Research here is still tentative, and so the informed reader may discover omissions in the following, not least in the case of Gàidhlig texts, none of which are included. The author is still learning the language, and is not yet at a sufficient level to fully engage. This is, however, a major future project, and the omission (not exclusion) requires acknowledgement.
ALISON, Archibald, 1790: Essays on the Nature and Principles of Taste (Dublin).
ANON., c.1580: The Art of Music (MS. 4911 in BM, transc. In Judson Maynard, An Anonymous Scottish Treatise, Ph.D., Indiana University, 1961).
_______, c.1802: An Encouragement to the Cultivation of Church Music, by a Preacher in the Church of Scotland (MS. Dc.8.16. in EUML).
ARMSTRONG, Robert Bruce, 1904: The Highland Harp (Edinburgh).
_______, 1904-08: Musical Instruments (Edinburgh).
ATKINSON, J.G., 1900: Scottish National Dances (Edinburgh).
AUSTIN, John, c.1802: A System of Stenographic Music (Glasgow).
BAPTIE, David, 1883: A Handbook of Musical Biography (London).
_______, 1889: Musicians of All Times (London).
_______, 1894: Musical Scotland Past and Present (Paisley).
_______, 1895: Sketches of English Glee Composers Historical, Biographical and Critical from about 1735-1866 (London).
_______, 1846-: A Descriptive Catalogue of upwards of 23,000 Secular Part-Songs (MS. in BL Reference Division).
BARR, Samuel, 1861: The Theory and Practise of Harmony and Composition (London).
_______, 1859: Singing at Sight Simplified (Glasgow).
BASSANTIN, James, C16th.: Musica Secundem Platonem.
BEATTIE, James, 1776: An Essay on Poetry and Music as they Affect the Mind (Edinburgh).
_______, 1778: Letter on the Improvement of Psalmody in Scotland (Edinburgh).
BEGG, James snr., 1808: Treatise on the Use of Organs and Other Instruments of Music in the Worship of God (Glasgow).
BEGG, James jnr., 1866: The Use of Organs and Other Instruments of Music in Christian Worship Indispensable (Glasgow).
_______, 18-?: Instrumental Music Unwarranted in the Worship of God (Edinburgh).
BLACKIE, John Stuart, 1889: Scottish Song: Its Wealth, Wisdom, and Social Significance (Edinburgh).
BRECHIN, William, C19th: Vocal Exercises, Rounds, etc., in the Stave Sol-fa Notation, forming a short course of Lessons in Sight Singing in the Key of F.
_______, C19th: Exercises in Sight Singing.
BREMNER, Robert, 1756: The Rudiments of Music (Edinburgh).
_______, 1758 (attrib): Instructions for the Guitar (Edinburgh).
_______, 1777: Some Thoughts on the Performance of Concert Music, in Schetky, "Six Quartettos, op.6" (London)
BROOMFIELD, William Robert, 1863: The Principles of Ancient and Modern Music, deduced from the Harmonical Numbers of Antiquity, with exemplifications (Aberdeen).
BROWN, Colin, 1874: Music in Common Things: Analysis of a Musical Sound, and the Production therefrom of the Musical Scale (?Glasgow).
_______, 1876: Mathematical and Musical Relations of the Scale, shewing the Principles, Construction, and Tuning of the Natural Fingerboard with Perfect Intonation (?Glasgow).
_______, 1870: Music in Speech and Speech in Music (Glasgow).
BROWN, James Duff, 1886: Biographical Dictionary of Musicians: with a Bibliography of English Writings on Music (Paisley).
_______, 1893: Guide to the Formation of a Music Library (London).
_______, 1901: Characteristic Songs and Dances of all Nations (London).
_______, and STRATTON, S. S., 1897: British Musical Biography (Birmingham).
BROWN, JOHN, 1789: Letters Upon the Poetry and Music of the Italian Opera (Edinburgh).
BROWN, Robert, 1860: The Elements of Musical Science (London).
_______, 1863: Rudiments of Harmony and Counterpoint on a New Method (London).
_______, 1865: An Introduction to Musical Arithmetic, with its Application to Temperament (London).
_______, 1893: Paisley Burns Clubs, 1805-1893 (Paisley).
_______, 1889-90: Paisley Poets, with Brief Memories of them, and Selections from their Poetry (Paisley).
_______, ?: also a work on Gàidhlig Sàlm.
BROWN-BORTHWICK, Robert, C19th: Art in Worship.
