The Vernacular Tune Book Collection of Samuel P. Bayard at The Pennsylvania State University

Abstract

This article and annotated bibliography pertain to the vernacular tune book collection of Samuel P. Bayard, housed at the Special Collections Library at The Pennsylvania State University. The collection reflects Bayard’s research interests, namely folk music, both instrumental and vocal, belonging to Anglo-Celtic traditions. He donated 139 tunes books, defined as books containing some form of musical notation, even solfège. An additional 22 songsters and dance notation books are listed as an addendum to the bibliography. The majority of these books (85%) contain music from England, Scotland, Ireland and Wales. The tunes were both composed and collected, or taken from earlier publications or manuscripts, passing fluidly into and out of aural tradition and also between written sources. These books were used for performing music in parlors and drawing rooms, as resources for dance musicians and recreational singing, and as scholarly studies of vernacular music. Many present interesting bibliographical problems. Vernacular tune books are one of the only windows into understanding the vernacular music culture of the past and are very worthy of further study.

Full text

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 1
THE VERNACULAR TUNE BOOK COLLECTION OF SAMUEL P. BAYARD
AT THE PENNSYLVANIA STATE UNIVERSITY
Carl Rahkonen
Indiana University of Pennsylvania
Samuel Bayard followed in the tradition of the significant tune collectors of the nineteenth and
early twentieth centuries. His lifelong work was the collection of folk music and songs from
Western Pennsylvania. He was born in 1908 in Pittsburgh and showed interest in folklore at an
early age. His family introduced him to Scandinavian and Greek mythology, and German sagas.
After reading an article by Theodore Roosevelt on “The Ancient Irish Sagas” he became
enamored of Irish folklore and folk music and even took up the study of Gaelic, so he could
study old Irish literature in the original language.
1
Bayard was also talented in music. He learned to play piano at an early age and later he taught
himself to play melodeon (Irish two-row accordion), as well as fiddle and fife. He had a
particular gift for remembering tunes. In 1964 he sang and played folk tunes, songs and ballads
on a series of 39 tape recordings preserved at the University of Pennsylvania Folklore Archive.
2
In a personal letter, Alan Lomax called Bayard “… the only man who can whistle every
published melody in the Anglo-American-Irish tradition from memory, without losing one
particle of his considerable aplomb.”
3
In 1928, his parents took him on a trip to Britain, France and Ireland, where Bayard discovered
that he could write down melodies by ear. He made plans to return to Ireland to collect folk
songs, but soon discovered that there was just as rich a music tradition at home in Western
Pennsylvania. Following in the tradition of other ballad and folk music collectors, Bayard set
out to collect the folk music of his own region. Starting at his uncle’s home in Greene County,
he walked to the homes of most of his informants, occasionally hitching a ride on a mail
carriage. When Bayard began collecting music in 1928, he made transcriptions in the field --
musical notation written by hand on manuscript paper. He would have an informant play or sing
a given tune for him several times, until he was satisfied that his transcription was correct.
Bayard continued his education at the Pennsylvania State University, earning an undergraduate
degree in 1934. He went on to do graduate work in folklore and literature at Harvard University,
where he studied with the pioneer scholar of the time, George Lyman Kittredge, earning his
Carl Rahkonen is a music librarian and professor at Indiana University of Pennsylvania. He thanks the librarians at
the Pennsylvania State University, particularly Sandra Stelts, Amanda Maple, and Barry Kernfeld. Parts of this
article were presented at the Atlantic Chapter meeting of MLA in Princeton, NJ on October 20, 2012 and at the
Allegheny Chapter of the American Musicological Society on October 19, 2013.
1
Biographical material on Bayard may be found in Richard Blaustein, “Samuel Preston Bayard (1908-1997): An
Appreciation,” Journal of American Folklore 110, no. 438 (Fall 1997): 414-7; Robert C. Doyle, “Samuel P. Bayard:
An Annotated Bibliography of Selected Works (1935-1984),” Folklore Historian 5, no. 2 (Fall 1988): 78-96; and
“Prof. Samuel Bayard: Dedicated Folklorist.” Folkways Monthly 1, no. 1 (May 1962): 4-13.
2
An inventory of these recordings may be found at:
http://www.sas.upenn.edu/folklore/grad_program/handbook/Bayard.pdf
3
From a personal letter (Dec. 10 [1984?]) found among Samuel Bayard’s papers at the Special Collections
Department of the Pennsylvania State University Libraries.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 2
Master of Arts degree in 1936. He returned to Penn State as an instructor of English composition
in 1945, and eventually became a professor teaching courses in comparative literature and
folklore. Like his mentor Kittredge, Bayard served a term as President of the American Folklore
Society in 1965-66. He “officially” retired in 1973, but continued to teach courses on his own
for another ten years. He was active in folk music research up to the time of his death in 1997.
Bayard’s early collecting journeys culminated in the publication of Hill Country Tunes
(Philadelphia: American Folklore Society, 1944),
4
one of the first scholarly collections of
American instrumental folk music. In it he described the actual playing of performers from
Western Pennsylvania, with detailed notes on the players and their individual styles. The
bibliography of Hill Country Tunes showed that even at that time, Bayard had amassed a
significant collection of tune books. He provided detailed cross-references for each of the tunes
he collected to those contained in earlier published collections. In the preface he says,
I offer no apology for making such extensive use of commercial collections of
popular dance music in compiling the notes. The deficiencies of these
compilations, as reference sources for the scientific study of traditional music, are
obvious, and require no enumeration. At the same time such volumes do contain
a large mass of genuine dance music belonging to the British-American tradition
(p. viii-ix).
Although Hill Country Tunes was a groundbreaking work, Bayard was never fully satisfied with
it since it contained only ninety-five tune transcriptions and their variants collected from nine
musicians in southwestern Pennsylvania. He also felt there were some errors and omissions that
could be corrected in a more comprehensive work.
Beginning again in 1948, Bayard continued collecting tunes, this time recording them on
magnetic tape. He worked with the assistance of a Phil R. Jack, a companion fieldworker
interested in local history. Jack would operate the tape recorder, while Bayard conducted the
interviews. Later Bayard transcribed the tunes from these recordings into musical notation.
From 1948 to 1963 they recorded approximately 30 hours of music collected from 68
performers. These field recordings are today in the Special Collections Library at Penn State
University. I have written an earlier article with the details of his collection of field recordings.
5
Bayard and Jack collected tunes from fiddlers, but they also found rich folk traditions among fife
players and singers. They had originally planned to publish a book just about the fife tunes, but
found many connections between the fiddle and fife tunes and eventually published a book about
both traditions. Dance to the Fiddle, March to the Fife (State College: Pennsylvania State
University Press, 1982) contained transcriptions to 695 tunes, and their variants, collected from
106 musicians. Almost twenty years passed from the time when Bayard recorded the last of his
field tapes and Dance to the Fiddle appeared. He used that time to study in depth the materials
he had already collected, rather than collecting more. The result was a meticulously documented
folk tune book, based directly on transcriptions made in the field or from field recordings.
4
A PDF of this book is available at: http://www.mne.psu.edu/lamancusa/tunes/hct/index.htm.
5
Carl Rahkonen, "An Essential Resource of American Folk Music: The Samuel Bayard Collection at the
Pennsylvania State University" Association for Recorded Sound Collections (ARSC) Journal 35, no. 1 (2004): 1-5.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 3
Dance to the Fiddle was a model of folk music research based on what actually existed in
Western Pennsylvania.
As with Hill Country Tunes, Bayard provided extensive annotations for each tune and its variants
with cross references to earlier published tunes found in his collection of tune books. In the
introduction to Dance to the Fiddle, Bayard explains,
It is obvious that any effort to trace the tunes or understand the history of our
British-American instrumental folk music must rely on printed and manuscript
tune-books issued from the late sixteenth through the early twentieth centuries.
These collections, filled with their miscellanies of airs (of which the majority are
dateless and authorless), give us the only insight we can gain into the nature of
popular music in the past (p. 5-6).
Bayard tells that travel to various libraries to study these tunes books was not feasible and
interlibrary loans not practicable, so he had to collect these books himself in order to do his
documentation (p. 3). In reviewing Dance to the Fiddle Alan Jabbour, former Director of the
American Folklife Center at the Library of Congress, wrote:
…the comparative notes for this volume deserve the highest praise. Bayard’s
knowledge of the literature of British and American instrumental folk music is
encyclopedic. Annotations on the histories of individual tunes refer to sources
that range from 17th and 18th century British dance collections through the reams
of popular tune collections published in 19th and 20th century America.
6
After publication of Dance to the Fiddle, Bayard continued to study the many songs he had
collected. At the time of his death, he had nearly completed a third book with transcriptions of
558 song and ballad tunes, including texts and up to twenty variants.
7
The manuscript, which
promised to be his most important work, is missing from his papers at Penn State.
In addition to his books, Bayard published several articles on how similar tunes were related in
“tune families.” His seminal article from 1950 defined a tune family as, “…a group of melodies
showing basic interrelation by means of constant melodic correspondences and presumably
owning their mutual likeness to descent from a single air that has assumed multiple forms
through processes of variation, imitation and assimilation.”
8
Out of the thousands of tunes that
Bayard knew from memory, he identified just seven major tune families, and estimated a total of
only 55 tune families in the Anglo-American repertory.
9
6
Alan Jabbour, review of Dance to the Fiddle, March to the Fife by Samuel P. Bayard, Journal of American
Folklore 97, no. 385 (July-September 1984): 345-46.
7
From correspondence between Bayard and Pennsylvania State University Press, among his papers.
8
Samuel P. Bayard, “Prolegomena to a Study of the Principal Melodic Families of British American Folk Song,”
Journal of American Folklore 63, no. 247 (January-March 1950): 33.
9
See Ann Dhu McLucas, “Tune Families” in Grove Music Online and her Bayard obituary “Samuel Preston Bayard,
1908-1997,” Folk Music Journal 7, no. 3 (1997): 392-3.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 4
Bayard’s Vernacular Tune Book Collection
The New Grove Dictionary defines a “tune book” as: “A collection of psalm tunes with an
instructional preface, designed for use in the early American singing schools”
10
which has cross
references to psalmody and shape note hymnody. This definition shows what in the past has
been the emphasis in tune book research by musicologists and music librarians. It leaves out,
for example, fiddle tune books, which have always been important to fiddlers and other dance
musicians, especially those playing in northern styles. Also, there are a plethora of song books
which fit neither into psalmody nor shape note hymnody. In his book Victorian Songhunters
author E. David Gregory uses the term vernacular song to describe the type of music published
in these tune books, arguing that the term includes folksong but is broader, while it is more
specific than popular song
11
. I have adopted the term vernacular to describe the music in the
tune books of Bayard’s collection, which include both instrumental and song books. His
collection includes books of instrumental dance music, songs appropriate for singing at social
occasions, and short pieces arranged for amateur performance. I believe that the definition of
“tune book” should be simply a book containing a collection of short pieces of music, either
vocal or instrumental.
Staring in the 1920s, Bayard began acquiring tune books for the purpose of documenting the
possible origins of the tunes he collected in Pennsylvania. These books were purchased mostly
from antiquarian book dealers in England and represented a rich tradition of folk music
collecting going back as far as the eighteenth century. Over many years his tune book collection
grew large, but was also quite specific. The tune books he purchased concentrated on folk music
from the British Isles, many compiled by the well-known “song hunters” of the past.
In the mid-1990s Bayard began donating his field recordings, research materials and books to the
Pennsylvania State University Libraries. There were three separate inventories of his donated
books, one for those from his office, one for those from his home, and one for those donated in
September 1991. These inventory bibliographies included academic books as well as tune
books. As the books were donated, they were cataloged and classified, with the rare books and
the tune books going to the Special Collections Library. Each book received a bookplate and a
note in the cataloging record that it had been donated by Bayard.
I compiled the Bayard vernacular tune book bibliography from items listed on the three
inventories, where a “tune book” was any item containing some form of musical notation, even
solfège. Using this definition, there were a total of 139 tune books. The collection was almost
evenly split between song and instrumental books, with 63 (45%) instrumental tune books, and
66 (47%) song books. Only ten books (7%) contained both songs and purely instrumental tunes.
Bayard also donated songsters that contained only lyrics, but not the tunes, and also books that
contained only dance notation. I listed these twenty-two items in a separate addendum to the
tune book bibliography.
Bayard’s tune book collection reflected his specific research interests, namely folk music, both
instrumental and vocal, belonging to Anglo-Celtic traditions. This collection is important
10
S.v. “Tune Books” in Grove Music Online.
11
E. David Gregory, Victorian Songhunters (Lanham, MD: Scarecrow Press, 2006), 3. See also his The Late
Victorian Folksong Revival: The Persistence of English Melody 1878-1903 (Lanham, MD: Scarecrow Press, 2010).

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 5
precisely because it was compiled by a single individual and concentrates on a specific area of
scholarship. Of the 139 tunes books in Bayard’s collection, the oldest, William Thompson’s
Orpheus Caledonius, dates from 1725; the newest dates from 1980, a facsimile edition of Kerr’s
first collection of merry melodies first published in the 1870s. Twenty (14%) were published in
the eighteenth century, sixty-eight (49%) were published in the nineteenth century, and fifty-one
(37%) in the twentieth century. Of the twentieth century books, thirty-eight (out of fifty one or
75%), come before 1950. Also, many of the twentieth century books are facsimile reprints of
older tune books, such as the two scholarly reprints of John Playford’s The English Dancing
Master from 1651, perhaps the first vernacular tune book. There is also a nineteenth century
reprint of Thomas D’Urfey’s Wit and Mirth, or Pills to Purge Melancholy originally begun by
Henry Playford in 1699.
The vast majority of these tune books (80%) were published in Scotland, Ireland, England, and
Wales. Only twenty-three (16%), were published in America, and just four (3%) published in
France and Germany. The following chart compares where these tune books were published
(only the first place listed on the titles pages):
Number of tune books Percentage of total
England 51 37%
Scotland 45 32%
Ireland 8 6%
Wales 8 6%
United States 23 16%
France 3 2%
Germany 1 .07%
Where the books were published does not give the truest picture as to their national content,
since, for example, there were several books containing Scottish tunes that were published in
London. The following chart, based on the titles of the books, shows their national content:
Number of tune books Percentage of total
Scottish 57 41%
English 27 19%
Irish 23 17%
Welsh 7 5%
American 17 12%
French 4 3%
Mixed 4 3%
Surprisingly, there were just four tunes books that had more than one nationality listed in their
titles (3%), and these were some combination of England, Ireland, Scotland and Wales. Using
this more accurate measurement, tunes from those four countries account for 85% of the music in
Bayard’s collection. It also shows that this collection of vernacular music was overwhelmingly
national in character.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 6
Most of the individual tune books in Bayard’s collection may be found in libraries around the
world, but it is unusual to have a collection of these types of tune books together in a single
library.
12
Many of these tune books have been reprinted in facsimile and modern editions, as
well as being preserved on microfilm. Their rare-book value has diminished somewhat in recent
years, since many of them have been scanned and are available on the web as PDFs. It is
necessary to know that a tune book exists and its place in the history of folk music scholarship
before it can be found in reprinted, micro or PDF versions, hence the value of tune book
bibliographies.
