [Edinburgh University Library, Da Reid 9].
Extract from an autograph letter from Donaldson to Dr Charles Bell, 16 December 1850 (photocopy).
In this letter, written from Marchfield, the fine Regency house at Davidson's Mains to which he and his wife Dorothea had moved in 1846, the professor writes of `how weight applies as a proportion in musical sounds'. His description of the effect of different weights on the pitch of strings of equal length but different thicknesses and densities appears to relate closely to his experiments on the 4-string demonstration apparatus (Exhibit 781). [From the Library of Jamie and Michael Kassler].
Account for items bought by Donaldson from Hamilton & Müller, October-December 1855 (photocopy).
The items include `an Experimental pipe forming 2 cubes inside of 4 inches each, the whole of Mahogany, with plug fitted, and back open and parchment stretched', costing 14 shillings (23 November). This is now in the National Museums of Scotland (see Exhibit 3732). [Edinburgh University Library, Da 46.11.1].
Account for items bought by Donaldson from Kemp & Co., March-April 1856 (photocopy).
Included is `A Glass Tube 48 in X 3 in: made to order', costing 16s 6d (3 April). Together with the mounted tuning forks in the next exhibit this was evidently intended to form an apparatus for demonstrating standing waves: this is now in the National Museums of Scotland (see Exhibit 3731). [Edinburgh University Library, Da 46.11.1].
Account for items purchased by Donaldson from Alexander Reid, June-December 1856 (photocopy).
The items include `4 cast steel tuning forks Horse Shoe shaped and broad rounded ends, fitted at base into brass sockets fixed by thumb screws on Top of stands, stands Isolated on cork', costing œ2 (13 October). Together with the glass tube in the preceding exhibit these were intended for the `Donaldson tube', an apparatus for demonstrating standing waves which is now in the National Museums of Scotland (see Exhibit 3731). [Edinburgh University Library, Da 46.11.1].
Architect's drawing of the Reid School, c 1858 (photocopy).
David Cousin exhibited his designs for the new Music Classroom at the Royal Scottish Academy in 1858, and this drawing probably formed part of the exhibit. [Reid Music Library].
Photograph of Professor Donaldson, c 1862
Despite being afflicted with chronic illness in his last years, Donaldson continued (according to the Musical Times ) to teach his classes `with a measure of success scarcely to be looked for from his broken-down condition'. He died at Marchfield on 12 August 1865, aged about 73. His obituarist in the Edinburgh Evening Courant wrote: `It was mainly owing to him that the music class room in Park Place was established in a manner worthy of the bequest of General Reid, and furnished in a way which left nothing more to be desired in illustration of the theory of music... By all who knew him Mr Donaldson's loss will be deeply lamented. His gentle, sensitive spirit shrunk from the discords of public life, and his fastidious taste debarred him from all rude enjoyments. But he was tenderly loved by all those who understood him, and warmly loved by all who sympathised with his thoroughly musical nature.' [Edinburgh University Library, Phot. Ill. 176].
The Music Classroom, c 1866-70
These photographs - the earliest that survive of the building - were taken for Donaldson's successor, Professor Sir Herbert Oakeley. They show the Music Classroom much as he would have found it in 1865, though the statues and framed pictures were probably introduced by Oakeley himself. The organ built by William Hill and Sons in 1861 is still without a case, as Donaldson had intended, so as to `leave its several parts open to inspection' by students. To the right of it, against the south wall, stands a separate organ `for the purpose of illustrating the rules of vocal or instrumental part-writing, each part or division of which can be separated from its neighbours - thus permitting a process of analysis calculated to render the grammar of music clear to the perception of the student'. This may have been identical with the semi-mechanical organ begun in 1846 by David Hamilton for the old Music Classroom, a conspicuous feature of which - a complete row of keys `facing the Students of very large dimensions so that when in motion they can be seen from any part of the room' - can be seen in the centre of the platform. The walls are hung with painted diagrams illustrating such topics as the harmonic curve and standing waves. [Original photographs in the possession of Mr Rowland Oakeley].
The Music Classroom Museum, c 1866-70
On the extreme left of the photograph is probably the `large Burmese Bell from Rangoon' weighing 88 Most of the instruments purchased by Professor Donaldson for his Museum of Instruments' are still in the Collection; many are on display along with subsequent acquisitions in the showcases in these galleries.
Among these are the following:
CHRISTOPHER D.S. FIELD and ARNOLD MYERS, Ancillary Equipment: Historic musical instruments in the Edinburgh University Collection: Catalogue of the Collection Volume 2 Part K. Edinburgh: The Collection, 1995.
CHRISTOPHER D.S. FIELD, John Donaldson and the Teaching of Acoustics at the University of Edinburgh in the Mid-Nineteenth Century. Proceedings of ISMA '97, Edinburgh, 19-22 August 1997: Proceedings of the Institute of Acoustics, 1997, Volume 19 Part 5, pp.509-520.
Instruments purchased by, or probably purchased by, Donaldson and lent to 19th-century exhibitions were listed, described or illustrated in the following publications:
ENGEL, C., 1872. Catalogue of the Special Exhibition of Ancient Musical Instruments, 1872. London: South Kensington Museum.