_______, C19th: The Praise of God.
_______, trans., 1877: H. Barbedette's Life and Works of Stephen Heller (London).
BRUCE, Thomas, 1726: The Common Tunes; or Scotland's Church Musick Made Plain (Edinburgh).
BUCHANAN, Thomas, 1828: Physiological Illustration of the Organ of Hearing, More Particularly of the Secretion of Cerumen and its Effects in Rendering Auditory Perceptions Accurate and Acute (London).
BURNETT, James (Lord Monboddo), 1773-92: Of the Origin and Progress of Language (Edinburgh).
CAMPBELL, A., 1854: Two Papers on Church Music, read before the Liverpool Ecclesiastical Musical Society (Liverpool).
CAMPBELL, Alexander, 1798: An Introduction to the History of Poetry in Scotland (Edinburgh).
_______, 1816; Travels in the Border Country in Search of Folk Music (MS. La.II.378/2, in EUML).
CAMPBELL, Donald, 1862: A Treatise on the Language, Poetry, and Music of the Highland Clans, with Illustrative Traditions and Anecdotes, and Numerous Ancient Highland Airs (Edinburgh).
CAMPBELL, John Francis, 1880: Canntaireachd: Articulate Music (Glasgow, facs. ed. Steve Sweeney-Turner, Glasgow, 1989).
CANDLISH, Robert Scott, 1856: The Organ Question: Statements by Dr. Ritchie and Dr. Porteous for and against the Use of the Organ in Public Worship (Edinburgh).
CARLYLE, Thomas, 1828: Burns, in "Edinburgh Review" 96.
_______, 1831: Luther's Psalm, in "Fraser's Magazine" 12.
_______, 1852: The Opera, in "The Keepsake", 1852.
CARMICHAEL, Peter, 1860: Science of Music Simplified (Glasgow).
CARMICHAEL, S., 1878: Dictionary of Musical Terms and Elementary Rules (London).
CARNIE, William, 1854: Psalmody in Scotland, a Lecture (Aberdeen).
_______, 18-?: Teacher's Indicator.
CHAMBERS, Robert, 1862: The Songs of Scotland Prior to Burns (Edinburgh).
CHAPMAN, J., 1818: The Music, or Melody and Rhythmus of Language (Edinburgh).
CHEYNE, Edwin, 1879: The Amateur's Vocal Guide and Voice Trainer (Glasgow).
CLARKE, James Paton, & THOMSON, A., 1835: The Choir (?Glasgow).
CLERK, John, 1892 (post.): Memoirs of the Life of Sir John Clerk of Penicuik (Edinburgh: Scottish History Society).
COLVILLE, David, & BENTLEY, George, 1864: Graduated Course of Elementary Instruction in Singing, on the Letter-Note Method.
CORRI, Domenico, ?1787: A Complete Musical Grammar (Edinburgh).
COUTTS, W. G. ("Ithuriel"), 1877: Scottish versus Classic Music, and the Ethical and Æsthetical Aspect of the Question (Edinburgh).
CROMAR, Alexander, 1856: A Vindication of the Organ - a Review of the Rev. Dr. Candlish's publication entitled "The Organ Question" (Edinburgh).
CRUICKSHANK, J., 1851: Flutina and Accordion Teacher (London).
CURRIE, James, 1858: The Elements of Musical Analysis (Edinburgh).
_______, 18-?: A First Musical Grammar (Edinburgh).
DALYELL, John Graham, 1849: Musical Memoirs of Scotland, with historical annotations, and numerous illustrative plates (Edinburgh).
DAUNEY, William, 1838: Ancient Scottish Melodies from a Manuscript of the Reign of King James VI., with an Introductory Inquiry illustrative of the History of Music in Scotland ("Skene MS." reprint) (Edinburgh: The Edinburgh Printing & Publishing Co.).
DAVIDSON, Peter, 1871: The Violin: a Concise Exposition of the General Principles of Construction, Theoretically and Practically Treated (Glasgow).
DAVIE, James, 18-?: A Compendious Introduction to the Art of Singing, Comprising the most Useful Scales and Examples (Aberdeen).
_______, 18-?: Scales for the Voice (?Aberdeen).
DEWAR, Daniel, 1812: Observations on the Character, Customs, Superstitions, Music, Poetry, and Language of the Irish and on some of the causes which have Retarded the Moral and Political Development of Ireland (London).