13
Published Vernacular Music
Folk music by definition is music that exists in aural tradition. By setting this music into written
notation, it is taken out of its original context, placed into a fixed form and conveyed to the
musically literate. Music in aural tradition exists in variant forms, but printed music transmits a
single, stable form. Bayard searched these books for tunes similar to the ones he collected from
aural tradition in Pennsylvania. In the introduction to Dance to the Fiddle…, he tells of a “re-
creative” process where tunes were broken up into melodic strains, then recombined to create
new tunes. This was true both for tunes in aural tradition, as well as those found published
collections (p.7-9). He found some well-preserved tunes and also many that were derivatives of
them, i.e. in the same tune family.
The early publishers made little distinction between tunes that were composed and those that
were collected. Ultimately, all the tunes in these books were originally composed by someone.
Cecil Sharp, the well-known tune collector, refuted the romantic notion of “collective
composition” by the folk, famously saying, “The individual …composes, the community
selects…”
14
We simply may not know the composer for tunes that exist in aural tradition.
15
There are at least four possible sources for tunes published in these books: 1. They were
composed, usually by someone close to the publisher, 2. They were collected and transcribed
from aural tradition, 3. They were taken from unpublished manuscripts, or 4. They were taken
from earlier published sources. Various authors state simply that the tunes were “collected from
the best possible sources.” The tune books in Bayard’s collection show ample evidence of all of
these sources. In many cases, tunes passed fluidly into and out of aural tradition, and also
between written sources, appearing and reappearing in tune books from various generations.
12
The Library of Congress has most of these tune books and some have been digitized. Many of them, in various
editions, are found at the National Library of Scotland. They may be viewed on the web through their digital
archives, under “Special Collections of Printed Music.” digital.nls.uk/special-collections-of-printed-music/ The
John Murdock Henderson Collection (http://www.nefa.net/archive/collections/jmh.htm) at the North East Folklore
Archive in Aberdeenshire, Scotland is very similar to Bayard’s collection.
13
An important vernacular tune book bibliography in this regard is Sources of Irish Traditional Music c. 1600-1855,
ed. by Aloys Fleischmann et. al. (New York: Garland, 1998), 2 vols.
14
Cecil Sharp, English Folk Song: Some Conclusions, (London: Simpkin, 1907); 4th rev. ed. (Belmont, CA:
Wadsworth, 1965): 13.
15
See also Ann Dhu McLucas, The Musical Ear: Oral Tradition in the USA, (Burlington, VT: Ashgate, 2010).

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 7
A bibliography of musical works published in eighteenth century London by John Walsh,
16
shows that a substantial number of their publications could be considered vernacular music.
These include numerous collections of country dance music, popular songs from operas,
and tutors for various instruments. It would exclude works where specific composers were
named and those in the standard forms of art music, such as sonatas and concertos.
Vernacular music formed a significant part of the Walsh catalog. William Weber, in
writing about music publishing in eighteenth century London, has said,
…They sold chiefly sheet music for both voice and instruments, designed for
amateurs to play at home, and editions of instrumental works for purchase mostly
by music societies. Their main new marketing device was to sell subscriptions of
monthly sheets of music, mostly songs made popular in the London theaters and
instrumental pieces derived from dance forms. …Collections of the most popular
numbers in prominent recent opera productions were also published regularly.
17
Both Scotland and Ireland, where the majority of the Bayard tune books originate, had music
cultures where “amateurs and professionals met on equal terms.”
18
David Johnson tells how
“folk” and “classical” music in Scotland coexisted within the same cultural framework and that
“…the leisured and professional classes of Scotland, who were responsible for the propagation of
classical music, were also very much in touch with folk music.”
19
He says,
…by the end of the eighteenth century there were musical societies in most sizable
towns in the country, giving regular amateur classical music concerts. Thus every
facility was available for the literate folk-fiddler to dabble in classical music, if he
wished. Conversely, the classical violinist could dabble in folk music. As a result,
the two categories of player became intermixed, and in the process folk music
absorbed many elements of classical style … fiddle music differed from other
forms of folk music at the time in that it was transmitted, in its most developed
form, not aurally but on paper.
20
16
William C. Smith and Charles Humphreys, A Bibliography of Musical Works Published by John Walsh (London:
The Bibliographical Society, 1968).
17
William Weber, The Rise of the Musical Classes in Eighteenth Century England (Oxford: Clarendon Press, 1992),
18.
18
Margaret Hogan, Anglo-Irish Music 1780-1830, (Cork, Ireland: Cork University Press, 1966), p. 73. She
includes chapters on the influence of the folk music collections, beginning with harp festivals in the late eighteenth
century, where Edward Bunting began collecting music in aural tradition. She also has a chapter on “Music Sellers
and Publishers” listing fifty-five in Dublin during this period (from Humphries Music Printing in the British Isles)
saying, “Music copyrighted in England had no protection in Ireland. Thus Dublin firms made fortunes on pirated
editions of English and Continental works. … The trade was so profitable that several English firms opened Dublin
branches…”, 104.
19
David Johnson, Music and Society in Lowland Scotland in the Eighteenth Century, (London: Oxford University
Press, 1972), 15-16.
20
Ibid., 111-12.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 8
Works on the history of Scottish music
21
say a great deal about the creators of the tunes books
found in Bayard’s collection. Many of them were trained in classical music and were
composers of art music, as well as being transcribers and arrangers of folk and popular music.
Much of the vernacular music was actually composed, but the publishers did not always
document the origins of tunes accurately.
Types of Tune Books
The tune books in Bayard’s collection were created for a variety of purposes. The majority were
meant to be used for performing music and not to provide accurate transcriptions of folk music.
They were what Charles Seeger called prescriptive rather than descriptive.
22
In studying these
tune books, similarities and differences become apparent between various types of books in the
collection. I offer these various “types” merely as a way to show general tendencies and not as
hard and fast categories. Not every tune book in the collection fit neatly into these various types,
but they do offer a way to compare their physical layout, the purpose for which they were
published, their possible use, and their content.
Upper Class Tune Books
Some were obviously created for the upper class amateur musician, to be performed in a “salon,”
“parlor,” or “drawing room” setting. This can be seen from their larger size, printing on quality
paper, fine bindings, and the fact that they included lists of “subscribers” from among the gentry.
The tunes in these kinds of books were typically presented in arrangements, frequently with
treble and bass lines that could be played on piano or other keyboard instrument, or with two
instruments, such as violin (or oboe, or “German flute”) and cello, or perhaps even as piano trios.
Many of the titles of these tune books say as much.
Both instrumental and song books are reflected among upper class tune books. The song books
could have treble and bass lines, or just a single of line of music. Some look like piano-vocal
scores. The song lyrics were typically printed separately, beneath the music or on a facing page,
especially for multiple verses.
The instrumental books contained dance tunes, instrumental versions of song tunes, and short
arrangements of composed music. The dance music may have been actually performed for
dances, but may also have been played just for the enjoyment of the musicians and listeners. It is
interesting to consider that arrangements of folk music were played in the same salons as art
music! Indeed some of the upper class tune books contain folk tunes arranged by well known
composers. They may have included this “authentic” folk music out of a sense of romantic
nationalism, as a symbol of their national identity.
21
For example Henry George Farmer’s A History of Music in Scotland (London: Hinrichson, 1947); John Purser’s
Scotland’s Music (Edinburgh: Mainstream Publishing, 1992), and David Johnson’s Scottish Fiddle Music in the 18th
century: A Music Collection and Historical Study (Edinburgh: Donald Publishers, 1984; Mercat Press, 1997, 2005).
22
Charles Seeger, “Prescriptive and Descriptive Music Writing” Musical Quarterly 44, 2 (April 1958): 184-195.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 9
William Thomson’s Orpheus Caledonius from 1725 is the oldest book in the collection.
23
It is a
well-known tune book mentioned in many sources as one of the earliest examples of published
Scottish songs. It is also a good example of an upper class tune book, in a large size (37 cm. at
the spine) and printed on quality paper. There is a three page list of subscribers, which begins
with “Her Royal Highness, the Princess of Wales” who bought six copies. The remaining names
are mostly Dukes, Earls, Lords, Captains and Countesses, showing that this type of tune book
appealed to the nobility and the gentry. The financial success of this book was largely
guaranteed considering that nearly 300 copies were already sold even before publication. The
Orpheus Caledonius, contained a wide variety of vernacular songs, including a version of “Auld
Lang Syne,” that predated the familiar one we know today, attributed to Robert Burns, by more
than sixty years. The music has treble and bass lines, with the first verse between the staves and
subsequent verses printed underneath (Illustation 1).
George Thomson hired well-known composers of the time to arrange accompaniments to
Scottish folk songs, as in his A Select Collection of Original Scottish Airs (1803-1805) with
accompaniments arranged by Pleyel, Kozeluch & Haydn. He also had well known poets such as
Robert Burns and Sir Walter Scott replace the ribald and bawdy lyrics of the original folk songs
with something more appropriate to upper class tastes. He produced six folio volumes in this
series between 1793 and 1841. According to David Johnson, these volumes were not an artistic
success and today are considered more an historical curiosity.
24
Even the first edition of Francis O’Neill’s Music of Ireland (1903), perhaps the most well know
fiddle tune book, could be considered an upper class tune book. It is thick and large, with
embossed and gilded covers, fine paper and printing, and was probably expensive for the time.
It has been reissued in dozens of less expensive editions, which have been purchased and used by
generations of fiddlers as a kind of “bible” for Irish tunes, but the first edition showed the highest
quality.
The title page tells us that O’Neill collected 1850 melodies “…from all available sources”
though tradition has held that he collected most of them from the playing of Irish immigrants in
Chicago. O’Neill was not the first in America to publish a collection containing Irish traditional
music, since Ryan’s Mammoth Collection, which became Coles 1000 Fiddle Tunes was
published some twenty years earlier.
25
David Johnson describes a “drawing room” style of eighteenth century Scottish instrumental
music where the tune book compilers would:
23
Bayard’s collection also contains a facsimile edition of the Orpheus Caledonius (Folklore Associates, 1962), with
an excellent foreword by Henry George Farmer, Keeper of Music at the Glasgow University Library.
24
David Johnson, “Thomson, George.” In Music Printing and Publishing, Edited by D.W. Krummel and Stanley
Sadie, (New York: Norton, 1990), 444.
25
Patrick Sky “Elias Howe and William Bradbury Ryan producers of Ryan’s Mammoth Collection.” M.A. Thesis,
University of North Carolina, Chapel Hill, 1993 and his Mel Bay Presents Ryan’s Mammoth Collection: 1050 Reels
and Jigs…and How to Play Them (Pacific, MO: Mel Bay, 1995). Charles Wolf covers similar ground in “The
Fiddler’s Bible: A Brief History.” The Devil’s Box 21 (4): 37-48.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 10
…dig up the best Scottish traditional music, most of which had never been
printed; put it before the civilized world in a suitably ‘refin’d’ form; and enhance
Scotland’s reputation abroad. ‘Refinement’ would be achieved by mixing the
Scots tunes with elements of Italian music…
26
William McGibbon’s A collection of Scots tunes (1742, 1744, 1755) was the crowning
achievement of this style.
27
Bayard’s collection includes two subsequent editions of this work,
(ca. 1768,
28
1795) each containing instrumental tunes in treble/bass arrangements. They are
both printed in oblong format, but are larger than pocket size.
Pocket Instrumental Books
Other tune books in the Bayard collection were obviously meant to serve as resources for dance
musicians. In lots of ways these books are the opposite of the upper class books. They are
smaller in size, many just the right size to fit into a pocket and be carried to engagements, which
is frequently reflected in their titles. Many of them are printed in an oblong (horizontal) format,
in what the inventory bibliographies called “oblong quarto,” though “oblong octavo” may have
been more appropriate. They are printed on serviceable paper and have functional bindings.
Most lack the engraved frontispieces and lists of subscribers found in upper class books. They
pack as many tunes as possible on each page, usually written in a single line, in treble clef, with
short titles. They contain mostly dance music, though like with the upper class books, they
could contain many other kinds of instrumental music. It is fascinating to consider that dance
musicians, even from this early age, used what amounted to “fake books” to increase their
working repertory!
Bayard’s collection contains the second, third, and sixth volumes of James Aird’s A selection of
Scotch, English, Irish, and foreign airs, adapted for the fife, violin, or German flute... from the
late eighteenth century. They provide a good example of pocket instrumental books, being in
oblong format and containing hundreds of tunes in single lines of music. According to Frank
Kidson, the first volume of this series included the earliest printed version of “Yankee Doodle.”
29
Other well known pocket instrumental books in the collection include Cahusac’s Pocket
Companion (ca. 1800) and Gale’s Pocket Companion (ca. 1790).
Thomas Wilson’s Companion to the Ballroom (1817), also in the collection, gives some
important information on the dance musicians of the time. He was the dancing master for the
King’s Theatre Opera House of London and includes a “Dissertation on the State of the
Ballroom,” where he mentions the use of pocket books by the musicians. They were sometimes
blamed for not being able to play every requested tune, even though “…the original and proper
26
Johnson, Scottish Fiddle Music, 35.
27
Idid., 37.
28
Bayard’s notes on the title page show that he originally thought it was published in 1762, but he corrected it to
ca.1768 and writes, “This edition is from the original plates.”
29
Frank Kidson, “Aird, James” In Grove’s Dictionary of Music and Musicians (New York: St. Martin’s Press,
1954).

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 11
names had been perverted” (p. 234). He says, “When dances are inserted in Pocket Books, the
Editor should be careful to mention from whose Collections they were selected, that the original
may be referred to in case of necessity” (p. 235). Sometimes when an unknown tune was
requested, the musicians “Instead of playing what they ask for, (if such a Tune could be found)
often play something they compose extempore, or some obscure air, which is not likely to be
known” (ibid.). He tells how dance musicians “…are frequently treated worse than servants…”,
and that “some ply them with Liquor since…nothing is so amusing as a drunken fiddler” (p.
233).
These dance musicians may have been considered servants or traveling mendicants, without a
great deal of formal musical training, but they may still have used tune books. There is an old
joke about the tune collector who asks the fiddler “Can you read music?” The fiddler replies,
“Not enough to hurt my playing any!” The fact is that many self-trained musicians may not be
able to perform from written music, but they may use written music as a reference, or mnemonic
device to remember familiar tunes and also to learn new ones that might be requested. Thus
pocket instrumental tune books may have been a valuable resource for learning and retaining
tunes even for those considered musically illiterate.
Wilson refers to “fiddlers” but doesn’t mention what other instruments were played. His book
had a frontispiece specifically engraved for the book (Illustration 2) that shows what looks like
two fiddles, oboe, horn, harp and psaltery in the box on the left. There is also a bagpiper, playing
some distance away from the other musicians. There are four figures in a box along the back
wall on the right who may also be musicians, though their “instruments” look indefinite. The
illustration shows men, women and children dancing. There are at least three groups of dancers.
One group in formal clothing, dancing in straight lines, a second group with formal clothing
arranged as couples in a circle, and a third group in folk costume, the same as being worn by the
bagpiper. The first group may be dancing some form of older country dance, the second group
appears almost certainly to be dancing the waltz, a newer popular dance form coming to England
from the continent, and the third group, dressed in folk costume, appearing to be dancing folk
dances. If this illustration is accurate, it shows an interesting mixture of folk, popular and
classical cultures that came together at these dances.