Item 54 :: Negro head pochette [EUCHMI 331]
Illustrated, Plate XIV :: Flageolet [EUCHMI 237]
HIPKINS, A.J., 1885. International Inventions Exhibition, London, 1885. Guide to the Loan Collection and List of Musical Instruments ... Exhibited in the ... Royal Albert Hall. London: William Clowes & Sons for the International Inventions Exhibition.
Page 7 :: Violin, ancient, without sides [EUCHMI 329]
HIPKINS, A.J. and GIBB, W., 1888. Musical Instruments, Historic, Rare and Unique. Edinburgh: A. & C. Black.
Illustrated, plate XXVII :: Viola d'amore [EUCHMI 333]
DAY, C.R., 1891. A Descriptive Catalogue of the Musical Instruments recently exhibited at the Royal Military Exhibition, London, 1890. London: Eyre & Spottiswoode.
Item 334 :: Serpent (Taylor) [EUCHMI 191]
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This page updated 19.9.97; re-published 14.2.14
(3736) Framed copy of the engraved plate set in the foundation stone of the Reid School of the Theory of Music, 1858.
The new building for the Music Classroom was designed by the city architect David Cousin, who like Donaldson was a member of the Edinburgh Aesthetic Club. Its foundation stone was laid on General Reid's birthday, 13 February 1858. This is one of four prints pulled from the plate which Donaldson had framed in gilt frames by William Dawson, of 21 Nicolson Street, Edinburgh, on 9 March 1858, at a cost of œ1 10s. [Faculty of Music].(3755) Edinburgh University Calendar for Session 1859-60 (Edinburgh, 1859)
Following the passing of the Universities (Scotland) Act of 1858, the University of Edinburgh began publishing an annual Calendar containing descriptions of courses, past examination papers and other details. Donaldson's lectures on the Theory of Music are listed among those offered in the Faculty of Arts, though they were not restricted to students matriculated in that Faculty. Students reading Medicine, for example, could enrol in either the senior or junior class, and there was even a special course for ladies only - pre-dating by eight years the formation of an `Association for University Education of Women' in Edinburgh. There was, exceptionally, no charge made for enrolment, nor were examinations held in the subject. Lectures took place at 10 a.m. and 12 noon daily, beginning on 2 November. Lent by St Andrews University Library.(3734) Robert Brown: Elements of Musical Science (London, 1860)
Robert Brown ( c 1789-1873), whose other books included An Introduction to Musical Arithmetic, with its Application to Temperament (1865), had been a pupil of Donaldson in Glasgow some time before 1823, when he received `occasional instructions from him in subjects connected with the composition of Music, and with the Philosophical and Mathematical departments of the science'. In 1841 Brown wrote warmly in support of Donaldson's candidature for the Reid Chair, and in the preface to Elements of Musical Science he expressed his obligation `to Professor Donaldson, for his interesting and instructive lectures on the Theory of Music, in the University of Edinburgh'. This is one of 12 copies of this book supplied by its Scottish publisher John Menzies for the Music Classroom Library at 16 shillings each on 26 December 1860. [Edinburgh University Library].THE EXHIBITS: APPARATUS
(480) Set of eight tuning forks. Circa 1850; probably before 1852.
Set of eight tuning forks in case; sounding diatonic scale of C major C4 to C5.(482) Five tuning forks. Circa 1850, some possibly supplied by Alexander Reid on 7 December 1855.
Five tuning forks of polished steel; probably from three original sets.(481) Pair of tuning forks. Cramer & Co., London, circa 1850.
Pair of tempered steel tuning forks to C = 528 Hz (which would be A4 = 444.0 Hz for equal temperament). Stamped on (481/C) on front of shank "CRAMER & CO.", on one side of shank "C 528.VIB PER.SEC" and on other side of shank "R. SOC. ARTS"; stamped on (481/A) on front of shank "CRAMER & CO.", on one side of shank "R. SOC. ARTS" and on other side of shank "A EQ TEMPT. TO C / 528.VIB PER.SEC".(477) Resonated tuning fork for A4. Secretan, Paris, 1855-1871.
Marc François Louis Secretan (1804-1867) was in partnership with Nicolas Marie Paymal Lerebours (1807-1873) until the latter retired in 1855; he was succeeded in 1867 by his son Auguste Secretan (1833-1874). Probably intended to be Diapason Normal (A4 = 435 Hz) and thus made after 1859. Can be sounded by bowing.(478) Spirit level. A. Reid, Edinburgh, probably c 1850.
Brass and glass.(775) Monochord. Probably c 1850. (499) Large monochord. Probably c 1850.
[Freestanding.](781) 4-string demonstration instrument. Before 1852.
Originally with two turned wooden legs at either side of the head, and two similar legs at either side of the body at the `tail end'; these can be seen in a photograph of c 1870 (exhibited above). Two pins for the large tailpiece (lost). The four strings ran across two wide bridges on the belly and head. Each string attached at head end to a brass right-angled lever hinged at the apex to which weights can be added so that variation in pitch with string tension can be shown.(484)
and
(485)Bows for monochord. Probably c 1850.
Massive bows with wide hairing. With stand, possibly to be identified with `Exhibition stand for bows, containing 3 large bows for monocords, two 'cello bows, 2 violin bows'.(3731) The Donaldson Tube. Edinburgh, 1856.