DIBDIN, James C., 1888: The annals of the Edinburgh Stage with an Account of the Rise and Progress of Dramatic Writing in Scotland (Edinburgh).
DICK, J.C., 1903: The Songs of Robert Burns, Now First Printed with the Melodies for which they were Written. A Study in Tone-Poetry (London).
_______, ed., 1908: Notes on Scottish Song by Robert Burns Written in an Interleaved Copy of The Scots Musical Museum (London).
DRYSDALE, George John Learmont, 1914: Scottish Composers, in "The Dunedin Magazine", iii, 15 (Edinburgh).
DUN, Finlay, 1829: Solfeggi and Exercises upon Scales, Intervals, etc. [...] to which is prefixed an Introductory Discourse on Vocal Expression (London).
_______, 18-?: Analysis of Scottish Music (?Edinburgh).
DUNCAN, Gideon, 1755: True Presbyterian, or a Brief Account of the New Singing, its Author, and Progress in General.
DYCE, J.S., ?1890: Life, Correspondence and Writings of William Dyce (MS. in Aberdeen Art Gallery).
EBSWORTH, Joseph, 1844: General Index to First Hundred Vols. of the Music in the Library of the Edinburgh Harmonists' Society (Edinburgh).
FAIRBAIRN, James, 1832: Elements of Music: Part I., Melody, containing an explanation of the Simpler Principles of the Science. Part II., Harmony, with Appendix on the nature and causes of sound and the consonance and dissonance of intervals, as arising from one system of vibration (Edinburgh).
"FIONN": cf. WHYTE, Henry.
FLEMING, Alexander, 1808: To the Lord Provost of Glasgow, the two following Letters are respectfully addressed, on the subject of the Organ which [...] was introduced into St. Andrews Church, Glasgow. To which are added Remarks on the Rev, James Begg's Treatise on the Use of Organs (Glasgow).
_______, 1808: Answer to a Statement of the Proceedings of the Presbytery of Glasgow relative to the Use of an Organ (Glasgow).
FLEMING, John, 1821: An Inquiry into the Compositions with which the Praise of God should be Celebrated in His Public Worship (Edinburgh).
FORBES, G. H., ed. 1882: The Ancient Missal in the Possession of the Baroness Willoughby de Eresby (Edinburgh).
FRASER-HARRIS, D., 1899: St. Cecilia's Hall in the Niddry Wynd (Edinburgh: Oliphant Anderson & Ferrier).
GERARD, ALEXANDER, 177?: An Essay on Genius (Aberdeen).
_______, 1756: An Essay on Taste. With Three Dissertations on the Same Subject. By Mr de Voltaire, Mr D'Alembert, Mr de Montesquieu (?Aberdeen).
GIBSON, James, 1869: The Public Worship of God: its Authority and Modes, Hymns and Hymn Books (Glasgow).
GIRVAN, John, 1763: The Vocal Musician, Part I. The Grounds of Music (Edinburgh).
GLEN, David, 1881: David Glen's Highland Bagpipe Tutor (Edinburgh).
GLEN, John, 1900: Early Scottish Melodies (Edinburgh: J. & R. Glen).
_______, & MACBEAN GLEN, Thomas, ed. ARNOLD, Myers, 1985: The Glen Account Book, 1838-53 (Edinburgh: EUP).
GLEN, Thomas MacBean, ?1870: A New and Complete Tutor for the Great Highland Bagpipe (Edinburgh: J. & R. Glen).
GRAHAM, George Farquhar, 1816: An Account of the First Edinburgh Musical Festival, held between the 30th of Oct. and 5th. Nov., 1815, with an Essay containing some general observations on Music (Edinburgh).
_______, 1817: Elements of Singing, written for the Edinburgh Institution for the Encouragement of Sacred Music (Edinburgh).
_______, 1817: General Observations Upon Music, and Remarks Upon Mr. Logier's System (Edinburgh).
_______, Music, article in 7th and 8th Ed.s of "Encyclopædia Britannica".
_______, 1838: Essay on the Theory and Practise of Musical Composition, with Introduction and Appendix (Edinburgh).
GRAHAM, Maria, 1852: A Few Words on the Formation of the Major and Minor Scales, in a Letter to her Pupils (London).