30
Barbara Downie tells that eighteenth century Scottish folk musicians could not make a living
playing folk music alone and they had little choice but to turn to classical music if they wanted to
be professional musicians.
31
Many of the greatest Scottish fiddlers of this era, William
McGibbon, Alexander McGlashan and Nathanial Gow, were players and teachers of European
art music as well. McGibbon was a concert violinist and the first Scottish composer of violin
sonatas.
32
McGlashan and Gow played in the orchestra of the Edinburgh Musical Society,
30
Randall Goldberg, musicologist at Youngstown State University, pointed out that this illustration is reminiscent of
the final scene of the first act from Mozart’s Don Giovanni, where three dance forms are presented simultaneously
representing the social classes of society. See Andrea Lindmayr-Brandl, “Dance.” In The Cambridge Mozart
Encyclopedia (Cambridge: Cambridge University Press, 2006), 135.
31
Barbara Downie, “William McGibbon and Niel Gow: Reflections on Tradition and Taste in Eighteenth-Century
Lowland Scotland,” M.A. Thesis, Rice University, 1997, 138.
32
Johnson, Scottish Fiddle Music, 192

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 12
which gave professional concerts at St. Cecilia’s Hall every Friday evening, and played together
other nights of the week in Edinburgh’s highest paid dance band.
33
Each of these “professional
folk musicians” created vernacular tune books found in Bayard’s collection.
Pocket Song Books
Like the pocket instrumental books, the pocket song books are also small and meant to fit in a
pocket. I distinguished these from the instrumental pocket books since they were generally
published in an upright (vertical) format and they were used in different contexts. They also
pack in as many tunes and lyrics as possible in a small space. Again the tunes are typically a
single line in treble clef, though some just have solfège symbols, or only the lyrics. These books
were undoubtedly used in social singing occasions, at home or in singing societies, or at the pub
or tavern. Some pocket song books show similar characteristics to upper class tune books, such
as fine bindings and engraved frontispieces, suggesting that may have been more directed
towards the gentry than the more functional instrumental pocket books.
A good example of this type of tune book is The Edinburgh musical miscellany. Bayard’s
collection has the first edition (1792) and both volumes of the second edition (1804, 1808). The
first piece in the second edition happens to be “To Anacreon in Heaven” as, “Sung by Mr.
Bannister at the Anacreontic Society.” This melody was later used by Francis Scott Key for the
“Star Spangled Banner.” Oscar Sonneck wrote a report for the Library of Congress in 1909 on
the origins of “Star Spangled Banner,” where he said that this tune was published in numerous
collections and as sheet music. It was so ubiquitous that, “…[it] must have been familiar to all
convivial souls in the British Isles toward 1800.”
34
As to its great range, Sonneck says that this
was “…considered the sine qua non of effective drinking songs.”
35
(Illus. 3)
On the influence of these printed collections on folk singers, A. L. Lloyd has written:
…No doubt, the influence of printed collections has been greater on Scottish
singers than on English, because Scottish collections have been abundant over a
longer period, and have circulated widely in a land where villagers, crofters, and
farm-hands have long been busy readers. From the time of Alan Ramsay’s Scots
Songs (1718-19) and Tea Table Miscellany (1724) onward, formal song
collections passed from hand to hand in country as well as town, among folk
singers as well as drawing room performers.
36
33
Idid., 5.
34
Oscar George Theodor Sonneck, Library of Congress Report on “The Star-Spangled Banner” “Hail Columbia”
“America” “Yankee Doodle” (Washington: Government Printing Office, 1909), 22.
35
Ibid., 23; see also Sonneck’s The Star Spangled Banner (Washington, D.C., 1914; New York; Da Capo Press,
1969). Perhaps the best articles on this topic are by William Lichtenwanger, “The Music of the Star-Spangled
Banner: From Ludgate Hill to Capitol Hill.” Quarterly Journal of the Library of Congress 34, 3 (July 1977): 136-70
and his “The Music of the Star Spangled Banner: Whence and Whither?” College Music Symposium 18, 2 (Fall
1978): 34-81.
36
A. L. Lloyd, Folk Song in England. London: Lawrence and Wishart, 1967, 26.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 13
Both upper class and pocket books were produced by the same publishers. A good example is
James Oswald, a well-known fiddler, tune collector, composer and publisher. He began life as a
dancing master in Scotland and after moving to London in 1741 became “one of the musical
giants in the land.”
37
In addition to dance music, in London he became a prolific composer of art
music, frequently publishing under Italian pseudonyms, and even formed a secret composer’s
society called, “The Temple of Apollo,” which included his editorial assistant, the young Charles
Burney.
38
Bayard’s collection includes his Second Collection of Curious Scots Tunes, for violin
and German flute, with a thorough bass for the harpsichord, a thin upper class tune book
intended for drawing room performances. Oswald’s name appears as the composer for some of
the pieces, but most remain anonymous.
Bayard’s collection also has two different versions of Oswald’s most successful publication, The
Caledonian Pocket Companion. Originally issued in six volumes starting in the 1740s, it grew to
twelve volumes and many editions by the nineteenth century.
39
An interesting characteristic of
this “pocket companion,” is that it is not really pocket sized. It was an instrumental collection
for the German flute or violin. Volume 1 in Bayard’s collection contains a fingering chart for
the German flute, so it may have functioned partially as a tutor. There are hundreds of tunes
presented in single line notation in treble clef, without accompaniments, but many do have added
variations. The term “pocket companion” may have been added to the title to indicate that these
were relatively inexpensive volumes that contained simple notation, not intended for drawing
room “concerts,” rather as a source for dance music. Oswald probably composed most of the
music himself but called it “traditional,” knowing that it would give it automatic authority and
acceptability.”
40
Scholarly Tune Books
Scholarly tune books can be recognized for their “dissertations” on folk or national music, and
include tunes primarily for illustration. Scholarly tunes books were probably used less for
performing music than for learning about the music they describe. William Dauney’s Ancient
Scottish Melodies (1838) provides an excellent example. The book deals primarily with the
Skene Manuscript (ca. 1620), including a 214 page “Preliminary Dissertation” and an appendix
on the “Analysis and Structure of the Music of Scotland.” Dauney provides transcriptions of the
83 tunes in the Skene Manuscript with an analysis of each tune.
Bayard’s collection also contains two works by the well-known collector Edward Bunting: A
General Collection of the Ancient Music of Ireland (1809) and The Ancient Music of Ireland
(1840). Each has extensive essays on the Irish harp, illustrated with piano arrangements of the
music. Bunting actually transcribed tunes at harpists’ conventions and competitions in the late
37
Kidson, A History of Music in Scotland, 333.
38
Purser, Scotland’s Music, Chapter XIV “The Temple of Apollo: 1740-1770,” 173-89.
39
David Johnson’s article in Music Printing and Publishing says 15 volumes, but Kidson says 12 volumes in his
British Music Publishers. Later Johnson corrected this mistake by saying it was actually 12 volumes (in the Preface
to the 3rd edition of his Scottish Fiddle Music), ix.
40
Johonson, Scottish Fiddle Music, 67-68.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 14
eighteenth century, and from individual players whom he names. In the preface of The Ancient
Music of Ireland he says, “The object, then, of the present publication chiefly is to give the
remaining airs of the collection arranged in true harp style, for the pianoforte, accompanied by a
practical digest of ancient Irish musical science” (p. 6). There are 150 airs, 120 of them
published for the first time.
Similar to what Bunting did in Ireland, Nicholas Bennett collected harp music in Wales for his
Alawon fy ngwlad = The Lays of my Land (1896), which also contains an extensive essay on the
music and musicians. In the “Editorial Note” he says,
“…The musical Editor has spared no endeavor in order to arrive at a correct
reading of the Airs. This often proved to be a very exacting task, arising from the
many errors and variations which melodies transmitted orally, or copied by more
or less untrained musicians are naturally subject to. Airs of … English, Scotch, or
Irish origin … he has invariably discarded; though it may be, and often is difficult
to determine at all times the nationality of every old Air, in a country where the
minstrels and harpists of its different nationalities have intermixed …” (p. iv).
William Chappell, one of the best known nineteenth century music publishers in London, has
three books in Bayard’s collection: A Collection of National English Airs (1838-40), which he
later expanded into Popular Music of Olden Times (1855-59), and Old English Popular Music
(1893), a complete revision done by H. Ellis Wooldridge. Each of these works contains
extensive essays on the history of English popular music and annotations for every tune, where
Chappell argues broadly for the English origins of the tunes.
John Glen in The Glen Collection of Scottish Dance Music (1891) takes issue with Chappell,
claiming that even though tunes were first published in England, many were of Scottish origin.
Glen provides valuable information in helping to study the other Scottish collections. The Glen
Collection… includes biographical sketches of nearly two dozen early Scottish musicians and
music sellers. His Early Scottish Melodies… (1900) includes an extensive bibliography of
manuscripts and printed works in chronological order, with musical examples.
George Petrie, an important collector of Irish traditional music, has two books in Bayard’s
collection. From the preface of his …Ancient Music of Ireland (1855), we learn that he started
transcribing tunes as a boy and over the years amassed a large collection of previously
unpublished tunes. He was a friend of Edward Bunting and offered the collection to him for
publication, but Bunting refused to acknowledge Petrie’s contribution. His 1855 volume,
published by the “Society for the Preservation and Publication of the Melodies of Ireland,” was
just a portion of Petrie’s tunes, which were presented in keyboard arrangements. More than
thirty years after Petrie’s death, composer Charles Villiers Stanford edited his manuscripts and
published a scholarly edition of Petrie’s work as The Complete Collection of Irish Music (1902).
In the preface to Ancient Irish Music (1890) Patrick Weston Joyce explains that his collection is
a continuation of Petrie’s work. Originally, the tunes came from his father. When he found that
many of these tunes were not published, he wrote down the ones he could remember and
“…went among the peasantry during vacations, for several successive years, noting down
whatever I thought worthy of preserving, both music and words. In this way I gradually
accumulated a very large collection” (p. iii). His book includes both song and dance tunes in
piano and piano vocal arrangements.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 15
Frank Kidson was another significant tune book scholar. His three tune books in Bayard’s
collection give scholarly commentary on each of the tunes and historical information as to their
sources and the publishers.
41
Old English Country Dances (1890) includes a valuable
bibliography of English country dance music from Playford (1651) to early nineteenth century.
Tutors
Bayard’s collection contains several examples of tune books intended to teach playing or
dancing, where tunes are included for illustration. The Compleat Country Dancing Master
(1731) is the second oldest tune book in the collection and a good example of a tutor. It contains
directions for dancing and tunes that are appropriate for each dance. The purpose of this book
was obviously to teach dancing and the tunes are incidental. Bayard’s collection contains several
other examples of dance tutors, as well as books for teaching how to play the union pipes
(O’Farrell’s), and the fife and drum (George Bruce). These books not only served as methods
for learning, they were also a significant source for tunes.
Paperbound Tune Books
The collection also contains several tune books that are paperbound. Some are printed on
newsprint (pulp) and are more fragile than many of their older cousins. They are more
ephemeral than upper class or pocket books and are thus rare in many cases. There are two
examples produced by the National Play Bureau of the Works Project Administration, a New
Deal agency that carried out public works projects during the depression era. One of these
projects was to collect and publish folk music from various regions of the country, such as John
Cox’s Folk-songs Mainly from West Virginia (1939) and Arthur Hudson’s Folk Tunes from
Mississippi (1937). They are a rare and significant resource for folk music scholarship. Other
examples of paperbound tune books are found throughout the collection, including examples
from the well-known collectors Cecil Sharp and Maude Karpeles.
Bibliographical Problems
Many of the tune books in Bayard’s collection presented interesting bibliographical problems.
Most were lacking publication dates, so I had to rely on cataloging records and marginalia.
Some were issued in multiple volumes and editions, which may or may not have been reflected
on their title pages. Sometimes there was conflicting information, even within the same volume.
There was also the problem of having various tune books bound together within the same
physical volume. Most likely the original owners bound similar books together in order to
preserve them and make them more easily accessible. Many tune books were reissued in new
series or editions drawing on the same basic source materials. This made sense for publishers
who were trying to get continuing returns from successful publications.
41
Kidson’s British Music Printers and Engravers: London, Provincial, Scottish, and Irish (London: 1900), not part
of Bayard’s collection, is an important work in the study of tune books.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 16
Bayard’s collection contains two different versions of The Caledonian Musical Repository, the
earliest from 1806 contains 118 songs. There are two copies of the 1811 version, showing an
entirely different set up and engraving from the 1806 version. The number of pages is the same,
but there are only 115 songs. It does not claim to be a new edition of the 1806 version; but
neither does it say it is a subsequent volume. To make matters even more complex, there is a
second engraved title page following the table of contents, which calls it Crosby’s Caledonian
Musical Repository, published by Benjamin Crosby in London. The 1811 version was probably
published in London, rather than Scotland. In comparing the contents of these two versions,
seventy eight songs are the same. The 1806 version has forty unique songs, and the 1811
version thirty seven unique songs. In other words, between 1806 and 1811, there were forty
songs removed and replaced with thirty seven different songs.
One of the most important figures represented in Bayard’s Collection is Niel Gow and his son
Nathanial. Through the patronage of the Duke of Atholl, the Gow family became among the best
known fiddlers and dance musicians in Scotland. Nathanial, “set and prepared for publication”
42
pieces as they had been performed by his father, the first volume of which sold more than a
thousand copies making them among the richest musicians in Scotland.
43
These volumes
contained many old traditional tunes, as well as contemporary original compositions by the Gow
family and others. Nathanial omitted the composers’ names, unless they were upper class,
knowing that it was better to present them as “traditional” and was purposely vague as to what
was old and what was new. As David Johnson has said,
Users of the Gow volumes could never quite be sure which tunes were ancient
ones (fitted with new titles), which were modern (with composer’s names
omitted), and which were an editorial mixture of the two. Nor did they want to
find out; what they wanted was a sense of mythical participation in an age-old
tradition…
44
There are three different series of Niel Gow tune books in Bayard’s collection: the Strathspey
Reels, The Complete Repository, and finally The Beauties of Niel Gow. These series were bound
together in various physical volumes, so it was difficult to discover what was represented in the
collection and how. The following chart shows what was found in each volume by their call
numbers in chronological order and will help users of the bibliography find the locations of
individual volumes.
42
See the article on the Gow family in A Dictionary of Musicians from the Earliest Times, ed. by John Sainsbury,
(London: Sainsbury and Co., 1825).
43
Johnson, Scottish Fiddle Music, 220.
44
Ibid, 221.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 17
Gow Volumes in Bayard’s Collection
The original owners apparently tried to acquire complete sets of these series and bound together
various editions and printings, as well as similar series. Occasionally we see the names of the
owners, as with the volume containing the first and second Collection of strathspey reels (M
1746 .S32 Q) which has “Miss Jane Chambr’e,” stamped on the top board. Sometimes owners
bound unrelated music together. Bayard’s collection contains a copy of Alexander McGlashan’s
A Collection of Reels… (1781) bound together with a piano vocal score of the opera Blue Beard
by Michael Kelly. A second copy of Nathanial Gow’s The Vocal Melodies of Scotland (ca.
