Format of the workshop

Full Programme

Welcome

Brianna E Robertson-Kirkland & Elizabeth Ford

George Thomson (1757-1851): Song-broker for the Ladies

Kirsteen McCue, (University of Glasgow)

“Women’s Republic of Letters” and Education at the beginning of the Long Eighteenth Century,

Violetta Trofinova, (St. Petersburg, Russia)

Educating elites: Catholic religious communities and the transnational education of Catholic girls 1750-1850

Mary Hatfield (Trinity College, Dublin)

The Scottish Schoolmistress in the Eighteenth Century,

Lindy Moore (Independent scholar)

‘An Unpardonable Ignorance’: Women’s Reading and Historical Education in the Late Eighteenth Century

Mark Towsey (University of Liverpool)

King Arthur’s champion: Susannah Dobson and the translation of early Arthurian scholarship

Katie Garner (University of St Andrews)

In pursuit of grace: dance, music and educating the female body in the late eighteenth century

Katrina Faulds (University of Southampton)

Musical Mothers & the Mother Church: Lessons from the Jerningham Letters.

Penelope Cave (University of Southampton)

I like school much better every day longer I stay’: Educating the Hunter Blair Girls

Helen Whiting (University of Dundee)

“In the way to do some good”: The Viscountess, the Scientific Philanthropist and  the School of Industry

Isobel Stark (University of Southampton)

A Heroine of Institutional Change in China: A Symbolic Wu Ze Tian

Banwo Adetoro Olaniyi (Xiamen University & The Confucius Institute at the University of Lagos, Akoka, Nigeria)

Instructions, Introductions, Treatises and Tutors: Music for the Regency Miss

Karen McAulay (Royal Conservatoire of Scotland)

Roundtable discussion

Concert

David McGuinness (harpsichord)   

Élisabeth Jacquet de la Guerre (1665-1729)

Prelude

Pièces de clavessin (Paris, 1687)

La Flamande, et double

Pièces de clavecin qui peuvent se jouer sur le violon (Paris, 1707)

Chaconne L’Inconstante

Pièces de clavessin (Paris, 1687)

Elizabeth Ford (flute), Allan Wright (harpsichord) & Andy Bull (violin)

Sonata 3 from Six Sonatas for Two German Flutes or Two Violins and a Bass, 1734, William McGibbon (1690-1756)

Brianna Robertson-Kirkland (singer) & Allan Wright (fortepiano)       

By him we love offended, 1786, as sung by Elizabeth Billington (1765-1818) and composed by Venanzio Rauzzini (1746-1810)

Say can you deny me, 1798, composed and sung by Gertrud Mara (1749-1833)

Fear an Bháta (The Boatman), c.1792 composed by Jean Finlayson

Penelope Cave & Katrina Faulds (fortepiano)        

Duet in C Major Op. 15 No. 6 – Allegro; Rondeau – Allegretto from Four Sonatas and Two Duetts for the Piano Forte or Harpsichord, dedicated to the Countess of Abingdon, Op. 15 (1778), Johann Christian Bach (1735-1782)

Kirsteen McCue (singer) & David Hamilton (fortepiano)               

Robert Burns ‘Duncan Gray’ from A Select Collection of Original Scottish Airs, Second Set, 1798, arranged by Leopold Kozeluch

Robert Burns ‘Let not woman e’er complain’ from A Select Collection of Original Scottish Airs, 1798, arranged by Leopold Kozeluch

Anne Grant ‘O where tell me where is your Highland Laddie gone?’ from A Select Collection of Original Scottish Airs, Vol. IV, 1805, arranged by Joseph Haydn