GRANT, James, 1814: Thoughts on the Origin and Descent of the Gael: with an Account of the Picts, Caledonians, and Scots; and Observations Relative to the Authenticity of the Poems of Ossian (Edinburgh, Inverness & London: Archibald Constable).
GREGORY, John, 1763: Discourse III (Edinburgh) (cf. Johnson 1972).
GRIER, William, 1835: The Musical Encyclopædia: a Collection of English, Scottish, and Irish Songs, edited by J. Wilson, to which is prefixed an elaborate essay on the first principles of Music (London).
GRIEVE, John Charles, ?1875: The Harmonium: how to Use It (Edinburgh).
GRIGOR, Alexander, 1883: Hints and Maxims to Players on Pianoforte, Harmonium, etc. (Glasgow).
GUNN, Anne, née YOUNG, 1803: An Introduction to Music; in which the Elementary Parts of the Science, and the Principles of Thorough-bass and Modulation, as Illustrated by the Musical Games and Apparatus, are fully and familiarly explained, with Examples and Complete Directions for Playing the several Games (Edinburgh).
_______, The Elements of Music (Edinburgh).
GUNN, John, 1789a: The Theory and Practise of Fingering the Violoncello, containing rules and progressive lessons for attaining the knowledge and command of the whole compass of the instrument (London).
_______, 1789b: A Treatise on the Origin of Stringed Instruments (London).
_______, 1793: Art of Playing the German Flute on New Principles (London).
_______, ?1795a: School of the German Flute (London).
_______, ?1795b: An Essay, with copious examples, towards a more easy and scientific method of commencing and pursuing the study of the Pianoforte, with the Principles of Thorough-bass and Musical Science (London).
_______, 1801: An Essay, Theoretical and Practical, on the Application of the Principles of Harmony, Thorough-bass, and Modulation, to the Violoncello (Edinburgh).
_______, 1807: An Historical Enquiry respecting the Performance on the Harp in the Highlands of Scotland, from the earliest times until it was discontinued about the year 1734; to which is prefixed an account of a very ancient Caledonian Harp, and of the harp of Queen Mary (Edinburgh).
GUNNYON, William, 1879: Illustrations of Scottish History, Life and Superstition From Song and Ballad (Glasgow).
HADDEN, James Cuthbert, 1888a: Handel (London).
_______, 1888b: Mendelssohn (London).
_______, 1898: George Thomson, the Friend of Burns: his Life and Correspondence (Edinburgh & London).
_______, 1899a: Chopin (London: Dent).
_______, 1899b: Haydn (London: Dent).
_______, 1907: The Great Operas (London).
_______, 1908: The Operas of Wagner (London).
_______, 1909: Master Musicians (Edinburgh and London).
_______, 1910: Favourite Operas from Mozart to Mascagni: Their Plots, History and Music (London).
_______, 1913a: Composers in Love and Marriage (London).
_______, 1913b: Modern Musicians (Edinburgh and London).
HATELY, Thomas Ledgerwood, 1860a: Lecture on Music of the Scottish Reformation, in "Tricentenary Proceedings" (?Edinburgh).
_______, ?1860b: Historical Lectures on Psalmody, with Illustrations (?Edinburgh).
HENDERSON, George, 1901: Lady Nairne and Her Songs (Paisley: A. Gardener).
HENDERSON, Thomas Findlay, 1906: "Charlie he's My Darling" and Other Burns' Originals, in "Scottish Historical Review", Vol.3, No.10, 171-8.
HENDERSON, William, 1901: Richard Wagner, his Life and Dramas: a Biographical Study of the Man and an Explanation of his Work (New York & London: Putman).
HEWITT, Daniel Chandler, 1828: New Analysis of Music (London).
_______, 1860: The True Science of Music; being a New Exposition of the Laws of Melody and Harmony (London).
HOGARTH, George, 1835: Musical History, Biography, and Criticism, being a General Survey of Music from the Earliest Period to the Present Time (London).
_______, 1838a: Memoirs of the Musical Drama (London).
_______, ed., 1838b: Testimonials in Favour of Mr. George Hogarth, Candidate for the Professorship of Music in the University of Edinburgh (London: J. Moyes).