1820), at Penn State but not a part of Bayard’s collection, is bound with numerous works of art
music. Such a practice tends to show that vernacular music was performed on an equal footing
in salons and drawing rooms together with art music.
Part of the motivation of the Gows in publishing “folk” music was the hope that a single
definitive form would emerge. This was found clearly in the short statements above the actual
music on the first page of each volume of Niel Gow’s Complete Repository… In Part first
second paragraph we read about a primary motivation; that of preserving the traditional music
close to its original form.
In presenting this Repository to the Public, which is the first time those tunes in
the Style as played by Niel Gow and Sons has been in print, it has been the object
of the Publishers to preserve them for the Amateurs of the Style of Music in their
native simplicity, and free from the Corruption of whim and Caprice … (p.1)
The text found on the same page in Part second… we see an additional motivation, that of
establishing a standard for national tunes and dances.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 18
The original Scotch Strathsbys, Reels, and Jigs, of which this Collection consist,
are brought forward with a view to serve as a Standard of those National Tunes
and Dances, for we cannot avoid mentioning, in every part of Scotland where we
have occasionally been, and from every observation we were able to make, we
have not once met with two Professional Musicians who play the same notes of
any Tune. This being the case, the Standard now proposed, will we hope appear
abundantly apparent; and that a conformity in playing these tunes, may with great
propriety be adopted (p.1).
In Part third… we see an effort “to conciliate an uniformity in playing” the national tunes, by
both amateur and professional musicians.
In giving this our Complete Repertory to the Public it was our wish to conciliate
and procure a conformity in the style and manner of playing these National Tunes
and Dances. Having succeeded so far by our first two parts as to obtain the
approbation of Amateurs, as well as of Professional Musicians, We now venture
to submit to the Public this our third part of the Complete Repository, and humbly
trust our Endeavors to conciliate an uniformity in playing those tunes will soon be
Established in every part of the Island (p.1).
By the time we get to Part fourth… the Gows claim success in establishing a conformity in the
national tunes. This may have been true to a large extent, especially among the upper classes,
due to the popularity of this series of tune books.
…their Original aim being obtained, namely, that of conformity being observed
throughout the Island, by Amateurs, as well as Professional People, playing the
same notes of every tune, without the confusion which prevailed previous to the
appearance of the Repository… (p.1)
In trying to establish a standard, the Gows were most likely motivated by financial
considerations. Certainly they wanted their versions of these tunes performed rather than those
which were passed on in aural tradition. For musicians who could read music, tune books
provided a way to perform music more consistently. Naturally the Gows wanted to sell as many
tune books as possible and what better way to do that than for them to establish a “standard” that
would be adopted throughout the land? The fact that they claim to have succeeded may only be
partially true. On the one hand, these tune books sold well and were widely known among
musicians and may have served as “reference books” showing the “definitive” versions of tunes.
On the other hand, others were also publishing tune books which many have had variant
versions. Tune books had less influence on musicians who could not read music. They would
play tunes as they could remember them, with mistakes, omissions, and fragments of the
published versions. They could simplify tunes or combine unrelated tune fragments. Though
this process, there have always been variants and entirely new tunes have been born.
Conclusion
Bayard’s collection proves that there is a long a tradition of published vernacular music, which
has not received the same degree of scholarly attention as art music or sacred music. The tune
books collected by Bayard made it possible for him to discover “tune families,” documenting

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 19
how various tunes were related and also helped him to identify the possible origins of tunes he
collected in Western Pennsylvania.
The creators of these tune books had more fluid boundaries between the categories of “classical,
folk and popular” music than we do today. All three categories may be found in these tune
books, arranged for vernacular performance. The publishers recognized both amateur and
professional musicians, the amateurs being mainly the “drawing room” variety and not musically
illiterate folk musicians. Both amateurs and professionals used these books, and they had an
influence on folk musicians of the time.
Many of the tunes were collected from folk musicians, but just as many tunes were composed, or
borrowed from other written sources. The publishers did not often document the sources of the
tunes they published, since their purpose in many cases was to sell more tune books. We can
surmise that there was a complex relationship between the musically literate and musically
illiterate, or genuine folk musicians. Many of the tunes were published in various kinds of
arrangements, which would “civilize” or “refine” the original folk material. Undoubtedly,
performances from tunes books were also heard by folk musicians and thus tunes made their way
back in to aural tradition. As a result tunes passed fluidly into and out of aural tradition and also
between written sources. Much of the debate found in the prefaces of these tunes books deals
with the authenticity and nationality of specific tunes.
These tune books also point out an interesting demarcation between functional music, such as
dance music, and music for pure entertainment. Some of the tune books were meant to be used
for playing in a parlor or salon, in what eventually would become a concert or chamber music
setting. Other books were meant to be portable, to be taken to dances to provide a large supply
of dance tunes, or to the pub for recreational singing.
Vernacular tune books are one of the only windows into understanding the vernacular music
culture of the past. There have always been vernacular forms of music that enriched the every-
day lives of common people. This could include music performed at home in drawing rooms or
parlors, or music played for dancing, or songs that were sung in pubs and taverns. Much of this
music was created and passed on in aural tradition, only later to be published in tune books and
song books, then passed on further by musically literate amateurs. It undoubtedly had a great
impact on the quality of life of common people, since they were performing or enjoying this
music in personal settings. The music in these tune books shows an incredible amount of variety
and flexibility. Vernacular music makes up the “black matter” of the musical universe.
If Bayard proved anything by documenting the tunes he collected with earlier published versions,
it was that these tunes continued to be known in aural tradition, even into the twentieth century in
Western Pennsylvania. Vernacular tune books are very worthy of further study.
Final version of this article completed April 15, 2015

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 20
ABSTRACT
This article and annotated bibliography pertain to the vernacular tune book collection of Samuel
P. Bayard, housed at the Special Collections Library at The Pennsylvania State University. The
collection reflects Bayard’s research interests, namely folk music, both instrumental and vocal,
belonging to Anglo-Celtic traditions. He donated 139 tunes books, defined as books containing
some form of musical notation, even solfège. An additional 22 songsters and dance notation
books are listed as an addendum to the bibliography. The majority of these books (85%) contain
music from England, Scotland, Ireland and Wales. The tunes were both composed and collected,
or taken from earlier publications or manuscripts, passing fluidly into and out of aural tradition
and also between written sources. These books were used for performing music in parlors and
drawing rooms, as resources for dance musicians and recreational singing, and as scholarly
studies of vernacular music. Many present interesting bibliographical problems. Vernacular
tune books are one of the only windows into understanding the vernacular music culture of the
past and are very worthy of further study.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 21
Illustrations
Illustration 1. Auld lang syne as found in William Thomson’s Orpheus Caledonius (1725) from
Bayard’s collection.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 22
Illustration 2. Frontispiece to Thomas Wilson’s Companion to the Ballroom (1817) from
Bayard’s collection
Illustration 3. “To Anacreon in Heaven” from The Edinburgh musical miscellany (1792) in
Bayard’s collection.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 23
Bibliography
Samuel Bayard’s Collection of Vernacular Tune Books
[Aird, James.] A selection of Scotch, English, Irish, and foreign airs, adapted for the fife, violin,
or German flute. Vol. II, humbly dedicated to the volunteer and defensive bands of Great Britain
and Ireland. Glasgow: Printed and sold by Ja. Aird, [ca. 1795]. [SB in pencil: “after 1784,
inclusion of tunes from McDonald’s Highland Vocal Airs, of that date.”] [oblong quarto, leather
bindings and corners, marbleized boards] 1 leaf, 74 pp., 11 x 17 cm.
M 1738 .S459 1795. Contains 200 single line instrumental tunes, with title index.
[Aird, James.] A selection of Scotch, English, Irish, and foreign airs, properly adapted for the
German flute violin or fife. [Vol. III] London: Printed by G. Goulding & Co., [ca. 1800] 80 pp.,
11 x 17 cm. [Oblong quarto] [Bound with Aird’s 6th and last volume…]
M 1746 .A55 1800. Contains 600 numbered single-line instrumental tunes with title index.
[Aird, James.] Aird’s 6th and last volume of Scotch, English, Irish and foreign airs; Adapted for
the fife, violin or German flute. Glasgow: A MacGown [ca. 1800] 48 pp., 11 x 17 cm. [Oblong
quarto] [Note: two other tune books bound in: A selection vol. 3, Gales…]
M 1746 .A55 1800. Contains 180 single line instrumental tunes, with title index.
Ancient Music of Ireland. S.n.: S.l., ca1855. Caption title. 48 pp., 35 cm. [Fragment; loose
marbleized boards]
M 1744 .A453 1855 v.2 Q. Treble/bass arrangements of instrumental tunes.
[Allen, William Francis, Charles Pickard Ware and Lucy McKim Garrison] Slave songs of the
United States. New York: John Ross & Co., 1871. xliv, 115 pp., 23 cm.
M 1670 .A42 1871. Extensive introduction. Song book with single line tunes and text underlay,
organized by collector and region.
Balfour, David. Ancient Orkney melodies. Edinburgh: Ballantyne, Hanson & Co., 1885. 87
pp., 28 cm. [brown cloth, some staining]
M 1746 .A63 1885. Piano-vocal music on the left with first verse; additional verses on the right.
Barry, Phillips, ed. The Maine woods songster. Cambridge, MA: Powell Printing Co., 1939.
102 pp., 24 cm.
M 1629 .B28 M2. Song book with single line tunes and first verse; additional verses beneath.
Bennett, Nicholas, coll. Alawon fy ngwlad = The Lays of my Land. Arranged for the harp or
pianoforte by D. Emlyn Evans. Newtown, Wales: Phillips & Sons, 1896. 2 vols. xvii, 165, V,
VIII pp. continuously paginated, 36 cm. each.
M 38.5 .A42 1896 Q. Music from harpists in treble/bass arrangements; titles in Welsh and
English. v.2 continues with harp music and includes two songs from Pennillion Singers in
piano-vocal arrangements, with Welch texts. Extensive essays on the music and musicians.
Bremner, Robert, arr. Thirty Scots Songs. Adapted for voice and harpsichord by Robert Bremner,
the words by Allen Ramsey. London: Printed and sold by R. Bremner, [ca. 1770] [vol. 1 only,
some staining] 32 pp., 34 cm.
M 1746 .T46 1770 v.1 Q. Songs with treble/bass, and figured bass accompaniment. First verse
between staves, additional verses follow. English texts.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 24
Bruce, George B. The drummers and fifer’s guide; or self instructor: containing a plain and
easy introduction of the rudimental principles for the drum and fife: to which are added,
marches, quicksteps, side-beats, troops, retreats, signals, calls, &c., with explanatory remarks,
when to be used, also, the duty for garrison or camp, to be performed by both instruments, as
used in the U.S. Army, the drum major's duty, the fundamental principles of modern drum music,
beats for drum corps, &c., &c. New York: William A. Pound & Co., 1880. 96 pp., 30 cm.
[worn illus. boards, front cover: “by Geo. B. Bruce and Dan D. Emmett”]
MT 735 .B78 1880. Tutor with fife tunes, most written with two lines, second line for drums.
Bruce, J. Collingwood and John Stokoe, eds. Northumbrian Minstrelsy: A collection of ballads,
melodies and small pipe tunes of Northumbria. Newcastle-upon-Tyne: Society of Antiquities,
1882. 191 pp., 22 cm.
ML 3652 .B79 1882. Songs and instrumental tunes; single lines of music. Songs with first verse
underlay, additional verses follow.
Bunting, Edward. The Ancient Music of Ireland, arranged for the piano forte, to which is
prefixed a dissertation on the Irish harp and harpers, including an account of the old melodies of
Ireland. Dublin: Hodges and Smith, 1840. 88, 109 pp., 33 cm. [Original cloth, bright, some
crushing on one corner, cover embossed with a golden harp, excellent copy]
M 1744 .B942 Q. A newer companion volume to the General Collection …, this volume
contains extensive essays on the Irish harp, illustrated with tunes in piano arrangements. The
newly written essays cover some of the same ground as the General Collection.
Bunting, Edward. A general collection of the ancient music of Ireland, arranged for the piano
forte; some of the most admired melodies are adapted for the voice, to poetry chiefly translated
from the original Irish songs by Thomas Campbell and other eminent poets: to which is prefixed
a historical & critical dissertation on the Egyptian, British and Irish harp. London: Clementi,
[1809] 3, 28, 72 pp., 38 cm. [Duplicate. Modern boards, worn, text foxed, sound copy]
M 1744 .B942 G46 1809 Q. Contains extensive essays on the Irish harp, illustrated with songs
and instrumental pieces in piano-vocal and piano arrangements; collected from Irish harpists.
Cahusac’s pocket companion for the German flute or violin, being a selection of favorite songs,
airs, minuets, marches, allemands, cotillons, dances and duetts properly adapted for those
instruments. London: W. M. Cahusac, [180-] [Oblong, quarto, re-backed] 4 vols. in one, each
48 pp., 12 x 19 cm., title index to the four volumes.
M 1624.7 .C35 1800. Songs and instrumental pieces, single line of music with text underlay.
Caledonian country dances: Being a collection of all the celebrated Scotch country dances now
in vogue, with the proper directions to each dance, as they are perform’d at court & publick
entertainments, for the violin, hoboy, or German flute; with their basses for the bass violin or
harpsichord. London: Walsh, [1736] 3rd ed. [3 vols. in one] 100, 100, 100 pp., 10 x 17cm.
[Old calf, split in half, broken binding, fragile condition, paper and engraving good, dated by SB
“1752”]
M 1746 .C13 1736. Single line tunes with dance descriptions. See Oswald, James.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 25
The Caledonian musical repository: A choice selection of esteemed Scottish songs, adapted, for
the voice, violin, & German flute. Edinburgh: Published by Oliver & Co., [1806]. 286 pp., 18
cm. [¾ leather, engraved title page, good condition]
M 1746 .C149 1806. 118 songs: single line tunes with first verse, additional verses follow.
The Caledonian musical repository: A choice selection of esteemed Scottish songs, adapted, for
the voice, violin, and German flute. Edinburgh: Oliver & Boyd, 1811. 286 pp., 20 cm. Second
engraved title page: Crosby’s Caledonian Musical Repertory, London: B. Crosby & Co., [n.d.]
[Two copies: c.1: cloth cover, spine torn, untrimmed; c.2: ¾ leather]
M 1746 .C148 1811. 115 songs: single line tunes with first verse, additional verses follow.
Campbell, Alexander, coll. and arr. Albyn’s anthology; or, a select collection of the melodies &
vocal poetry to Scotland and the Isles...the modern Scottish & English verses adapted to the
Highland, Hebridean & Lowland melodies written by Walter F. Scott, Esq. and other living poets
of the first eminence. [2 vol. bound in one] 100, 99 pp., 40 cm. Edinburgh: Oliver & Boyd,
1816-18. [¾ leather, corners rough, marbleized boards, sound copy]
M 1746 .C25 A42 1816 Q. Six page preface with history; piano-vocal arrangements.
The Celtic Lyre: A collection of Gaelic songs with English translations. By Fionn. Edinburgh:
John Grant, 1898. [15 pp.] 21 cm. [part iv, worn paper wrappers]
M 1747.18 .C44 1898 pt.4. Single line tunes with Gaelic text and English translations. solfège
included.