Constructed by John Donaldson from components made to order. There can be no doubt that this equipment is for demonstrating standing waves by dust patterns, and that it is assembled from the items listed in two entries of Expenditure on Instruments and Apparatus for Music Classroom, 1855-61:
A glass tube length 48 inches, external diameter 3 inches; mounted on supports on a mahogany base. At each end two tuning forks with broad rounded ends, clamped by thumbscrews into a heavy base. The frequencies of the forks are respectively 129.11 Hz, 258.41 Hz, 388.04 Hz and 644.63 Hz. These are (within +/- 2 cents) the frequencies corresponding to standing wave patterns in a tube of this length, showing respectively 1, 2, 3 and 5 half-wavelengths.
The forks are of quite distinctive design - conventional forks operate by transmitting vibration through the foot to a sounding-board, and have narrow tines, whereas these are clearly intended to couple directly to the air by their broad ends while the foot is isolated from the baseboard by the heavy stand and cork. We would assume they were excited by a violin bow.
The demonstration of standing waves in a tube by dust patterns is nowadays linked to the name of the German physicist Kundt, from his publication on the subject in 1866. We have here clear evidence that Donaldson ten years prior to that was using such equipment for his lectures. His equipment differs from Kundt's in several respects: the latter uses longitudinal vibration of a long brass rod as the excitation, with the tube effectively closed at both ends. Donaldson's use of a tube open at both ends provides a more realistic model of many musical instruments.
Lent by the Trustees of the National Museums of Scotland, acquisition number NPM 4210. Set of demonstration instruments on stand.
The last six items, and perhaps the first, were purchased by Donaldson from Wood & Co, 12 Waterloo Place. (489) Demonstration pipe. Possibly Hudson, probably London, circa 1855.
Sounds an extensive range of modes of series C4, C5, G5, C6, E6, G6 etc.(40) Flute in C, 8 keys (Pratten's Perfected), Hudson, London', the `flute, eight keys and slide (Hudson)' purchased by Donaldson, 14 November 1855 for pounds 3/3/-. (84) Clarinet in C. J. Hudson, London, 13-key English, the `C clarinet, 13 keys, g.s., cocoa wood and tips' purchased by Donaldson, 16 January 1856 for pounds 5/-/-. (83) The `C clarinet without keys' purchased by Donaldson, 16 January 1856 for pounds 2/2/-. (756) Keyless C flute in Bflat, the `C flute, g.s. without keys' purchased by Donaldson, 16 January 1856 for pounds 1/8/-. (7) C piccolo in Bflat, Hudson, London, the `octave flute, 8 keys' purchased by Donaldson, 16 January 1856 for pounds 3/-/-. (6) Keyless C piccolo in Bflat, the `octave flute without keys' purchased by Donaldson, 16 January 1856 for 10/6d. (492) Set of 4 organ pipes. Probably Deleuil, Paris, c 1850.
Set of four demonstration flue (flute) pipes. Wood; square section; each nearly closed at top by a lead flap. Sounding lengths: respectively 265; 350; 430; 557.(493) Set of three organ pipes. Probably Deleuil, Paris, c 1850.
Set of three demonstration string-scaled flue pipes. Brass; round section. Sounding lengths: respectively 165; 327; 650. Internal diameter of each pipe 13.(494) Set of 4 organ pipes.
Set of four demonstration diapason-scaled flue pipes. Grey metal, round section. Mounted on wind chest, length 182, with four button touches. Sounding lengths: respectively 505; 532; 548; 568. Bore: internal diameter of each pipe 38.(495) Set of 3 organ pipes. Probably Deleuil, Paris, c 1850.
Set of three demonstration diapason-scaled flue pipes. Respectively wood, brass and cardboard; same interior dimensions; round cross-section. Sounding lengths: 342. Bore: internal diameter of each pipe 28.(3732) Experimental pipes. Probably circa 1855.
Probably to be identified with `2 X Big square wooden organ flute pipe (to be used for beat experiments)' listed in inventory of the Music Class Room Museum circa 1930; One of these is probably to be identified with the `Experimental pipe forming two cubes ... ' purchased 23 November 1855.
Lent by the Trustees of the National Museums of Scotland, acquisition number NPM BU 52.(3733) Demonstration reed pipes. Probably mid 19th century.
Probably to be identified with one of `2 Sets Reed pipes with glass fronts' transferred from the Music Class Room Museum to the Department of Physics, January 1931.
Lent by the Trustees of the National Museums of Scotland, acquisition number NPM 4212.(919) Organ pipe boot.
Demonstration reed pipe boot. Glass tube; round section, diameter 45; brass beating reed with wire stop.(491) Demonstration horn, nominal pitch C. Probably Britain, c 1857
Tin, with brass mouthpipe and fixed mouthpiece; Almost purely conical. Probably the `4 foot fog horn' purchased by Donaldson from George Callam, 19 May 1857 for 3/6d.(490) Sectional horn in C etc. with (656) mouthpiece and copy of receipt. John Köhler, London, 1856.
The `French horn in straight to play in high C, G, F and in double C' purchased by Donaldson from John Köhler, 35 Henrietta Street, Covent Garden, 8 February 1856 for pounds 6/-/- plus packing case 5/-. When assembled it measures up to 16 feet. Account for a French Horn, February 1856 (photocopy).
This is the invoice for Exhibit 490, written and signed by John Köhler, 9 February 1856.
[Edinburgh University Library, Da 46.11.1] (476) Dusting canisters. Probably c 1850.