_______, 1851: Memoirs of the Opera in Italy, France, Germany, and England (?London).
_______, 1842: The Songs of Charles Dibdin (London).
_______, 1852: The Birmingham Festival of 1852 (London).
_______, 1862: The Philharmonic Society of London, from its Foundation in 1813 to its Fiftieth Year, 1862 (London).
_______, 18-?: The Life of Beethoven (London).
HOLDEN, John, 1766: A Collection of Church-Music, consisting of New Setts of the Common Psalm Tunes, with some other Pieces; adapted to the several Metres in the Version authorized by the General Assembly. Composed with a view to render the just Performance of each part more easy to Learners; and the united effect of the whole more full and pathetic; and also exemplify some new Discoveries in the Scale of Music. Principally designed for the use of the University of Glasgow (Glasgow).
_______, 1770: An Essay Towards a Rational System of Music (Glasgow, Calcutta 1799, Edinburgh 1807).
HOME, Henry (Lord Kames), 1761: Elements of Criticism (Edinburgh).
HONEYMAN, William C., ?1890: The Violin: How to Master It (Edinburgh: ?Köhler).
_______, ?1891: The Secrets of Violin Playing, being Full Instructions and Hints to Violin Players, for the Perfect Mastery of the Instrument (Edinburgh: Köhler).
_______, 18-?: The Young Violinist's Tutor and Duet Book: A Collection of Easy Airs, Operatic Selections [...] and full directions for Parents, Pupil, and Teacher; the whole arranged on an entirely new principle (Edinburgh: Köhler).
_______, 18-?: The Violin: How to Choose One (Edinburgh: Köhler).
_______, 18-?: The Strathspey, Reel, & Hornpipe Tutor. Being a Concise Analysis of the Peculiar Method of Bowing these Compositions (Edinburgh: Köhler).
_______, 1898: Scottish Violin Makers, Past and Present (Newport-on-Tay).
_______, (post.) 1922: Strathspey Players Past and Present (?Edinburgh: Larg & Sons).
HUTCHESON, Francis, 1725: An Inquiry into the Original of Our Ideas of Beauty and Virtue; In Two Treatises. In which the Principles of the late Earl of Shaftesbury are explain'd and defended (London).
JOHNSTON, David, 1872: Instrumental Music in the Church of Scotland. By the Minister of the United Parishes of Harray and Birsay.
KENNEDY, David, 1887: Singing Round the World, in M. Kennedy, "David Kennedy (Paisley: Alexander Gardener).
KENNEDY-FRASER, Marjory, 1922: Lowland Scots Song: Its Interpretation (Glasgow, facs. ed. Steve Sweeney-Turner, 1990, Glasgow).
KINLOCH, George R., 1827: 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).
LAING, David, pref. 1839: The Scots Musical Museum (Edinburgh).
_______, 1871: An Account of the Scottish Psalter of A.D. 1566, containing the Psalms, Canticles and Hymns, set to music in four parts, in the MSS. of Thomas Wode or Wood, Vicar of Sanct Androus (Edinburgh).
LAWRANCE, Robert Murdoch, 1927: John Ross, Composer (Aberdeen).
LEYDEN, John, 1801: A Preliminary Dissertation and Glossary to "The Complaynt of Scotland" (Edinburgh: Constable).
LINDSAY, Christopher, 1793: A Scheme showing the Distance of Intervals (London).
LISTON, Henry, 1812: An Essay on Perfect Intonation (London).
LIVINGSTON, James, ?1857: The Organ Defended: being an Essay on the Use of that Instrument in Public Worship, with Strictures on "Phinehas Vocal's" attack on the Organ and Dr. Anderson (Glasgow).
LIVINGSTON, Neil, 1864: The Scottish Metrical Psalter, 1635, and the Whole Illustrated by Dissertations, Notes, and Facsimiles (Glasgow).
LOGAN, James, 1841: Sar-abair nam Bard Gaelach or, the Beauties of Gaelic Poetry, and Lives of the Highland Bards (Glasgow: MacGregor & Polson).
LOVE, J., 1891: Scottish Church Music: its Composers and Sources (Edinburgh).
_______, & COWAN, W., 1901: The Music of the Church Hymnary (Edinburgh). M'ALLISTER, Robert, 1848a: The Art of Singing at Sight Simplified (?Glasgow).
_______, 1848b: The Art of Singing at Sight; or, a Complete Theoretical and Practical Vocal Music Instruction Book (Glasgow).