Chappell, W[illiam], ed. A collection of national English airs, consisting of ancient song, ballad
& dance tunes, interspersed with remarks and anecdote and preceded by an essay on the ancient
minstrelsy, the airs harmonized for the pianoforte… Additional title page: A Collection of
Ancient English Melodies. London: Chappell … and Simpkin, Marshall, & Co., [1838] 2 vols.
v.2: 118, vi pp., 32 cm.
M 1740 .C54 C64 1840. v.1 v.2 Q. v. 1 text only, contains essay on ancient minstrelsy; v.2
Preface describes tunes collected from other printed sources; list of subscribers with more than
300 names; songs and instrumental tunes in piano arrangements.
Chappell, W[illiam]. Popular music of the olden times; A collection of ancient songs, ballads,
and dance tunes, illustrative of the national music of England, With short introductions to the
different reigns, and notices of the airs from writers of the sixteenth and seventeenth centuries.
Also a short account of the minstrels. The whole of the airs harmonized by G. A. Macfarren.
London: Cramer, Beale, & Chappell, [1855-59] 2 vols. continuously paginated 822 pp., 28 cm.
each [3/4 leather, spines a bit worn, untrimmed, sound copy, marbleized boards]
M 1740 .C542 1859 v.1 v.2. A history of popular music in England with tunes (treble/bass
arrangements) used as illustrations.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 26
Chappell, William. Old English popular music: A new edition with a preface and notes, and the
earlier examples entirely revised by H. Ellis Wooldridge. London: Chappell & Co.; New York:
Novello, Ewer & Co., 1893. 2 vols. 324, 219 pp., 27 cm. each. [untrimmed, vol.1 facsimile
plate from Harl. manuscripts.]
ML 3652 .C46 1893. Songs, some single line, some two lines, treble and bass clefs in four-part
harmony. v.1: Early songs, ballads and dance tunes. v.2: Later songs, ballads and dance tunes.
First published 1838-40 as "A collection of national English airs" which was afterwards
expanded into his "Popular music of the olden time" (1859, 2 vols.) Part of the latter edition was
published under title "The ballad literature and popular music of the olden time."
A’ Choisir Chiuil: The St. Columbia collection of Gaelic songs, arranged for part singing.
London: Bayley & Ferguson, [190-?] 100 pp., 25 cm. [Clean copy in cloth covered printed
boards]
M 1746 .A35 1901. Song texts in Gaelic; music in four parts notated in solfège.
Christie, W[illiam]. Traditional ballad airs: Arranged and harmonized for the pianoforte and
harmonium, from copies procured in the counties of Aberdeen, Banff, and Moray. Edited, with
the words for singing and with illustrative notes. Edinburgh: Edmonston & Douglas, 1876-
1881. 2 vols. 302, 309 pp., 30 cm. each [3/4 leather, sound copy]
M 1746 .C45 1876. Piano-vocal score, music on the right, texts on the left.
Clark, George W., comp. The liberty minstrel. New York: Saxton and Miles; Boston: Leavitt &
Alden; [etc.], 1845. 4th ed. 184 pp., 18 cm. [worn cloth, some water staining]
M 1977 .C49 C56 1845. Songs: treble/bass on left, text on right; tune title index. Includes
original compositions and arrangements by Clark.
The compleat country dancing master: Containing great variety of dances, both old and new;
particularly those perform’d at the several masquerades: … with their proper tunes, and figures
(or directions) to each dance: The tunes fitted to the violin or Hautboy and most of them within
the compass of the German flute or common flute. Engraven in a fair character and carefully
corrected. London: Printed for and sold by John Walsh, printer and instrument maker…, 1731.
150 leaves, lacks leaf 27, 11 x 21 cm. [Vol. 1 only: a companion volume, ‘The second book of
the The compleat country dancing master,’ was published in 1719.]
M 1740 .C65 1731. Single line instrumental tunes, with dance directions beneath.
Cox, John Harrington, collector. George Herzog and Herbert Halpert, eds. Folk-songs mainly
from West Virginia. Introductory essay and supplementary references by Herbert Halpert. New
York: National Service Bureau, Federal Theater Project, Works Project Administration, 1939.
viii, 88, xxiii pp., 29 cm. [Mimeographed, worn paper wrappers]
M 1629 .F685 1939. Single line tunes, text underlay, songs and instrumental pieces with
descriptions.
[Crosby, Benjamin]. Crosby’s English musical repository: A choice selection of esteemed
English songs, adapted for the voice, violin and German flute. London: B. Crosby & Co., [ca.
1812]. 292 pp., 19 cm. [Modern boards, untrimmed, some staining]
M 1740 .C76 1812. Single line songs with first verse; additional verses follow.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 27
Dauney, William. Ancient Scotish melodies: From a manuscript of the reign of King James VI,
with and introductory enquiry illustrative of the history of the music of Scotland. Edinburgh:
Printed for the Maitland Club, 1838. x, 390 pp., 28 cm. [3/4 leather, 19th cent. Some foxing,
untrimmed, sound copy]
DA 750 .B259 1838. Deals primarily with the “Skene manuscript” and its contents. Includes a
“Preliminary Dissertation” on the history of Scottish music (214 pp.) then a transcription of the
Skene manuscript (83 tunes) and a written analysis of each tune. Ends with an appendix on
“Analysis and Structure of the Music of Scotland” by Mr. Finlay of Edinburgh with twelve more
tunes.
Davies, Grace Gwyneddon. Alawon Gwerin Môn: A gasglwyd ac a drefnwyd ar gyfer y
Berdoneg = Folk Songs from Anglesey, with pianoforte accompaniment. English words by
Robert Bryan. Wrexham: Hughes & Son, Principality Press, [ca.1920] 2nd ed. 19 pp., 28 cm.
M 1742 .D35 A42 1900. Piano-vocal arrangements (with solfège). Underlying texts in Welsh,
with English translations.
Davies, Grace Gwyneddon. Ail Gasgliad o Alawon Gwerin Môn: Trefnwyd ar gyfer y Berdoneg
= Second collection of folk songs from Anglesey, with pianoforte accompaniment. Wrexham:
Hughes & Son, Principality Press, [ca.1935] 19 pp., 28 cm.
M 1742 .D35 A422 1935. Piano-vocal arrangements (with solfège). Underlying texts in Welsh
with English translations.
Davies, W. Hubert. Welsh folk songs = Caneuon Gwerin Cymru. Wrexham: Hughes & Son,
c1919. 23 pp., 28 cm. [Good paper wrappers]
M 1742 .D38 W43 1919. Piano-vocal arrangements (with solfège). Underlying texts in Welsh.
Duhamel, Maurice. Musiques Bretonnes; airs et variants melodiques des “Chants et chansons
populaires de la Basse-Bretagne.” Paris: Rouart, 1913. vi, 224 pp., 23 cm. [leather binding,
marbleized paper boards]
M 1732 .D85 M8 1913. Single line tunes with Breton texts and French translations.
D’Urfey, Thomas. Songs compleat, pleasant and divertive, set to musick by Dr. John Blow, Mr.
Henry Purcell, and other excellent masters of the town. Title pages v. 2-6: Wit and Mirth, or
Pills to Purge Melancholy; being a collection of the best merry ballads of songs, old and new,
fitted to all the humours, having each their proper tune for either voice or instrument: most of
the songs being set new. London: Printed by W. Pearson, for J. Tonson, 1719-20. 6 vols. 19
cm. each. [19th c. reprint, ca.1870; ¾ leather, marbleized boards, good condition.]
M 1738 . W77 1719. On each spine: “Pills to purge melancholy, T. Durfey.” Single line tunes
with extensive texts. “First issue of the 4th edition of a collection assembled and published 1699
(i.e. 1698)-1706 in 4 vols. by Henry Playford under title: Wit and mirth; or, Pills to purge
melancholy. D' Urfey edited the present edition, of which his own songs (with one by Dryden)
form the first two vols. cf. Day, Cyrus L. “Pills to purge melancholy.” Reprinted from the
Review of English Studies, 3 (no. 30, 1932)”—from catalog record OCLC #9373296.
The Edinburgh musical miscellany: A collection of the most approved Scotch, English, and Irish
songs, set to music. Edinburgh: Grant and Moir, 1792. vol.1, 359 pp., 18 cm. [Lacks title page,
rough, old calf; SB? in pencil: “1st ed. Grant and Moir, I, (1792)”]
M 1738 .E35 1793 v.1. Single line songs with first verse, additional verses follow.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 28
The Edinburgh musical miscellany: A collection of the most approved Scotch, English, and Irish
songs, set to music. 2nd ed. vol.1. Edinburgh: Mundell and Son, 1804. 359 pp., 18 cm. [leather
binding, paper boards, fair condition]
M 1738 .E35 1804 v.1. Single line songs with first verse, additional verses follow.
The Edinburgh musical miscellany: A collection of the most approved Scotch, English, and Irish
songs, set to music. 2nd ed. vol.2. London: B. Crosby & Co., 1808. 372 pp., 20 cm. [Top cover
detached, paper boards, untrimmed]
M 1738 .E35 1804 v.2 Single line songs with first verse, additional verses follow.
Ford, Robert, ed. Vagabond songs and ballads of Scotland: With many old and familiar
melodies. London: Alexander Gardner, 1899. xii, 259 pp., 23 cm.
PR 8661 .L8 F6 1899. Mostly ballad texts and annotations; includes 16 single line tunes.
Ford, Robert, ed. Vagabond songs and ballads of Scotland: With many old and familiar
melodies. New and improved edition. London: Alexander Gardner, [1904]. xvi, 334 pp., 20 cm.
PR 8661 .L8 F6 1904. Mostly ballad texts and annotations; includes 16 single line tunes.
Fraser, S[imon] Capt., ed. The airs and melodies peculiar to the Highlands of Scotland and the
Isles, communicated in an original pleasing and familiar style, the lively airs introduced as
medleys to form a sequence to each slower movement, with and an admired plain harmony for
the piano forte, harp, organ, or violoncello, intended to preserve simplicity than load with
embellishment. Edinburgh: Printed and sold for the editor ; London: J. Gow, [1815 preface
date]. 120 pp., 33 cm. [leather binding, printed boards]
M 1746 .A57 1816 Q. 232 instrumental tunes in treble/bass arrangements, Gaelic titles, English
translations. Inscribed to the “Highland Society of Scotland.” From t.p.: “Chiefly acquired
during the interesting period from 1715 to 1745 through the authentic source narrated in the
accompanying prospectus.”
Gale’s pocket companion for the German flute or violin, containing the most approved Scotch,
English, & Irish airs, songs, Strathspeys, reels, &c. adapted by R. A. Smith. Glasgow: Printed
and sold by R. Gale, [ca. 1790] 48 pp., 11 x 17 cm. [Oblong quarto] [Bound with Aird’s 6th and
last volume…]
M 1746 .A55 1800. Single-line instrumental tunes with title index.
Glen, John. The Glen collection of Scottish dance music, strathspeys, reels, and jigs, selected
from the earliest printed sources, and from the composer’s works. Arranged with new
accompaniments for the pianoforte. Edinburgh: [J. Glen], 1891. xx, 48 pp., 37 cm. [binding
damp-stained]
M 1746 .G54 1891 Q. Piano arrangement of instrumental tunes; Contains extensive biographical
sketches of early Scottish musicians and music sellers.
Glen, John. Early Scottish melodies, including examples from mss. and early printed works,
along with a number of comparative tunes, notes on former annotators, English and other
claims, and biographical notices, etc. Edinburgh: J. & R. Glen, 1900. xvi, 271 pp., 28 cm.
[Darkened cloth, very good copy]
ML 3655 .G55 1900. Extensive bibliography of manuscripts and printed works in chronological
order, illustrated with musical examples. Debate about Scottish melodies claimed by the
English. Includes chapters on William Chappell, English claims, The Scots Musical Museum,
and Early Scottish musicians and engraving. More extensive than The Glen collection…

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 29
Gow, Nathaniel, arr. The vocal melodies of Scotland dedicated to His Grace the Duke of
Buccleuch & Queensberry, arranged for the piano forte or harp, violin & violoncello.
Edinburgh: Printed for & sold by Nathaniel Gow and Son, [between 1818 and 1823] [2 vols. in
one] 36, 36 pp., 33 cm. [modern boards, second [i.e. third] part untrimmed, second part has title:
Part 2nd the vocal melodies of Scotland…]
M 1746 .V63 1818. Tunes mostly in treble/bass arrangements. [Note: PSU owns second copy
under M 273 .H3 S39 1700 Q, not donated by SB]
Gow, Niel. Beauties of Niel Gow [Parts 1-2] being a selection of the most favorite tunes from
his first, second and third collections of Strathspeys, reels and jigs chiefly comprising the
compositions of Niel Gow and Sons, the dances arranged as medleys all of which are adapted
for the harp, piano-forte, violin and violoncello, respectfully dedicated to the noblemen and
gentlemen of the Caledonian hunt. Edinburgh: Printed and sold by Nathanial Gow and Son.
[1818?] 38 pp., each, 33 cm. [all engraved, leather binding, loose marbleized board, back board
missing] [First and second parts bound together; bound with Fourth… and Fifth collection of
strathspeys..]
M 1746 .G7 B4 1818 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons.
Gow, Niel. A collection of strathspey reels with a bass for the violoncello or harpsichord most
humbly dedicated to the Dutchess of Athole by Niel Gow at Dunkeld. Edinburgh: Printed for
the author and sold by Corri and Company, [1784?] [All engraved, temporary red morocco, top
board stamped “Miss Jane Chambr’e,” spine gilt, very good condition] 36 pp., 33 cm. [Bound
with A second collection…which appears first in the volume]
M 1746 .S32 1803 Q. Instrumental tunes in treble/bass arrangements.
Gow, Niel. A second collection of strathspey reels, &c.: with a bass for the violoncello or
harpsichord most humbly dedicated (by permission) to the noblemen and gentlemen of the
Caledonian hunt by Niel Gow at Dunkeld. Edinburgh: Printed for Corri and Company,
[ca.1803] [2], 36, [2] pp., 33 cm. [Bound with A collection of strathspey reels...]
M 1746 .S32 1803 Q. Instrumental tunes in treble/bass arrangements.
Gow, Niel. A third collection of strathspey reels, &c.: for piano-forte, violin, and violoncello,
dedicated to the most noble Marchioness of Tweeddale. Edinburgh: printed and sold by Gow &
Shepherd at their music shop no. 16 Princes Street; London: to be had of John Gow no. 31
Carnaby Street Golden Square, 1792. [2], 36 pp., 32 cm. [Bound with The complete
repository…]
M 1746 .G7 C7 1817 v.1-3 Q. Instrumental tunes in treble/bass arrangements.
Gow, Niel. Fourth collection of strathspeys & dances for the harp, piano-forte, violin and
violoncello dedicated to the right honorable the Earl of Eglintoun by Niel Gow & Sons. Second
edition improved and new tunes added by Nath. Gow. Edinburgh: Printed and sold by Rob. T.
Purdie: [also] sold by N. Gow & Son, [182-?] 38 pp., 33 cm. [Bound with Beauties of Niel
Gow…]
M 1746 .G7 B4 1818 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 30
Gow, Niel. Fifth collection of strathspeys and reels &c for the piano-forte, harp, violin and
violoncello dedicated to the right honorable the Countess of Dalhousie by Niel Gow & Sons.
