The Scottish Concertina

Stuart Eydmann

Contributions to the Concertina Library by Stuart Eydmann.

eydmann-life-and-times The Life and Times of the Concertina: the adoption and usage of a novel musical instrument with particular reference to Scotland
by Stuart Eydmann
This much-anticipated study is the first book-length account of the history and development of the concertina, in the context of the people who played it and their music. It is based on field work as well as historical research, and deals with the concertina in traditional music, art music, sacred music, band music, the music hall, and many forms of popular music—reflecting the richness, contradictions, and complexities of music and society over the more than 150 years since the invention of the concertina as the high-tech sensation of its day. Twelve chapters, bibliography of more than 400 items, over 90 figures and musical examples, 365 pages. Text of thesis for the Ph.D. degree, Open University, 1995. Supervisors: Dr Peter Cooke and Dr Richard Middleton.
Posted 15 August 2005
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eydmann-folk-music-revival The concertina as an emblem of the folk music revival in the British Isles
by Stuart Eydmann
The post-war folk and traditional music revival in the British Isles was a complex phenomenon which involved more than just the simple rediscovery and promotion of neglected music and song. The ideology of key individuals was important in determining the scope and subsequent diction of the revival including the sources of the revived repertory and how it should be re-packaged. The selection and use of appropriate musical instruments was a major issue and, for a time at least, the concertina family was endorsed by the revivalists to the extent that it could act as a symbol of the revival itself. This paper identifies and discusses the processes involved. First published in British Journal of Ethnomusicology, vol. 4 (1995), pp. 41–49.
Posted 15 August 2005
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christine-hawkes The Cult of the English Concertina: a Chat with Miss Christine Hawkes
by Norman Fraser
Informative interview with Christine Hawkes who in 1907 had given successful concertina concerts in the West End of London. Miss Hawkes has been “inundated with … shoals of letters from people anxious to learn the concertina,” and she gives a number of practical tips on buying a concertina and on practising. She recommends “the English concertina as patented by Sir Charles Wheatstone in 1829,” … “as distinguished from the cheap German atrocities with which Bank Holidays make us all too familiar.” Miss Hawkes “was lucky enough at the beginning to come across a copy of Regondi’s ‘Concertina Exercises,’ but whether this work is published now she does not know.” Contributed by Stuart Eydmann. First published in Cassell's Magazine, June 1908 to November 1908, pp. 159–161.
Posted 26 March 2007
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pricelist-wh-duet-1850 Wheatstone Double Duet Pricelist circa 1850
contributed by Stuart Eydmann
Wheatstone & Co. list of models and prices for Double duet concertinas. Dated c. 1850 by by comparing sales prices to those in the Wheatstone Concertina Ledgers.
Posted 15 June 2005
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pricelist-scates-mdra-1862 Joseph Scates English Pricelist, MDRA 1862
contributed by Stuart Eydmann
Summary of prices and models for English concertinas from Joseph Scates, "for the last twelve years established at 27, College Green, Dublin", from the annual Musical Directory, Register and Almanac (London: Rudall, Rose, Carte) for 1862.
Posted 07 March 2005
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pricelist-campbells-catalogue-1890 Campbell & Co. Pricelist (Concertina Section) 1890
contributed by Stuart Eydmann
Summary of prices and models of concertinas sold by Campbell & Co., Glasgow. Three and a half pages: one-half page of English concertinas, three pages of Anglo concertinas (no Duet concertinas). Internal dates indicate publication in 1890.
Posted 15 August 2005
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thoumire-technique Playing the English Concertina—My Technique
by Simon Thoumire
Scottish concertinist Simon Thoumire discusses his unique approach to playing the English concertina, based on holding the instrument so it is rotated 45 degrees from the conventional position. This allows his fingers to play across the columns of an English concertina, taking advantage of the uniform reach possible to left and right and avoiding the need to stretch for far notes or curl the fingers for near notes in the traditional way.
Posted 15 August 2005
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stuart-eydmann-scottish-concertinist-c1982
Stuart Eydmann with
English concertina,
performing Scottish
traditional music,
circa 1982.