Two brass canisters, one with red powder inside. Cylindrical with push-on lids, each 33 diameter. Domed lids with pepperpot-type holes, presumably for `strewing' powder on Chladni plates etc.(704) Temperamental slide rule.
Central (movable) scale marked corresponding to two octaves C to C just intonation diatonic scale; upper scale marked corresponding to on octave C to C equal temperament with consecutive octave C to C diatonic scale; lower scale marked corresponding to two octaves C to C mean tone temperament.THE EXHIBITS: INSTRUMENTS
(372) Di (side-blown flute). China.
The hole nearest to the mouth-hole was covered by a membrane, now missing, to add a nasal quality to the timbre.(408) Sheng (mouth-organ). China.
13 of the pipes are equipped for reeds, the other four are dummy pipes. The player closes the side-hole of the pipe he wishes to sound.(400) Laba (trumpet). China. (438/1) Sihu (spike tube fiddle). China.
4 silk strings.(437) Sanxian (spike lute). China.
3 gut strings.(355) Saz (bowl lute). Turkey.
3 melodic strings (metal) on face of instrument, 2 sympathetic strings (metal) on side of neck.(442) Pipa (bowl lute). China.
4 silk strings. Thin ivory tabs on fingerboard engraved with: (i) two ladies standing in a rural setting; (ii) seated scholar and a kneeling servant.(445) Pipa (bowl lute). China.
4 silk strings. This is a bent-necked, northern pipa, thin and slender but heavier than (442).(443) Yueqin (`moon lute' or box lute). China, Before 1888, probably before 1872, possibly before 1858.
Possibly one of the two `Chinese kin' purchased by Donaldson from D. Nisbet, 25 March 1858 at a sale for 5/- and for 6/-.(440) Box fiddle or violin. Burma, Probably before 1872, possibly before 1856.
A wooden vertical fiddle, overall shape resembling European violin; 3 gut strings. Possibly the `Indian violin' purchased by Donaldson from Dowells & Lyon at sale at 22 India Street, 30 October 1856 for 5/-.(416) Tabla [drum]. India.
Possibly the `Tubla single drum' purchased by Donaldson from T. Nisbet, 11 Hanover Street, 25 March 1858 at a sale for 7/-.(425) Dholak [drum]. N. India.
Possibly the `D'holuk double drum' purchased by Donaldson from T. Nisbet, 11 Hanover Street, 25 March 1858 at a sale for 8/-.(424) Dholak or Mrdangam [drum]. India.
Possibly the `Tickora earthernware drum' purchased by Donaldson from T. Nisbet, 11 Hanover Street, 25 March 1858 at a sale for 7/-.(745) Baya [drum]. North India.
Possibly the `Tickora earthernware drum' purchased by Donaldson from T. Nisbet, 11 Hanover Street, 25 March 1858 at a sale for 7/-.(497) Euphonicon. J. Steward, London, c 1845.
Pianoforte with three sound-boxes in place of a soundboard. Compass 6(308) English guitar, keyed. British Isles, late 18th century.
The keys operate hammers which project through holes in the rose to strike the strings; they make the instrument easier to play. Possibly the `Old English guitar in case' purchased by Donaldson from Thomas Glen, 2 North Bank Street 20 August 1857 for pounds 1/15/-.(329) Mute violin. Probably England, possibly 17th century.
Unlike the open-bodied mute violin, this instrument has a soundboard and back, but it has no ribs. The sound produced is not equal to that of a normal violin. The body shape is reminiscent of some early English viols, and the ink decoration on the soundboard and back is very similar in design and naivety to English virginals of the mid-seventeenth century. Probably the `violin without sides' purchased by Donaldson from Wood & Co, 12 Waterloo Place, 11 October 1856.(330) Mute violin. 19th century.
An instrument of full sized violin dimensions and outline, but without a soundboard and back, allowing the player to practice without disturbing other people. For reducing disturbance to neighbours when practising. Probably the mute violin purchased by Donaldson from Thomas Glen, 2 North Bank Street, 14 November 1855 for 15/-.(331) Pochette. Jacques du Mesnil, Paris, c 1660.
Jacques du Mesnil was a mid-17th century maker of pochettes and guitars. A very similar pochette is in the Victoria and Albert Museum, London. The carved head is a feature regularly found on viols and violas d'amore, but rarely on violins.(332) Pochette. 17th century.
A boat shaped instrument, made, as the name suggests, to fit into a player's pocket when not being used. The small string length and body size require a different technique from that of the standard violin. Possibly the kit in a `lot of old instruments' purchased by Donaldson from Wood & Co, 12 Waterloo Place, 11 October 1856 for pounds 2/5/-.(334) Viola. Richard Duke, London, 1779.
A small bodied viola made by one of England's better known makers. The string length of this instrument is virtually identical to that of the modern violin. Violas have been made in different sizes since the 16th century governed by having to have a big enough body and still be manageable for the player. Probably the `tenor violin (Duke)' purchased by Donaldson from Wood & Co, 12 Waterloo Place, 14 November 1855 for pounds 3/15/-.(333) Viola d'amore or Treble viol, 7 strings. Probably Germany, possibly c 1720.