_______, 18-?: Easy Introduction to the Key-Board of the Pianoforte or Harmonium (?Glasgow).
MACDONALD, Alexander, 1826: The Notation of Music Simplified, or the Development of a System in which the Characters employed in the Notation of Language are applied to the Notation of Music (Glasgow).
MACDONALD, John, 17-?: A Treatise on the Harmonic System (Edinburgh).
MACDONALD, John Denis, 1869: Sound and Colour: their Relations, Analogies, and Harmonies (London).
MACDONALD, Joseph, 1803: A Compleat Theory of the Scots Highland Bagpipe (Edinburgh).
MCEWEN, John Blackwood, 1908: Harmony and Counterpoint (London).
_______, 1910: The Elements of Music (London).
_______, 1911: A Primer of Harmony (London).
_______, 1912: The Thought in Music (London).
_______, 1914: The Principles of Phrasing and Articulation in Music (London: Augener).
_______, 1917: The Foundations of Musical Aesthetics (London).
_______, 1922: First Steps in Musical Composition (London).
_______, 1928: Tempo Rubato (London).
_______, 1932: An Introduction to an Unpublished Edition of the Piano-forte Sonatas of Beethoven (London).
MACFARLANE, George, 17-?: Cornopeon Instructor, containing the Elementary Principles of Music, together with Exercises, Preludes, Airs, and Duetts in every Key in which the Instrument is Playable with Effect (London).
MACHARDY, James M., 18-?: The Rudiments of Music, as it ought to be studied, vocal and instrumental.
MACHARDY, Robert, 18-?: Progressive Pianoforte Playing (Edinburgh).
_______, 18-?: Progressive Sight-Singing (Edinburgh).
MACKAY, Angus, 1838: A Collection of Ancient Piobaireachd [...] to which are prefixed some sketches of the principal hereditary pipers and their establishments (Edinburgh).
MACKAY, William, 1840: The Complete Tutor for the Great Highland Bagpipe (Edinburgh).
MACKENZIE, Alexander Campbell, 1913: Verdi (London).
_______, ?1920 Liszt (London).
_______, 1927: A Musician's Narrative (London).
MACKENZIE, D.R., 1910: The National Dances of Scotland (Glasgow).
MACKENZIE, George M. D., 1708-22: The Lives and Characters of the Most Eminent Writers of the Scots Nation 3 Vols. (Edinburgh).
MACKINLAY, Thomas, 1846: A Catalogue of Original Letters and Manuscripts in the Autograph of Distinguished Musicians, Composers, Performers, and Vocalists (London).
MACKINTOSH, James, 1862: The Musicmaster for Schools and Families (London).
M'LACHLAN, John, 1779: The Precentor, or an Easy Introduction to Church Music (Glasgow).
_______, & FINLAY, 1776: The Precentor, with a choice Collection of Psalm Tunes (Glasgow).
MACLAGAN, D.J., 1889: The Scottish Paraphrases (Edinburgh).
MACLAURIN, J., 1757: The Philosopher's Opera: A Satire (?Edinburgh).
MACMEEKEN, J.W., 1872: History of the Scottish Metrical Psalms; with an Account of the Paraphrases and Hymns, and of the Music of the Old Psalter (Glasgow: M'Culloch & Co.).
M'NABB, Hugh, 1883: Morley's New Singing Tutor (London).
MACPHERSON, D., 18-?: Catechism of Music, adapted for Learners on the Piano, etc. (Edinburgh).
MALCOLM, Alexander, 1721: A Treatise of Musick, Speculative, Practical and Historical, Containing an Explication of the Philosophical and Rational Grounds and Principles Thereof; The Nature and Office of the Scale of Musick; The Whole Art of Writing Notes; and the General Rules of Composition, with a Particular Account of the Antient Musick, and a Comparison thereof with the Modern (Edinburgh).
_______, 1776: the above, abridged by "An Eminent Musician" (London).
MARR, Robert, 1889: Music for the People (Edinburgh).
MAXWELL, John, 1773: General Sketch of the Defects of the Present Scale of Musick and Some Account of an Essay Discovering the Degrees Necessary to Produce Perfect Tune (MS. PU-1628, in the Henry E. Huntington Library and Art Gallery, San Marino, California).
_______, attrib., 1781: An Essay Upon Tune, being an attempt to free the Scale of Music and the Tune of Instruments from Imperfection (Edinburgh).