Third edition corrected and improved by Nath. Gow. Edinburgh: Printed and sold by Rob. T.
Purdie: [also] sold by N. Gow & Son, [1809?] 36 pp., 33 cm. [At bottom of the title page SB
writes, 1809, at the top, after 1817; Bound with Beauties of Niel Gow…]
M 1746 .G7 B4 1818 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons.
Gow. Niel. Part first of the complete repository of original Scots slow strathspeys and dances,
the dances arranged as medleys for the harp, or piano-forte, violin, violoncello, &c. humbly
dedicated to Her Grace the Dutchess of Gordon by Niel Gow & Sons. Edinburgh: Printed and
sold by Gow & Shepherd, [181-?] 38 pp., 33 cm. [First 4 pp. alphabetical index in fountain pen;
pagination in fountain pen; additional music notation in fountain pen pasted on back leaf. Bound
with A third collection of strathspey reels…]
M 1746 .G7 C7 1817 v.1-3 Q. Instrumental tunes in treble/bass arrangements. Many pieces
named for patrons.
Gow. Niel. Part first of the complete repository of original Scots slow strathspeys and dances,
the dances arranged as medleys for the harp, or piano-forte, violin, violoncello, &c. humbly
dedicated to Her Grace the Dutchess of Gordon by Niel Gow & Sons. Third edition corrected
and improved by Nath. Gow. Edinburgh: Printed and sold by Rob. T. Purdie, [also] sold by N.
Gow & Son, [182-?] 38 pp., 33 cm. [Bound with Beauties of Niel Gow…]
M 1746 .G7 B4 1818 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons. Additional copy: M 1746 .G7 C7 1828 Q.
Gow. Niel. Part second of the complete repository of original Scots slow strathspeys and
dances, the dances arranged as medleys in their respective keys for the harp, or piano-forte,
violin, violoncello, &c. humbly dedicated to the Dutchess of Buccleugh by Niel Gow & Sons.
Edinburgh: Printed and sold by Gow & Shepherd, [181-?] 38 pp., 33 cm. [Bound with A third
collection of strathspey reels…]
M 1746 .G7 C7 1817 v.1-3 Q. Instrumental tunes in treble/bass arrangements. Many pieces
named for patrons.
Gow. Niel. Part second of the complete repository of original Scots slow strathspeys and
dances, the dances arranged as medleys in their respective keys for the harp, or piano-forte,
violin, violoncello, &c. humbly dedicated to the Dutchess of Buccleugh by Niel Gow & Sons.
Edinburgh: Printed and sold by Rob. T. Purdie, [also] sold by N. Gow & Son, [182-?] 38 pp., 33
cm. [Bound with Beauties of Niel Gow]
M 1746 .G7 C7 1828 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons.
Gow. Niel. Part second of the complete repository of original Scots slow strathspeys and
dances, the dances arranged as medleys in their respective keys for the harp, or piano-forte,
violin, violoncello, &c. humbly dedicated to the Dutchess of Buccleugh by Niel Gow & Sons.
Third edition corrected and improved by Nath. Gow. Edinburgh: Printed and sold by Rob. T.
Purdie, [also] sold by N. Gow & Son, [182-?] 38 pp., 33 cm. [Bound with Beauties of Niel
Gow]
M 1746 .G7 B4 1818 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 31
Gow. Niel. Part third of the complete repository of original Scots slow strathspeys and dances,
the dances arranged as medleys for the harp, or piano-forte, violin, violoncello, &c. humbly
dedicated to Her Grace the Countess of Loudoun and Moira by Niel Gow & Sons. Edinburgh:
Printed and sold by Gow & Shepherd, [181-?] 38 pp., 33 cm. [Bound with A third collection of
strathspey reels…]
M 1746 .G7 C7 1817 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons.
Gow. Niel. Part third of the complete repository of original Scots slow strathspeys and dances,
the dances arranged as medleys for the harp, or piano-forte, violin, violoncello, &c. humbly
dedicated to Her Grace the Countess of Loudoun and Moira by Niel Gow & Sons. Third edition
corrected and improved by Nath. Gow. Edinburgh: Printed and sold by Rob. T. Purdie, [also]
sold by N. Gow & Son, [182-?] [Bound with Beauties of Niel Gow] 38 pp., 33 cm.
M 1746 .G7 B4 1818 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons. Additional copy: M 1746 .G7 C7 1828 Q.
Gow. Niel. Part fourth of the complete repository of original Scots slow strathspeys and dances,
the dances arranged as medleys for the harp, piano-forte, violin, violoncello, &c. respectfully
dedicated to the Nobility and Gentry of Scotland by Niel Gow & Sons. Edinburgh: Printed for
the Proprietors, to be had of Nath. Gow…London. [also] sold by N. Gow & Son, [182-?]
[Bound with Beauties of Niel Gow] 38 pp., 33 cm.
M 1746 .G7 B4 1818 Q. Instrumental tunes in treble/bass arrangements. Many pieces named
for patrons. Additional copy: M 1746 .G7 C7 1828 Q
Guilbert, Yvette. Pastourelles of the XV century. Boston: Oliver Ditson, 1919. 58 pp., 31 cm.
[worn paper wrappers, text fine, illus. cover]
M 1619 .G85 P3 1919. Piano-vocal arrangement, French text with English translations.
Hannigan, Margaret and Seamus Clandillon, eds. “Londub an Cairn”: Being songs of the Irish
Gaels in staff and sol-fa with English metrical translations. London, New York: Published for
the Carnegie United Trust of the Oxford University Press, H. Milford, 1927. Vol. 1 only: xii, 36,
[155] pp., 29 cm. [Blue cloth, re-backed]
M 1744 .H35 1927. Single line tunes, solfège included, underlying Gaelic texts with English
translations on subsequent pages.
Hoffman, F., arr. Ancient music of Ireland, from the Petrie Collection, arranged for pianoforte.
Dublin: Piggot & Co., 1877. vii, 137 pp., 28 cm.
M 1744 .H64 1877. Piano arrangements of some of the Petrie Collection.
Horncastle, Fred[eric]k W[illia]m. The Music of Ireland, as performed in Mr. Horncastle’s Irish
entertainments, in which are introduced the bardic & Connaught caoines, songs, fairy chant &
songs, rural ballads, songs of occupation, marches, jigs, &c. for the harp or pianoforte.
London: Published by the editor, 1844. 109 pp., 35 cm. [¾ leather, broken binding]
M 1744 .H67 M8 1844 Q. Songs in piano-vocal arrangements, some three and four part
harmony, a few instrumental tunes (marches) in piano arrangements; list of subscribers, approx.
100 names.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 32
Hudson, Arthur Palmer, coll., George Herzog, ed. Folk Tunes from Mississippi. New York:
National Play Bureau, Federal Theatre Project, Works Progress Administration, 1937. xxix, 45
leaves. 28 cm. [Mimeographed, worn paper wrappers]
M 1629 .F689 1937. Single line tunes with underlying texts.
Huntington, Gale, comp. William Litten’s Fiddle Tunes 1800-1802.Vineyard Haven, MA:
Hines Point Pubs., 1977. 63 pp., 28 cm. [signed by compiler; annotations by SB as to number
in DFMF]
M 40 .W54. Collection of fiddle tunes made by William Litten at sea, 1801-02. Manuscripts in
the library of the Dukes County Historical Society, Edgartown, MA, on Martha’s Vineyard.
Contains reels, strathspeys, hornpipes, jigs and other dances, marches and song melodies. Fifty
of Litton’s tunes not identified. The rest identified by Huntington from tunes books of the same
era, in the Music Division of the Library of Congress, the rare book section of the Boston Public
Library, and the rare book room of the Harvard Music Library.
The Irish musical repository: A choice selection of esteemed Irish songs, adapted for the voice,
violin, and German flute. London: Printed for B. Crosby & Co., [1808]. 288 pp., 17 cm.
[modern ¾ leather, marbleized boards, untrimmed, some foxing, excellent copy]
M 1744 .I63 1808. Single line tunes with underlying texts.
Jackson, W[illiam]. A collection of favourite Irish tunes composed by W. Jackson Esq.r
composer of the celebrated dance called the Morning Brush. Dublin: John Lee, [1780?] 10 pp.,
18 x 25 cm. [disbound, brittle condition]
M 1744 .J33 C65 1780. Twelve tunes for keyboard composed by Jackson, mostly in 6/8 time.
Johnson, James, comp. The Scots musical museum, humbly dedicated to the Catch Club
instituted at Edin’r June 1771 . Edinburgh: Printed and sold by Johnson & Co., 1787-1803. 6
vols. 24 cm. each. [taped bindings, worn boards]
M 1746 .A2 J67 1787. Songs, piano-vocal arrangements; first verse inserted, additional verses
follow.
Johnson, James, comp. The Scots musical museum, originally published by James Johnson with
illustrations of the lyric poetry and music of Scotland by William Stenhouse, forward by Henry
George Farmer. Hatboro, PA: Folklore Associates, 1962. 6 vols. in two; v.1 Introductions and
songs (620 pp.), v.2 illustrations and indexes (540, xxxiv pp), 25 cm. each.
M 1746 .A2 J67 1962. Scholarly facsimile ed. of Johnson’s work.
Johnson, John Rosmond, ed. Rolling along in song: a chronological survey of American Negro
music, with eighty-seven arrangements of Negro songs, including ring shouts, spirituals, work
songs, plantation ballads, chain-gang, jail-house, and minstrel songs, street cries and blues.
New York: The Viking Press, 1937. 224 pp., 26 cm. [Dust wrapper chipped and torn, a few
pieces missing, top and bottom of spine, otherwise a clean copy]
M 1670 .J65 R6. Twenty-seven page introduction about the songs; piano-vocal arrangements.
Joyce, P. W. [Patrick Weston], coll. and ed. Ancient Irish music: Comprising one hundred Irish
airs hitherto unpublished; many of the old popular songs; and several new songs. The harmonies
by Professor Glover. 4th ed. London: Longmans, Green, & Co., 1890. ix, [1], 104 pp., 15 cm.
M 1744 .J68 1890. Songs and dance tunes in piano or piano-vocal arrangements.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 33
Joyce, P. W. [Patrick Weston], coll. and ed. Ancient Irish music: Comprising one hundred Irish
airs hitherto unpublished; many of the old popular songs; and several new songs. The harmonies
by Professor Glover. London: Longmans, Green, & Co., 1912. ix, [1], 104 pp., 27 cm.
M 1744 .J68 1912. Reprint of above.
Jubilee and plantation songs: Characteristic favorites as sung by the Hampton students, Jubilee
Singers, Fisk University students, and other concert companies. Boston: O. Ditson, c1915. 80
pp., 27 cm.
M 1670 .J874 1915. Piano-vocal score.
Karpeles, Maud, ed. Lancashire morris dance tunes. Pianoforte arrangement by Arnold Foster.
London: Published for the English Folk Dance Society by Novello & Co., Ltd., c1930. 7 pp.,
31 cm. [worn paper wrappers]
M 30 .L35 1930 Q. Piano arrangements of seven tunes.
Karpeles, Maud and Kenworthy Schofield, eds. A selection of 100 English folk dance airs, for
melodic instruments. London: The English Folk Dance and Song Society, 1951. 61 pp., 14 x 22
cm.
M 1740 .K3 S4 1951. Single line dance tunes.
Keller, Kate Van Winkle, ed. Giles Gibbs Jr.: His book for the Fife, Ellington, Connecticut
1777. Hartford, CT: The Connecticut Historical Society, 1974. 40 pp., 14 x 23 cm.
M 60 .G52 1974. Modern edition of manuscript. Single line tunes for fife. “Gibbs was a fifer in
the Revolutionary War between 1777 and 1780. d. Oct 1780. His manuscript copied mostly
from Compleat Tutor for Fife, London Thompson and Son, ca. 1760 or Compleat Tutor for Fife,
Philadelphia: Michael Hillegas, 1776.”—intro.
Keller, Kate Van Winkle and Ralph Sweet, eds., with an introduction by Joy Van Cleef, edited
by James E. Morrison. A choice selection of American country dances of the Revolutionary Era,
1775-1795. 2nd rev. ed. New York: Country Dance and Song Society of America, [c1976] [53]
pp., 14 x 22 cm. [duplicate]
M 1629 .C492 1976. “Derived from five manuscripts of the period” single line tunes with chord
progressions and dance descriptions.
Kennedy-Fraser, Marjory and Kenneth MacLeod. Songs of the Hebrides: Collected and
arranged for voice and pianoforte with Gaelic and English words. New York: Boosey & Co.,
1917-1922. 2 vols. 168, 242 pp., 32 cm. each [board with cloth back, untrimmed, very good
copy]
M 1746 .S75 1917. Piano-vocal or piano solo arrangements.
Kerr’s first collection of merry melodies for the violin: Consisting of Scotch and Irish reels, and
jigs, Highland schottisches, country dances, hornpipes, clog dances, waltzes, polkas, &c, In all
447 airs specially arranged for the ballroom. Glasgow: James S. Kerr, [198-?] 51 pp., 22 x 28
cm. [Book I, paper wrappers, very good condition]
M 1746 .K47 1980. Facsimile edition of a tune book from the early 1870s. Single line
instrumental tunes, similar to O’Neill’s.
Kidson, Frank, ed. Old country dance and morris tunes,…with an historical account of the
morris dance. London: J. Curwen & Sons Ltd., [191-?] 14 pp., 31 cm. [worn paper wrappers]
M 1740 .O54 1910 Q. Piano arrangements of 15 tunes.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 34
Kidson, Frank, coll. and ed. Old English country dances, gathered from scarce printed
collections, and from manuscripts. London: William Reeves, 1890. vi, 25 leaves, [27]-55 pp.,
13 x 28 cm. [one of 80 copies; 3/4 vellum & cloth, untrimmed]
M 1740 .K5 O54 1890. Single line tunes, treble clef. Contains a bibliography of English
country dance music from Playford (17th c.) to the early 19th c.
Kidson, Frank, ed. and comp. Traditional tunes; A collection of ballad airs, chiefly obtained in
Yorkshire and the south of Scotland; together with their appropriate words from broadsides and
from oral tradition. Oxford: C. Taphouse & Son, 1891. xvi, 174 pp., 24 cm. [good copy]
M 1738 .K55 1891. Single line songs with first verse, additional verses follow.
Kinloch, George R[itchie]. Ancient Scottish ballads: Recovered from tradition, and never
before published with Notes, historical and explanatory and an appendix containing the airs of
several of the ballads. London: Longman, Rees, Orme, Brown & Green; Edinburgh: John
Stevenson, 1827. xiv, 270, [7 leaves], 21 cm. [half leather, acquired by SB in 1948]
PR 1181 .K5 1827. Ballad texts with extensive annotations; 15 single line tunes in an
unpaginated appendix.
Korson, George, coll. and ed., trans. and musical arr. by Melvin LeMon. The Miner Sings: A
collection of folk songs and ballads of the anthracite miner. New York: J. Fischer & Bro., 1936.
42 pp., 28 cm. [worn paper wrappers]
M 1977 .M5 K64 1936. Songs in piano-vocal arrangements.
Lewis, Mrs. Herbert. Folk-songs: Collected in Flintshire and the Vale of Clwyd by Mrs. Herbert
Lewis. 2nd ed. Wrexham: Hughes & Son, Publishers, 1914. xiii, 39 pp., 28 cm. [worn paper
wrappers]
M 1495 .F65 1914. Folk songs in Welsh or English; solfège and piano-vocal arrangements.