Seven bowed strings. This beautiful instrument resembles a viola d'amore in all respects except it lacks the sympathetic strings usually, but not always, a feature of the viola d'amore. Its physical shape, design, and decoration are all comparable to the viola d'amore, though it is larger than the standard instrument making it difficult to play under the chin. It may have been intended as a viola d'amore but, when found to be too large, was finished as a treble viol. In any case, it is a finely decorated instrument, built by a competent craftsman. Possibly the `Viol De Gamba' purchased by Donaldson from John Renton [Organ Builder], 7 North Bank Street, 12 Jul 1856 for pounds 2/10/0.(292) Hurdy gurdy, 2 chanterelle and 4 drone strings. Britain or low countries, possible early 17th century.
Probably the hurdy-gurdy in a `lot of old instruments' purchased by Donaldson from Wood & Co, 12 Waterloo Place, 11 October 1856 for pounds 2/5/-.(244) Picco pipe.
Probably either the `picco whistle' purchased by Donaldson from Thomas Glen, 2 North Bank Street 29 May 1857 for 1/6, or the `picco whistle' purchased from Glen, 10 July 1857 for 1/6.(234) Galoubet or tabor pipe in Dflat. 19th century.
Probably the `French gabaulet' purchased by Donaldson from Thomas Glen, 2 North Bank Street 10 July 1857 for 2/6.(237) English flageolet or bird pipe in Bflat, keyless. Beckett, London.
Probably the `flageolet in cocoa wood' purchased by Donaldson from Wood & Co, 12 Waterloo Place, 24 March 1858 for 15/6.(191) Left-handed serpent with (624) mouthpiece. Joseph Taylor, Glasgow, c 1815.
Serpents were sometimes made of metal rather than wood; this example is unusual in being left-handed. Known to be in the collection by 1885, and almost certainly acquired by Donaldson. Left-handed serpents have various uses: this one has proved to be ideal for providing an image for the ISMA '97 logo.(204) Orchestral horn with (635) mouthpiece. Kersten, Dresden, c 1830.
This is a convertible hand and valve horn' with almost complete set of terminal crooks. The `French horn in case' purchased by Donaldson from Thomas Glen, 2 North Bank Street, 14 November 1855 for pounds 7/-/- (paid 3 January 1856); had previously belonged to Sir Wm. Keith Murray, and before that to D. Hamilton, Edinburgh, who recorded having bought it from the maker in Dresden for pounds 12/8/-; (letter from D. Hamilton to John Donaldson dated 19 November 1855).(224) Cavalry trumpet in C with (648) mouthpiece. Thomas Glen, Edinburgh, c 1855.
Probably the trumpet purchased by Donaldson from Thomas Glen, 2 North Bank Street, 19 November 1855 for 15/-.(214) Buccin trombone. Probably France, c 1830.
Trombones with dragon's-head bells were used in bands in France, Belgium and Italy in the early 19th century. The `trombone with snake's head' purchased by Donaldson from Thomas Glen, 2 North Bank Street 20 August 1857 for pounds 1/5/-.(185) Side drum. Glen, Edinburgh, mid 19th century.
Probably the `side drum, brass, flat pattern' purchased by Donaldson from Thomas Glen, 2 North Bank Street, 14 November 1855 for pounds 2/5/-.REFERENCES
Item 55 :: Pochette [EUCHMI 332]
Item 124 :: Violin, ancient form, flat, without sides; the neck has been altered [EUCHMI 329]
Item 166 :: Viola d'amore, probably Italian, c 1660, 7 strings without the usual sympathetic wire strings, carved head of amor [EUCHMI 333]
Item 290 :: Keyed cither, English; six keys are placed in a little box ... hammers strike through sound-hole [EUCHMI 308]
Item 304 :: Small dulcimer (timpanon) [probably EUCHMI 178]
Item 336 :: Serpent [probably EUCHMI 191]
Item 337a :: Old trombone [probably EUCHMI 214]
Item 357 :: Two flageolets [EUCHMI 237, possibly EUCHMI 235]
Item 358 :: Double flageolet [EUCHMI 536]
Item 365 :: Some old flutes, including one made of crystal [EUCHMI 55]
Item 402 :: Stucco cast of Peruvian syrinx [EUCHMI 387]
Item 441 :: Hurdy-gurdy, old [EUCHMI 292]
Item 455 :: Tambourine, with bells, old [EUCHMI 423]
Item 464 :: Tom-tom, Hindustan [probably EUCHMI 424]
Item 477 :: Thro, Burmese violin [EUCHMI 440]
Item 482 :: Tamboura baghlama, a kind of mandoline (Egypt) [EUCHMI 355]
Item 483 :: San-heen, an instrument of the guitar kind (China) [EUCHMI 437]
Item 484 :: Two Pepas, instruments of the guitar kind (China) [EUCHMI 442, 445]
Item 484d :: Two Yue-Kin [EUCHMI 443, 444]
Item 485 :: Four Chinese fiddles [EUCHMI 434, 435, 441, 439]
Item 486 :: Three Chinese drums [EUCHMI (?)]
Item 486c :: Two Chinese tambourines [EUCHMI (?)]