MERRYLEES, James, & BROWN, Colin, 1884: The Thistle, A Miscellany of Scottish Song, with Notes, Critical and Historical, Instrumental Accompaniments and Harmonies (Glasgow).
MILLER, Harry C., 1914: Introductory Euing Lectures on Musical Bibliography and History (Glasgow: Bayley & Ferguson).
MILLER, William Mackie, 18-?: Tonic Sol-fa Flute Instructor (Edinburgh).
MITCHISON, William, 1845: A Few Remarks on the Pianoforte, giving details of the Mechanical Construction of that Instrument, etc. (Glasgow).
MOLLESON, Alexander, attrib. 1798: Melody the Soul of Music, an Essay towards the Improvement of the Musical Art (Glasgow).
De MONTI, H., 1796: The Self-taught Musician; a Treatise on Music (Edinburgh).
_______, 1817: Strictures on Mr. Logier's System of Musical Education (Glasgow).
MOTHERWELL, William, 1827: Mistrelsy Ancient and Modern (Glasgow).
MURDOCH, Alexander G., 1888: The Fiddle in Scotland (Glasgow).
OLIPHANT, Thomas ("Solomon Sackbut"), 1834: Comments of a Chorus Singer, at the Musical Festival, in Westminster Abbey, 1834 (London).
_______, 1835: A Brief Account of the Madrigal Society (London).
_______, 1836: A Short Account of Madrigals (London).
_______, 1837: La Musa madrigalesca: a Collection of Madrigals, Ballets, Roundelays &c. chiefly of the Elizabethan Age. With Remarks and Annotations (London).
_______, 1842: Catalogue of Manuscript Music in the British Museum (London).
PASQUALI, Niccolo, 1758: The Art of Fingering the Harpsichord (Edinburgh).
_______, 1757: Thorough-bass Made Easy (Edinburgh).
"PHINEHAS VOCAL", 18-?: Dr. Anderson as an Organist (Glasgow).
RAMSAY, D. C., 1860: Four Diagrams Illustrative of Intervals, Scales, and Chords (Glasgow).
RAMSAY, Edward Bannerman Burnett, 1862: Two Lectures on the Genius of Handel, and the Distinctive Character of his Sacred Compositions (Edinburgh).
_______, 1863: Proposals for Providing a Peal of Bells for Edinburgh (?Edinburgh).
RAMSAY, John, 1784: Of the Influence of Poetry and Music upon the Highlanders, in Patrick MacDonald Collection of Highland Vocal Airs (Edinburgh).
RICHARDINUS, Robertius, 1530: Exegesis in Canonem Diui Augustini Recens Aedita (Paris).
ROBERTSON, Thomas, 1784: An Inquiry into the Fine Arts (Edinburgh).
RODGERS, Charles, ed. 1869: Life and Songs of the Baroness Nairne (London).
ROSS, John, ?1795: A Complete Book of Instruction for Beginners, Organ Tutor (London).
SCHETKY, Johann Georg Christoph, ?1780: 12 Duetts [...] with Some Observations on, and Rules for Violoncello Playing (London).
_______, 1811: Practical and Progressive Lessons for the Violoncello (London).
SCHETKY, S. F. L., 1877: Ninety Years of Work and Play (Edinburgh).
SCOTUS, Aaron, C11th.: De Utilitate Cantus Vocalis (lost).
_______, De Modo Cantandi Atque Psallendi (lost).
_______, De Regulis Tonorum et Symphonarium (lost).
_______, Instituta Patrum de Modo Psallendi Sive Cantandii (MS., ed. repr. in Scriptores Ecclesiastici de Musica Sacra, by M. Gerbert, St. Blasien, 1784, R/1963).
SCOTUS, Michael, C12th./C13th.: Liber Introductorius.
SIMPSON, Margaret Stewart, 1894: The Scottish Songstress: Caroline Baroness Nairne, by her Great Grand-Niece (Edinburgh).
SKINNER, James Scott, 1900: A Guide to Bowing Strathspeys, Reels, Pastoral Melodies, Hornpipes, etc. (London).
SMITH, Adam, 1795: Of the Nature of that Imitation which takes Place in what are Called the Imitative Arts (Edinburgh & London).
SMITH, Robert Archibald, 1826: An Introduction to Singing, comprising various examples, with scales, exercises, and songs (Edinburgh).