Lloyd, A[lbert] L[ancaster], comp. Coaldust Ballads. London: Workers’ Music Assoc. Ltd.,
1952. 38 pp., 25 cm. [worn paper wrappers]
M 1977 .M5 L5 1952. Piano-vocal score with first verse inserted, additional verses follow;
solfège included.
MacBean, L[achlan]. Songs of the Gael: A collection of Gaelic songs with translations, … in
both notations. Edinburgh: MacLachlan & Stewart, 1890. [16 pp.] 23 cm. [worn paper
wrappers, good condition]
M 1746 .S66 1890 pt. 1. Single line tunes with Gaelic text and English translations, solfège
included.
MacDonald, Keith Norman, comp. and arr. The Gesto collection of Highland Music. Leipzig:
O. Brandstetter, 1895. [xiii], 154, 33 pp., 34 cm. [printed boards, colored title page]
M 1746 .M23 G47 1895 Q. Piano or piano-vocal arrangements with Gaelic text.
Macleod, A[nne] C[ampbell] [Wilson] and Harold Boulton, eds. Songs of the North: Gathered
together from the Highlands and Lowlands of Scotland. Music arranged by Malcolm Lawson.
London: J. B. Cramer & Co.; New York: Chappel & Co. Ltd., 1900. 2 vols.: ix, 202, 278 pp.,
32 cm. each [good copies; vol.1: 13th ed., vol.2: 9th ed. ed. by Harold Boulton; engraved
frontispiece]
M 1746 .W54 S6 1900 v.1-2 Q. Scottish songs in piano-vocal arrangements, some four part
voice; English texts.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 35
Mason, M[arianne] H[arriet]. Nursery rhymes and country songs, both tunes and words from
tradition. [Philadelphia]: Norwood Editions, 1973. ii, 58 pp., 29 cm.
M 1990 .M42 N9 1973. Songs in piano-vocal arrangements.
McDonald, Patrick. A collection of Highland vocal airs, never hitherto published. To which are
added a few of the most lively country dances or reels, of the North Highlands, & Western Isles:
and some specimens of bagpipe music. Edinburgh: Printed for the publisher, [1784] 22, 43
pp., 35 cm.
M 1746 .M25 C64 1784. Instrumental tunes, half single line, half treble/bass arrangements; 15
pp. preface, 7 pp. of subscribers (500 names?) Inscribed “To the Noblemen and Gentlemen who
compose the Highland Society of London”--engraved page after t.p.
McDowell, Lucien L. and Flora Lassiter McDowell. Folk dances of Tennessee: Old play party
games of the Caney Fork Valley. Ann Arbor, MI: Edward Brothers, 1938. 78 pp., 28 x 22 cm.
[duplicate, paper wrappers]
GV 1771 .M34 1938. Detailed written descriptions of dances with graphical dance notation;
dances accompanied by songs, single line tunes with multiple verses.
McGibbon, William. A collection of Scots tunes for the violin or German flute and a bass for the
violin, cello or harpsichord, with some additions by R. Bremner. London: Preston & Sons, [ca.
1768] 4 vols. in one continuous pagination, 120 pp., 17 x 24 cm. [Oblong quarto, worn cloth
binding]
M 1746 .M29 C63 1762. Treble/bass arrangements for keyboard; index of titles.
McGibbon, William. A collection of Scots tunes, some with variations for a violin, hautboy, or
German flute with a bass for a violoncello or harpsichord. Edinburgh: Printed & sold by Neil
Stewart, [ca. 1795] 3 vols. in one.: 22, 20, 19 pp., 17 x 24 cm.
M 1746 .M29 C64 1795 Q. Instrumental tunes mostly in treble/bass arrangements.
McGlashan, Alexander. A collection of reels, consisting chiefly of Strathspeys, athole reels, &c.
with a bass for the violoncello or harpsichord. Edinburgh: N. Stewart & Co., [1781] 46, 74 pp.,
24 x 31 cm. [marbled boards, taped broken spine]
M 1746 .M295 C64 1781 Q. Instrumental tunes in treble/bass arrangements. Note: Opera
bound in same volume, [Blue Beard / Michael Kelly. S.l. : s.n., 181-?] 72 pp.
Moore, A[rthur] W[illiam] , ed. Manx ballads & music. Douglas, Isle of Man: Printed &
Published by G. & R. Johnson, 1896. xxxvi, 265 pp., 23 cm. [paperbound, untrimmed, illus.]
M 1746 .M83 M3. Mostly song texts, with 41 pp. of music, piano or piano-vocal arrangements.
Morrison, Angas. Orain nam beann (songs of the mountains): A collection of Gaelic songs,
containing many airs not hitherto published…music in both notations with pianoforte
accompaniment. Part I. Glasgow: Aird & Coghill, Ltd.; Alexander Maclaren & Sons;
Cambridge, Mass.: Schoenhof's Foreign Books, Inc. [distributor], [1913] 53 pp., 31 cm. [worn
paper wrappers]
M 1746 .M85 O72 1913 Q. Piano-vocal arrangements of songs in Gaelic, titles with English
translations, solfège included.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 36
Morrison, James E. Twenty four early American country dances cotillions & reels for the year
1976. Carefully selected by James E. Morrison dancing master Country Dance and Song
Society. New York: Country Dance Society, 1976. 71 pp., 14 x 22 cm. [spiral bound]
GV 1623 .T94 1976. Twenty-four single line tunes with detailed directions for dancing each.
Moullé, Edouard. Cinquante chants populaires recueillis dans la Haute-Normandie et
harmonisés par Edouard Moullé; textes revus et corrigés par Maurice Donnay. Paris: E.
Moullé, 1890. 214 pp., 30 cm.
M 1731.18 M68 C5 1890. Songs in piano-vocal arrangements, French texts.
Moullé, Edouard. Cinquante-Deux chants anciens recuellis en Normandie et harmonisés par E.
Moullé en trios recueils: Comprenant chansons populaires, Madrigaux, Brunettes, airs à danser,
etc. Paris: Rouart, Lerolle & Co., [1903-13] 3 vols. in one: 50, 77, 55 pp., 35 cm. [Large folios
in worn paper wrappers, fine condition, untrimmed]
M 1730 .M68 C56 1909 v.1-3 Q. Songs in piano-vocal arrangements, French texts.
Murphy, John. A collection of Irish airs and jigs with variations, adapted for the piano forte,
violin and violoncello…performed on the union pipes at Eglinton Castle. Paisley: A Blaikie,
[180-?] 40 pp., 35 cm. [half leather, marbled boards, darkened, engraved text, bookplate of
Bibliotheca Lindesiana]
M 1744 .M87 C65 1800. All instrumental tunes, jigs, slip jigs, and airs; for piano, violin and
cello. 2 pp. list of subscribers (250? names); after “Murphy’s coll. of Irish music” to be had at
Gow & Shepherd’s, Edinburgh.
The new musical and vocal cabinet, comprising a selection of the most favorite English Scotch &
Irish melodies arranged for the voice, violin, flute &c as sung at the theatres & harmonic
meetings. London: Tho. Kelly, 1820. vi, 308 pp., 17 cm. [worn ¾ leather, tears in spine, lower
board]
M 1744 .N38 1820. Single line songs with first verse, additional verses follow.
A new selection of most admired original Irish airs, never before printed: Arranged for the
piano forte, violin of flute. Dublin: Hime, [ca. 1800] 7 pp., 33 cm. [Disbound, brittle]
M 1744 .N49 1800 Q. Piano arrangements.
O’ Farrell’s collection of national Irish music for the union pipes, comprising a variety of the
most favorite slow & sprightly tunes, set in proper style & taste with variations and adapted
likewise for the German flute, violin, flagellet, piano & harp, with a selection of favorite Scotch
tunes, Also a treatise with the most perfect instructions ever yet published for the pipes. London:
Gow, [1792] ii, 53 pp., 18 x 26 cm. [oblong quarto, marbled paper boards, covers detached,
broken leather spine]
MT 530 .O31 1792. Tutor with many single line tunes.
Officer, Harvey, harm., Susanna Myers, text and trans. Folk-songs of the four seasons: Thirty-
three traditional melodies associated with festivals and folkways. New York: G. Schirmer,
[1929] vii, 79 pp., 31 cm. [Fine in boards]
M 1628 .M94 Q. Piano-vocal score with simplified piano accompaniment; detailed descriptions
of each song.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 37
Old English songs and dances. Decorated by Graham Robertson. London, New York &
Bombay: Longmans, Green & Co., 1902. [fine printing] [58] thick unnumbered pages. 40 x 29
cm.
ML 89 .O44 1902. Song texts, then single line tunes; artistic illustrations.
O’Neill, Francis, ed. O’Neill’s music of Ireland; eighteen hundred and fifty melodies: airs, jigs,
reels, hornpipes, long dances, marches, etc. many of which are now published for the first time,
collected from all available sources. Arranged by James O’Neill. Chicago: Lyon & Healy,
1903. 4, [4], 366 pp., 32 cm. [gilt stamped, green cloth, some signatures, sprung, very good
copy]
M 1744 .O59 1903. Single line tunes; Gaelic and English titles, annotated by SB.
O’Neill, Francis, coll. and ed. O’Neill’s Irish music; 400 Choice selections arranged for piano
or violin. Airs, jigs, reels, hornpipes, long dances, etc. most of them rare; many of them
unpublished. Arranged by Selena O’Neill. Enlarged edition. Chicago: Lyon & Healy, [1915]
xi, 192 pp., 31 cm. [worn paper wrappers]
M 1744 .O59 1915. 400 tunes in piano arrangements.
Ord, John, coll. and ed. The bothy songs and ballads of Aberdeen, Banff, and Moray, Angus and
the Mearns. Paisley: Alexander Gardner, Ltd., 1930. xvi, 493 pp., 23 cm.
M 1746 .O68 B7 1930. Mostly texts, some single line tunes, solfège included.
O’Sullivan, Donal, ed. “The Bunting Collection of Irish Folk Music and Song.” Journal of the
Irish Folk Song Society, London 22-23 (1925-26). 25 cm. Published in 5 parts.
ML 5 .J35 v.22-23. Publication of a complete collection of Edward Bunting’s manuscripts.
Volume 22 contains a 24 p. introduction on Bunting as a collector, on his manuscripts, and
bibliography of his publications. The five volumes contain mostly song transcriptions, with
single line tunes and Gaelic texts, and scholarly commentary.
O’Sullivan, Donal, comp. and ed. Songs of the Irish: An anthology of Irish folk music and poetry
with English verse translations. Dublin: Browne & Nolan, 1960. 199 pp., 31 cm.
M 1744 .O83 S6 Q. Many different varieties of songs, lullabies, work songs, drinking songs,
etc., with single line tunes and Gaelic and English texts. Scholarly detailed discussions of each
song.
Oswald, James. The Caledonian pocket companion, containing a favorite collection of Scotch
Tunes, with variations for the German flute, or violin, to which is added a correct scale for
German flute with an Index to each volume. London: Printed for Straight & Skillern, [1743?]. 2
vols. 192, 162 pp., 25 cm. [¾ leather, badly worn marbled boards, covers detached, text
including folding plate comprising a fingering chart and “Complete scale for the German flute”
in vol. 1 intact and in good order]
MT 262 .C36 1743. Hundreds of single line tunes, treble clef.
Oswald, James. The Caledonian pocket companion, containing all the favorite Scotch Tunes,
with variations for the German flute. London: Printed for the author, [c1742?] 8 vols. in one:
36, 36, 28, 32, 32, 28, 33, 28 pp., 23 cm. [worn calf, broken spine, text foxed, engraved
throughout, for ref. See Glen Early Scottish Melody, p. 144, missing title page, inserted one
written in fountain pen]
MT 262 .C36 1743 v.7. Hundreds of single line tunes, treble clef.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 38
Oswald, James. A second collection of curious Scots tunes for a violin and German flute, with a
thorough bass for the harpsichord. London: Printed for Charles and Samuel Thompson, [ca.
1760] 46 pp., 36 cm.
M 1746 .O69 S43 1760 Q. Tunes mostly in treble/bass arrangements, some treble duets, and
single line.
Parry, John. A collection of Welsh, English and Scotch airs with new variations, also four new
lessons for the harp or harpsichord composed by John Parry, to which are added twelve airs for
the guitar. London: Printed for and sold by John Johnson, [ca. 1760]. 82 pp., 33 cm.
M 1738 .P27 A6 1761 Q. Keyboard music, twelve airs for guitar annotated by SB, four lessons
composed by John Parry.
[Parry, John.] The musical gem, a collection of modern and favourite songs, duets and glees,
selected from the works of the most celebrated composers, adapted for voice, flute or violin. 3
vols. in one: 1. Vocal companion, 2. British minstrel, 3. Flowers of song. London: Henry G.
Bohn, 1845. 200, 183, 160 pp., 22 cm. [broken binding, gold leaf, untrimmed]
M 1738 .M875 1845. Single line songs with first verse, additional verses follow.
Petrie, George. The complete collection of Irish music: Edited from the original manuscripts by
Charles Villiers Stanford. London and New York: Published for the Irish Literary Society of
London by Boosey & Co., 1902. 397 pp., 31 cm. [vol. 1 only, broken binding, extensive pencil
annotations by SB].
M 1744 .P49. 1582 numbered single line instrumental tunes. Index by tunes titles in English.
Petrie, George, ed. The Petrie collection of the ancient music of Ireland, arranged for the piano-
forte. Dublin: Printed at the University Press for the Society for Preservation and Publication of
Melodies of Ireland by M. H. Gill, 1855. [195] pp., 34 cm. [vol. 1 only, original gilt stamped
cloth, some staining, very good copy, p. 195 repaired]
M 1744 .P49 P46 1855 v.1 Q. Keyboard arrangements, some with English and Gaelic texts;
extensive notes.
Pills to Purge Melancholy see D’Urfey, Thomas.
Playford, John. The English Dancing Master, or, Plaine an easie rules for the dancing of
country dances, with the tune to each dance. The text completely reset and the music transcribed
into modern notation from the original 1651 edition. London: H. Mellor, 1933. 104 pp., 14 x
19 cm.
MT 950 .P68 1933. First modern edition of Playford’s early tune book. Single line tunes with
dance descriptions beneath.
Playford, John. Playford’s English Dancing Master, 1651: A facsimile reprint. London: Schott,
1957. xxi, 90 pp., 28 cm.
MT 950 .P68 1957. Facsimile edition of Playford’s tune book, with an historical introduction,
bibliography and notes by Margaret Dean-Smith. Contains a listing of all editions of the English
Dancing Master, from 1651 to 1728, pp. xxi-xxxi. Single line tunes with dance descriptions
beneath.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 39
[Ritson, Joseph, comp.] Scotish songs: In two volumes. 2nd ed. Glasgow: Hugh Hopkins, 1869.
288 pp., 21 cm. [vol. 1 only, worn cloth, untrimmed]
M 1746 .R4 1869 v.1 New edition of Ritson’s Scotish Songs from 1794, with a 114 pp. historical
essay. Single line songs.