Item 487 :: Chinese trumpet [EUCHMI 400]
Item 487b :: Two `Heang-teih', Chinese oboes [probably EUCHMI 401 and 402]
Item 488 :: Two Chinese flutes [probably two of EUCHMI 372, 373 and another (lost)]
Item 496c :: Cheng [probably EUCHMI 408]
Illustrated, Plate XIV :: Double flageolet [EUCHMI 536]
Page 8 :: Keyed Cither [EUCHMI 308]
Page 33 :: Viola d'amore [EUCHMI 333]
Page 45 :: Hurdy-gurdy, ancient [EUCHMI 292]
Page 51 :: Stucco cast of Peruvian Syrinx [EUCHMI 387]
Page 51 :: Flageolet, ebony [probably EUCHMI 237]
Page 51 :: Double flageolet [EUCHMI 536]
Page 59 :: Serpent, copper, 4 keys [EUCHMI 191]
Page 113 :: Flute (Japan) [probably EUCHMI 375]
Page 113 :: Two sonas (China) [EUCHMI 401 and probably 402]
Page 113 :: Rebec, 3 strings [EUCHMI 440 (?)]
Page 113 :: Indian trumpet (lost)
Page 113 :: Tai hoo (Chinese trumpet) [EUCHMI 400]
Page 113 :: Indian pipe, carved mouth [probably EUCHMI 383]
Page 113 :: Indian pipe, eight holes, curious reed [possibly EUCHMI 396]
Page 116 :: Thro (Burma) fingerboard inlaid with pearl [EUCHMI 355 (?)]
Page 117 :: Two yue-kin (China) moon guitars [EUCHMI 443, 444]
Page 117 :: Two pipas (China) [EUCHMI 442, 445]
Page 117 :: Mouth organ, 17 pipes (China) [EUCHMI 408]
Page 117 :: Three `Tay Woocum' (China) [EUCHMI 434, 435, 441 (?)]
Page 117 :: `Ee Woocum' (China) [EUCHMI 439 (?)]
Page 117 :: Three wang tieng (Chinese flutes) [EUCHMI 372, probably 373, and another (lost)]
Page 117 :: Two stands for drums (China) [EUCHMI (?)]
Page 117 :: Yang-chin or dulcimer (China) [EUCHMI 178]
Page 117 :: San-heen (Pekin Band, J.H.E., Sien tzes) [EUCHMI 437]
Page 117 :: Yong-koo (Chinese drum) [EUCHMI (?)]
Page 117 :: Tom-tom [EUCHMI 424]
Page 117 :: Drum, wooden, painted (India) [EUCHMI 416]
Page 117 :: Drum, earthernware, painted (India) [EUCHMI 745]
Page 125 :: Kip (China) [EUCHMI (?)]
Page 129 :: Violin, without back or belly [EUCHMI 330]
Illustrated, plate XXXIII :: Sordino [EUCHMI 331]
Illustrated, plate XXXIII :: Sordino [EUCHMI 332]
Illustrated, plate XLI :: M'ridang [EUCHMI 424]
Illustrated, plate XLI :: Tabla [EUCHMI 416]
Illustrated, plate XLI :: Baya [EUCHMI 745]
Illustrated, plate XLVI :: Hu-ch'in & bow [EUCHMI 438]
Illustrated, plate XLVI :: Sheng [EUCHMI 408]
Illustrated, plate XLVI :: San hsien [EUCHMI 437]
Illustrated, plate XLVI :: P'i-p'a [EUCHMI 445]
Illustrated, plate XLVII :: Chinese ti-tzu [EUCHMI 372]
Illustrated, plate XLVII :: Chinese so-na [EUCHMI 401]
Illustrated, plate XLVII :: Chinese yueh-ch'in [EUCHMI 443]
Illustrated, plate XLVII :: Japanese hiji-riki [EUCHMI 396]
Illustrated, plate XLVII :: Chinese la-pa [EUCHMI 400]
Item 371 :: Buccin trombone [EUCHMI 214]
APPENDIX: CALENDAR OF JOHN DONALDSON'S LIFE
c1792 Donaldson born, probably in Newcastle-upon-Tyne, son of John Donaldson, Esquire; his mother's maiden name was Gregg. 1802 [Chladni's Die Akustik published in Leipzig.] 1809 [Chladni's 1802 book published in French as Traité d'acoustique. Biot's paper on velocity of sound in solids and in air.] 1811 Listed as teacher at 21 Glassford Street, Glasgow. 1814 [Johann Bernhard Logier patents his `Chiroplast or Hand-Director'.] 1815 [Frédéric Kalkbrenner gives concerts in Glasgow and Edinburgh. First Edinburgh Musical Festival.] c1815-16 Visits Dublin to study Logier's teaching method. 1816 Donaldson & McFeat, music-sellers, trading at 50 Glassford Street, Glasgow. Publishes New System of Musical Tuition as Taught by Mr Donaldson. Begins giving classes based on Logier's method at his house, 3 George's Place, Glasgow (November). 1817 Logier conducts a public examination of Donaldson's pupils in the Assembly Rooms, Glasgow; Hruka de Monti is invited to be present and publishes his Strictures on Mr. Logier's System of Musical Education, in which he attacks Donaldson. 1818 [George Thomson publishes settings of Scots songs by Beethoven. Stö”lzel and Blühmel patent their valve for brass instruments.] 1819 With Logier and Peter Hawker, Donaldson visits Logierian academies at Andover and Southampton (August). [Baron Cagniard de la Tour's article `Sur la sirène, nouvelle machine d'acoustique'. Savart's Mémoire sur la construction des instruments à chordes et à archet. Edinburgh Musical Festival, conducted by Sir George Smart (October). Edinburgh Professional Society of Musicians founded.] 1820 Donaldson marries Dorothea Findlay, daughter of the late Dr Robert Findlay, merchant, and Dorothea Findlay (née Dunlop), and granddaughter of the late Dr Robert Findlay, Professor of Divinity at the University of Glasgow (18 September). 1821 [Musical Festival at the Theatre Royal, Glasgow, conducted by James Dewar. Érard's double-escapement piano action invented.] c1822 Richard Webster, music master, joins Donaldson's academy. Donaldson's Piano Sonata in G minor published in London by Clementi & Co, with dedication to Muzio Clementi. The firm of Donaldson & McFeat ceases trading. [George IV visits Edinburgh (August).] 1823 Matriculates at University of Oxford as member of Worcester College (11 October). 