SMITH, William, 1814: The Reasonableness of Setting forth the Praises of God, according to the Use of the Primitive Church; with Historical Views of Metre Psalmody (New York).
SYMMERS, James, 1858-9: The Sol-fa Method of Singing at Sight from the Common Musical Notation 2 Vols. (Glasgow).
TAILLER, SIMON, fl.c.1230-40: De cantu ecclesiastico corrigendo (lost).
_______, De tenore musicali (lost).
_______, Tetrachordorum (lost).
_______, Pentachordorum (lost).
TEMPLETON, John, 1845: A Musical Entertainment (Boston).
THOMASON, General, 1893: Ceòl Mór.
THOMSON, James, 1778: Rudiments of Music, with a Collection of Tunes, Hymns, etc. (Edinburgh).
THOMSON, John, 1841: First Annual Concert in Memory of General Reid [...] with Brief Notices of the Music (Edinburgh).
TOLMIE, Francis, 1910-13: Notes and Reminiscences, in "Journal of the Folk-song Society", Vol.IV.
TURNBULL, John, 184?: Easy and Progressive Exercises in Singing and in Reading Music (Glasgow).
TYTLER, Sarah, & WATSON, J.L., 1871: The Songstresses of Scotland, 2 Vols. (London).
TYTLER, William, 1790: A Dissertation on the Scottish Music, in William Napier's Selection of Favourite Scots Songs (London).
_______, 17-?: An Account of the Fashionable Amusements and Entertainments of Edinburgh in the Last Century, with the Plan of a Grand Concert of Music performed there on St. Cecilia's Day, 1695, in "Transactions of the Society of Antiquaries of Scotland" (Edinburgh).
WALKER, James, 1876: On Just Intonation in Song and Speech (Aberdeen).
WALKER, William, 1887: The Bards of Bon-Accord, 1375-1860 (Aberdeen).
_______, ed. 1899: Extracts from the Commonplace-book of Andrew Melville (Aberdeen).
WALLACE née STEIN, Grace, trans., 1862: Letters from Italy and Switzerland, by Felix Mendelssohn-Bartholdy (London).
_______, trans., 1863: Letters of Felix Mendelssohn-Bartholdy, from 1833 to 1847 (?London).
_______, trans., 1865: Letters of Wolfgang Amadeus Mozart, 1769-1791 (London).
_______, trans., 1866: Beethoven's Letters, 1790-1826, 2 Vol.s (London).
_______, trans., 1867: Letters of Distinguished Musicians: Gluck, Haydn, P. E. Bach, Weber, Mendelssohn (London).
_______, trans., 1869: Reminiscences of Felix Mendelssohn-Bartholdy, by Elise Polko (London).
WALLACE, William (i), 1908: The Threshold of Music: An Inquiry into the Development of the Musical Sense (London: MacMillan).
_______, 1913: The Musician and Personal Responsibility (Chadfield, Derby).
_______, 1914: The Musical Faculty (London).
_______, 1925: Richard Wagner as he Lived (London).
_______, 1927: Liszt, Wagner and the Princess (London).
WALLACE, William (ii), ed., 1898: Robert Burns and Mrs. Dunlop (London).
WATTS, Henry Jackson, 1904: Experimentelle Beiträge zu einer Theorie des Denkens (Ph.D., Würzburg).
_______, 1914: Psychological Analysis and Theory of Hearing, in "British Journal of Psychology", vii.
_______, 1917: The Psychology of Sound (Cambridge).
_______, 1919: The Foundations of Music (Cambridge).
_______, 1920: A Theory of Binaural Hearing, in "British Journal of Psychology", ix.
_______, 1921: Hermann v. Helmholz: 1821-94, in "Music and Letters", ii.
_______, 1922: Rule and Law in Music, in "Music and Letters", iii.
_______, 1923: In Tune and Out of it, in "Music and Letters", iv.
_______, 1924a: Functions of the Size of Intervals in the Songs of Schubert and of the Chippewa and Teton Sioux Indians, in "British Journal of Psychology", xiv.
_______, 1924b: Melody, in "Music and Letters", v.
_______, 1925: The Sensory Basis and Structure of Knowledge (London).
_______, 1926: On Listening to Music, in "Music and Letters", vii.
_______, 1929: The Commonsense of Dreams (Worcester, Mass.).
WHYTE, Henry ("Fionn"), 1904: The Martial Music of the Clans (Glasgow).