Roche, Frank, comp. Collection of Irish airs, marches & dance tunes; compiled and arranged
for violin, mandoline, flute or pipes, with introductory essay on Irish dancing. by F. Roche. New
edition carefully revised by the author. Dublin, (Cork and Sligo): Pigott & Co. Ltd., 1911-[27].
[3 vols.] 75, 66, 82 pp.; 28 cm. each [paper wrappers, good condition]
M 1744 .C65 1911 v.1-3. Single line instrumental tunes, each numbered with titles in Gaelic and
English. Reminiscent of O’Neill’s.
Sharp, Cecil J. and Charles L. Marson, colls. and eds. Folk songs from Somerset: Gathered and
edited with pianoforte accompaniment. London: Simpkin, Marshall, Hamilton, Kent & Co.,
Ltd., 1905-06. [3 vols. in one] 71, 76, 82 pp., 28 cm. [first through third series; first series is
second ed.; modern half leather]
M 1740 .S53 ser. 1-3. Piano-vocal arrangements.
Sharp, Cecil. The English country dance: Graded series containing the description of the dances
together with the tunes. London: Novello & Co., Ltd., [c1909-1922?] 8 vols: 26, 27, 23, 25, 27,
24, 25, 26 pp., 31 cm. [paper covers]
GV 1763 .E6 S5 1909 v.1-8. Graphical dance notation and written descriptions of the dance,
with tunes arrangements for piano by Cecil Sharp.
Sharp, Cecil and Herbert C. MacIlwaine. The morris book. 2nd ed. revised and entirely
rewritten. London: Novello and Co., 1910-24. 5 vols. 20 cm. each [paper covers]
GV 1796 .M7 S522 1912. Detailed written descriptions of dances, some graphical dance
notation, with occasional single line tunes.
Smith, R[obert] A[rchibald]. The Irish Minstrel, a selection from the vocal melodies of Ireland,
ancient and modern, arranged for the pianoforte. Glasgow: Morison Kyle Music Repository,
[1828?] 106 pp., 27 cm. [green cloth, water stained]
M 1744 .I78 1828. Piano-vocal arrangements of songs, with underlying texts in English.
Smith, R[obert] A[rchibald]. The Scotish minstrel: A selection from the vocal melodies of
Scotland, ancient and modern, arranged for the pianoforte. Edinburgh: Published and sold by
Rob’t Purdie, [1820-24] [6 vols. in two] 27 cm. each [¾ leather, marbleized boards]
M 1746 .S658 1820 v.1-3; v.4-6. Piano-vocal arrangements of songs.
Stewart, Charles. The Killin collection of Gaelic songs with music and translations. Edinburgh:
MacLachlan & Stewart, 1884. 107 pp., 32 cm. [good copy in cloth]
M 1746 K544 1884 Q. Songs with Gaelic texts and English translations; SATB piano
arrangements by James Merrylees; solfège included.
Surenne, J[ohn] T[homas]., arr. and ed. The dance music of Scotland: A collection of all the best
reels and strathspeys, both of the Highlands and the Lowlands, for the pianoforte. 2nd ed.
Edinburgh: Wood and Co., 1852. xix, 164 pp., 26 cm. [Illus. cloth boards, some staining]
M 1747.18 .D35 1852. Piano arrangements of instrumental dance tunes.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 40
Thomas, Jean. Devil’s ditties: Being stories of the Kentucky mountain people… with the songs
they sing. Chicago: W. Wilber Hatfield, 1931. vii, [1], 180 pp., 27 cm. [Sun darkened cloth,
brittle paper]
ML 3551 .T4. Stories with musical incipits, 113 pp. of piano-vocal arrangements of ballads.
Thomas, John. Y caniedydd Cymreig = The Cambrian minstrel: A collection of the melodies of
Cambria, with original words in English and Welsh; together with several original airs.
Merthyr Tydfil: Printed for the author by David Jones, 1845. iv, 204 pp., 22 cm. [Cloth binding,
worn boards]
M 1742 .T56 Y3 1845. Mostly single line tunes with underlying text in Welsh with English
translations.
[Thomson, Mr. [George], ed.] A select collection of original Scottish airs for the voice, with
introductory and concluding symphonies and accompaniments for the piano forte, violin and
violoncello by Pleyel, Kozeluch & Haydn with select and characteristic verses both Scottish and
English adapted to the airs including upwards of one hundred new songs by Burns. London:
Printed and sold by T. Preston; sold also by G. Thomson, Edinburgh, the editor and proprietor
[1803-1805]. 4, 100 pp., 32 cm. [vol. 1 &2 bound together, includes index to second volume;
broken leather binding, worn boards with inscription: “Mary Herbert”; vol. 4: ¾ leather, boards
with inscription “G. Thomson’s Collection of Scottish Songs” 151-200, 5 pp., 37 cm.]
M 1746 .T5 1803 Q. Mostly songs in piano-vocal arrangements, some duets, English texts.
Thomson, William, ed. Orpheus Caledonius: A collection of Scots songs set to music by William
Thomson. Hatboro, PA: Folklore Associates, 1962. 2 vols. in 1: vi, 114, 6, 110, 4 pp., 22 cm.
[good copy]
M 1746 .T5 O8 1962. Facsimile reprint of 2nd ed. from 1733. Treble/bass arrangements with
texts following. Scholarly introduction by Henry George Farmer.
Thomson, W[illiam]. Orpheus Caledonius, or, a collection of the best Scots songs set to Musick.
London: Engraved and printed for the author, [1725]. 58 leaves, 37 cm. [Modern boards, title
page stained, section approx. ¾ inch torn out lower left corner affecting one letter, text foxed,
subscriber’s list present, p. 43 lacking a portion of lower right corner not affecting the engraved
text]
M 1746 .T5 O8 1725 Q. Songs with treble/bass accompaniment and first verse, additional verses
follow; 277 subscribers.
The Thrush: A choice selection of the most admired popular songs, heroic, plaintive,
sentimental, humorous, and bacchanalian; arranged for violin, flute and voice. By the editor of
the “Sky Lark.” London: Thomas Tegg, 1827. vii, 327 pp., 19 cm. [tight, in worn boards,
engraved title page]
M 1778 .T558 1827. Single line tunes with underlying text.
Topliff, Robert. A selection of the most popular melodies of the Tyne and the Wear, consisting of
24 original airs peculiar to the counties of Durham & Northumberland, three of which are
harmonized with appropriate words, symphonies & accompaniments, and the remainder
variously arranged for the pianoforte… London: R. Topliff, [n.d. ca. 1830] 39 pp., 35 cm.
[worn boards, foxing]
M 1740 .T67 S45 1830 Q. Mostly instrumental tunes for piano; some songs in three-part
harmony with piano accompaniment.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 41
Williams, M[aria] Jane. Ancient national airs of Gwent and Morganwg; being a collection of
original Welsh melodies, hitherto unpublished … to which are added the words usually sung
there to, collected and arranged for the harp or piano forte. Llandovery: W. Rees; London:
D’Almaine and Mackinlay, 1844. 86 pp., 38 cm. [Some foxing, original cloth, broken spine]
M 1742 .W55 A53 1844. Piano-vocal arrangements of songs with Welsh texts; contains “List of
persons for whom copies of this work have been printed” more than 300 names.
Walsh, Rev. P.A. Traditional Irish airs: Selected from the Irish and Anglo-Irish song books,
arranged for two and three vocal parts with pianoforte accompaniment. Ser. II. Words in Irish,
airs in staff notation. Dublin: Browne and Nolan, Ltd., [1925] 24 pp., 31 cm. [paper wrappers]
M 1744 .W35 T7 1925 v.1-2 Q. Piano-vocal arrangements with Gaelic texts.
Wilson, Thomas. A companion to the ball room; containing a choice of the most original and
admired country dances, reels, hornpipes, waltzes, and quadrilles &tc with appropriate figures
to each… London: Printed for D. Mackay & sold by Sherwood, Neely, and Jones [et.al.],
[1817] 3, xx, 21-251 pp., 19 cm. [half leather, marbleized boards. Spine: “Companion to the
Ballroom.” Wilson is dancing master to the King’s Theater Opera House [London]; engraved
frontispiece]
M 1450 .W55 C6 1817. Mainly single line tunes for various dance styles, with written dance
instructions beneath each. Also contains a “Dissertation on the present state of the English
Ballroom” including the music, musicians and etiquette of the ballroom.
Wit and Mirth, or Pills to Purge Melancholy see D’Urfey, Thomas.
Addendum: Samuel Bayard’s Songsters and Dance Notation Books
Ashton, John, comp. Modern street ballads. London: Chatto & Windus. 1888. xvi, 405 pp.,
20 cm. [Duplicate; gilt stamped ribbed cloth, excellent condition]
PR 1181 .A8 1888. Ballad texts.
Ashton, John, coll. and ed. Real sailor songs. London: The Leadehall Press ; New York:
Charles Scribner’s Sons, 1891. [xii], 97 pp. numbered on one side only [i.e 194 pp.] 35 cm.
M 1977 .S2 A8 Q. Song texts; 200 illustrations.
Bell, Robert, ed. Early ballads illustrative of history, traditions, and customs; also Ballads and
Songs of the Peasantry of England taken down from oral recitation and transcribed from private
manuscripts, rare broadsides, and scarce publications. London: George Bell & Sons, York
Street, Covent Garden, 1877. viii, 472 pp., 19 cm. [advertisements and catalogs bound in]
PR 1181 .B7 1877. Ballad texts with contextual information for each.
Cambiaire, Celeston Pierre. East Tennessee and Western Virginia mountain ballads: The last
stand of American pioneer civilization. London: The Mitre Press, [1934]. xli, 179 pp., 18 cm.
PS 593 .L8 C33 1934. Extensive introduction; ballad texts.
Chambers, Robert, coll. and ill., Scottish Ballads. Edinburgh: Printed by Ballantyne and Co. for
William Tait, 1829. iv, 399 pp., 18 cm. title index.
PR 1181 .C4 1829b. Ballad texts with historical information in detailed footnotes.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 42
Chambers, Robert. The Scottish songs. Edinburgh: William Tate, 1829. 2 vols: lxxxvi, 312,
313-706, 18 cm. each.
M 1746 .C44 1829 v.1 & v.2. Extensive introduction; song texts, some annotation.
Fuson, Henry Harvey. Ballads of the Kentucky highlands. London: The Mitre Press, 1931. 219
pp., 19 cm.
ML 3551 .F8 1931. Extensive introduction; ballad texts.
Hyde, Douglas, comp. Abhráin diaḋa cúige Connaċt : or, The Religious songs of Connacht: A
collection of poems, stories, prayers, satires, ranns, charms, etc. London: T. Fisher Unwin ;
Dublin: M. H. Gill & Son, Ltd., 1906. 2 vols: xxi, 404, xi, 420 pp., 20 cm. each.
PB 1353 .H9 1906. In Gaelic with English translation on facing pages; extensive footnotes on
meanings of the texts.
Jamison, Robert. Popular ballads and songs: From tradition, manuscripts, and scarce editions;
with translations of similar pieces from the ancient Danish language, and a few originals by the
editor. Edinburgh: Archibald Constabe and Co., Cadell and Davies ; London: John Murry,
1806. 2 vols: xix, 352, iii, 409 pp., 22 cm. each. [leather bindings]
PR 1181 .J3 v.1-2. Ballad texts; some description.
Logan, W[illiam] H[ugh]. A pedlar’s pack of ballads and songs with illustrative notes.
Edinburgh: William Paterson, 1869. ix, 479 pp., 20 cm.
PR 4891 .L5 P4 1869. Ballad texts with annotations.
[Maidment, James], Scotish ballad and songs. Edinburgh: Thomas George Stevenson; London:
Hamilton, Adams & Co., Glasgow: Murray & Son, 1859. xxxi, 254 pp., 18 cm.
PR 1181 .M2 1859. Extensive introduction, ballad texts with annotations.
Maidment, James, ed. Scotish ballads and songs: Historical and traditionary. Edinburgh:
William Paterson, 1868. 2 vols: xiv, 364, vi, 344 pp., 21 cm. each.
PR 1181 .M2 1868 v.1-2. Ballad texts with annotations; different songs than his 1859
publication.
Ritson, Joseph, ed. Northern garlands. London: Printed for R. Triphook, by Harding and
Wright, 1810. 4 vols. in one: vii, 64, 31, 94, 16 pp., 20 cm. [3/4 leather, marbled boards, good
copy]
PR 1187 .R54 1810 v.1-4. Contains four ballad lyric books: The bishopric garland, or, Durham
minstrel; The Yorkshire garland; The Northumberland garland, or, Newcastle nightingale; The
North-country chorister.
The singer’s own book: A well-selected collection of the most popular, sentimental, patriotic,
naval and comic songs. 13th ed. Philadelphia: Desilver, Thomas & Co., 1836. 320 pp., 13 cm.
094.9 P53 1836si. Song texts.
The singer’s own book: A well-selected collection of the most popular, sentimental, patriotic,
naval and comic songs, as sung by Messrs. Sinclair, Braham, Phillips… Philadelphia: Thomas,
Cowperthwait & Co., 1838. 320 pp., 14 cm.
094.9 P53 1838si. Song texts.

Vernacular Tune Book Collection of Samuel Bayard Rahkonen p. 43
Sharp, Cecil. The country dance book, part I: Containing a description of eighteen country
dances collected in villages. Second edition revised and edited by Maud Karpeles. London:
Novello and Co. Ltd., 1934. 54 pp., 13 x 19 cm. [paper covers]
GV 1763 .S5 1918 pt1-pt5. Dance notation.
Sharp, Cecil. The country dance book, part II: Containing thirty country dances from the
English dancing master. 3rd ed. London: Novello and Co. Ltd., 1927. 139 pp., 13 x 19 cm.
[paper covers]
GV 1763 .S5 1918 pt1-pt5. Dance notation.
Sharp, Cecil and George Butterworth. The country dance book, part III: Containing twenty-five
country dances from the English dancing master. 2nd ed. London: Novello and Co. Ltd., 1927.
118 pp., 13 x 19 cm. [paper covers]
GV 1763 .S5 1918 pt1-pt5. Dance notation.
Sharp, Cecil and George Butterworth. The country dance book, part IV: Containing forty-three
country dances from the English dancing master. 3rd ed. London: Novello and Co. Ltd., 1927.
109 pp., 13 x 19 cm. [paper covers]
GV 1763 .S5 1918 pt1-pt5. Dance notation.
Sharp, Cecil and Maud Karpeles. The country dance book, part V: Containing the running set
collected in Kentucky U.S.A. London: Novello and Co. Ltd., 1918. 51 pp., 13 x 19 cm. [paper
covers]
GV 1763 .S5 1918 pt1-pt5. Dance notation.
Sumner, Heywood, coll. and ill. The besom maker & other country folk-songs. New York:
Longmans, Green & Co., 1888. [half leather]
M 1740 .B57 1888 Song texts and illustrations.
The Universal songster; or, Museum of mirth forming the most complete, extensive, and valuable
collection of ancient and modern songs in the English language: with a copious and classified
index … Embellished with a ... frontispiece and 29 wood-cuts designed by George and Robert
Cruikshank, and engraved by J. R. Marshall. London: Jones & Co. 1832. 3 vols., 23 cm. each
[Bright copy, in gold stamped cloth]
M 1738.U65 1832 v.1-3. Bawdy song texts.