1826 Donaldson admitted as a member of the Faculty of Advocates in Edinburgh (10 June); his printed Latin disputation (30 May) is dedicated to David Boyle, the Lord Justice Clerk. [George Thomson publishes settings of Scots songs by Weber.] 1827 Residing at 14 Northumberland Street, Edinburgh. [Nathaniel Gow declared bankrupt, and his Edinburgh music firm closes. The instrument maker Thomas Glen opens a music shop in the Cowgate, Edinburgh. Finlay Dun becomes leader of the Edinburgh Professional Society of Musicians concerts.] 1828 [Moscheles gives concerts in Edinburgh (January) and visits the High Court of Justice `crowded with Scotch advocates in their wigs and gowns', perhaps at Donaldson's invitation (January).] 1829 Residing at 134 Princes Street, Edinburgh. [Mendelssohn visits Edinburgh (July).] 1830 [Royal Academy of Music in London receives its royal charter. Savart's toothed-wheel siren.] 1831 [Paganini gives concerts in Edinburgh (October-November).] 1833 [Wheatsone's paper to the Royal Society on Chladni figures.] 1834 [John Thomson's opera Hermann or The Broken Spear first performed in London (October).] 1835 David Hamilton rebuilds organ for St John's Episcopal Church (where Donaldson was a member of the congregation), using his new pneumatic lever action. [Edinburgh Musical Asociation founded.] 1836 [John Thomson and Finlay Dun publish The Vocal melodies of Scotland.] 1837 [Accession of Quenn Victoria.] 1838 University of Edinburgh becomes legatee to more than 60,000 pounds from General Reid's estate, and agrees to institute a Chair of Music. Donaldson applies for the Chair; the Rev. E.B. Ramsay, Pastor of St John's Episcopal Church (8 October), Frédéric Kalkbrenner (12 November) and the piano maker W.F. Collard (12 December) write testimonials for him. 1839 John Thomson appointed as the first Reid Professor of Music. 1840 Donaldson residing at 12 Rutland Street, Edinburgh. [Professor Thomson marries daighter of the Rev. Dr Lee, Principal of the University.] 1841 [Liszt gives concerts in Edinburgh and Glasgow (January).] First Reid Commemoration Concert, conducted by Professor Thomson (12 February). Thomson dies (6 May). Donaldson applies for the vacant Chair; Moscheles (1 June), Robert Brown (28 June) and Henry Houldsworth (29 June) write testimonials for him. In the final ballot Henry Bishop is elected Reid Professor of Music by 14 votes to Donaldson's 8. [Rev. E.B. Ramsay appointed Dean of Edinburgh.] 1842 2nd Reid Concert, conducted by Bishop (21 February). [Joseph Mainzer moves to Edinburgh, and encourages the formation of singing classes for the masses in Scotland.] 1843 3rd Reid Concert, conducted by Bishop (13 February). Reid Trustees call on Professor Bishop to explain why he gave no lectures in 1842/3 (June). New Music Hall in George Street, Edinburgh, is inaugurated with a Festival conducted by Bishop (October). Having failed to carry out his undertaking to commence lectures at the beginning of November, Bishop resigns on grounds of ill-health (21 November). Donaldson applies for the vacant Chair (5 December). [Disruption of the Church of Scotland. Berlioz's Grand traité d'orchestration published.] 1844 Unable to choose between Donaldson and William Sterndale Bennett (30 March), the Senatus turns to Henry Hugo Pierson who is appointed Reid Professor of Music (June), but fails to take up the post. 1845 Donaldson again applies for the vacant Chair (18 February), this time successfully. Inducted as Reid Professor of Music (May). Allotted a `damp and cold' classroom in the south-west corner of Old College (September). Proceeds to have alterations made to the classroom, and orders an organ from David Hamilton and other apparatus. Reid Trustees set up `Committee on Musical Apparatus' (11 November), and inform the City Clerk that in their opinion `they would not be justified in applying any portion of the Reid Fund to the alteration or fitting up of the Music Class-room' (19 November). [Sir John Herschel's article on `Sound' published in Encyclopeadia Metropolitana.] 1846 Reid Trustees grant 500 pounds for purchase of musical apparatus. 6th Reid Concert (the first organized by Donaldson) held at the Music Hall, George Street, with Johann Dürrner (former Kantor at Ansbach) as conductor; The Scotsman attacks Donaldson for the new policy of distributing concert tickets free within the University and not offering them for sale to the general public. Musical Times and Musical Herald print articles on the dispute surrounding the Reid Chair (October). The Donaldsons move house from 12 Rutland Street to Marchfield, Davidson's Mains. 1847 7th Reid Concert (13 February); programme includes choral items and Beethoven's Pastoral Symphony (conducted by Dürrner) and Beethoven's Septet for wind and strings. `Upwards of 240' students enrol in Donaldson's Music classes (November). Further grant of 450 pounds made by Reid Trustees for apparatus and presses for the Music Classroom. [Boehm system flute introduced.] 1848 Performers engaged by Donaldson for the 8th Reid Concert (14 February) include the pianist Sigismond Thalberg, and the Edinburgh Musical Association orchestra who play Mendelssohn's Die Hebriden: objections are raised by some professors to the concert's cost (270 pounds). [Railway line from Euston to Edinburgh completed (February). Chopin visits Scotland: stays at Calder House, Midlothian, with James, 10th Lord Torphichen (August), at Johnsone Castle near Glasgow and Keir House near Stirling (September), and at Hamilton Palace, Lanarkshire, and gives concerts in Glasgow (27 September) and Edinburgh (4 October). Sir Henry Bishop appointed Professor of Music at Oxford.] 1849 9th Reid Concert (13 February), given by four singers (including the bass Luigi Lablache) and the pianist Sigismond Thalberg, who plays his Fantasia on Lucrezia Borgia. William Smellie Watson's portrait of Professor Donaldson exhibited at the Royal Scottish Academy. 1850 Donaldson writes to Dr Charles Bell about `how weight applies as a proportion in musical sounds' (16 December). 1851 AEsthetic Club of Edinburgh founded, with Donaldson as one of the original members (November). [Great Exhibition at Crystal Palace.] 1852 `Catalogue of Musical Apparatus belonging to the Chair of Music in the University of Edinburgh' drawn up (January). Reid Trustees obtain opinion of Finlay Dun on the `Musical Construction of General Reid's Will and Codicil'. Donaldson gives evidence to the Reporter, George Moir (8 September). Stewart Lithgow enrols as a student in Donaldson's senior class (November). 1853 13th Reid Concert (14 February): performers include the pianist Marie Pleyel, who plays music by Liszt, and a regimental band from Edinburgh Castle to play General Reid's march. The Reporter finds in favour of Donaldson and the Town Council; but the Reid Trustees appeal against the judgements that a new Music Classroom should built and 1500 - 2000 pounds set aside for an organ (21 November). 1855 15th Reid Concert, conducted by Karl Anschütz (13 February); programme includes Sinfonia concertante for 4 violins and orchestra by Ludwig Maurer, with August Manns and Alexander Mackenzie among the soloists. Terms agreed for settlement of the legal dispute over the Chair of Music (1 March): these include setting aside from the Reid Fund 8000 pounds for a new building, 2000 pounds for an organ, an increase in the Professor's salary to 420 pounds, and annual allocations of 100 pounds for purchase and maintenance of instruments and apparatus, 200 pounds for an assistant and 300 pounds for the Reid Concert. Settlement ratified by First Division of Court of Session (30 May). John Dalgliesh is appointed Donaldson's assistant. [Sir Frederick Ouseley appointed Professor of Music at Oxford.] 1856 New apparatus includes the `Donaldson tube' for demonstrating standing waves. [William Sterndale Bennett appointed Professor of Music at Cambridge, March. Donaldson's friend D.R. Hay publishes The Science of Beauty.] 1857 Donaldson and his wife attend the first Handel Festival at Crystal Palace (June). 1858 Universities (Scotland) Act passed by Parliament. Edinburgh Senatus opposes introduction of Music `as an Academical Class' with examinations. Foundation stone of Reid School of the Theory of Music laid (13 February); David Cousin's designs for the building exhibited at Royal Scottish Academy. Death of Donaldson's wife Dorothea from double pleurisy (11 October); she is interred in the burial ground of St John's Episcopal Church. 1859 Classes begin in the new Music Classroom (November). 1860 Donaldson gives banquet in the Corn Exchange to celebrate completion of the Reid School. The 20th Reid Commemoration Concert in the Music Hall (13 February) is preceded by a rival concert there `in honour of the memory of Gen. Reid' given by 150 performers including the Edinburgh Orchestra (11 February). Robert Brown's Elements of Musical Science published; 12 copies bought for Music Classroom library (December). 1861 Inaugural recital on the new organ built by William Hill & Sons in the Music Classroom given by George Rea, city organist of Newcastle-upon-Tyne (11 July), but Donaldson is ill and unable to be present. 1862 [Dean Ramsay's Lectures on the Genius of Handel. Written examination for the BMus degree introduced at Oxford.] 1863 Cousin's design for the Reid School exhibited at the Royal Scottish Academy. Donaldson visits London (June). 1864 [Alexander J. Ellis publishes papers on tuning and temperament and the physical basis of harmony. General Assembly of the Church of Scotland resolves to allow the installation of organs in churches.] 1865 25th Reid Memorial Concert at the Music Hall, George Street (13 February); works include Mozart's `Jupiter' Symphony conducted by Herr Wedemeyer and Bottesini's Trio for double bass, cornet-à-pistons and piano performed by Bottesini, Isaac Levy and J.L. Hatton; The Scotsman congratulates Donaldson on the best Reid concert `for many years'. Donaldson visits Robert, 11th Lord Torphichen and Lady Torphichen at Calder House, Midlothian (1 August); taken seriously ill with inflammation of the bladder (9 August), and dies at his home, Marchfield (12 August).
© Edinburgh University Collection of Historic Musical Instruments, 1997