500 Piano Intros for the Great Standards (The Steinway by Ed Shanapy

By Ed Shanapy

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After the Union of the Crowns in 1603 (when James VI of Scotland came to London and became James I of England and Scotland), Scotland was closer than ever before to English events, and by the second half of the 1600s, the cultural juxtaposition was beginning to seep through the public mind in England. ’’ Over the second half of the seventeenth century, collections such as John Playford’s English Dancing Master included more ‘‘Scotch’’ tunes in each edition;40 and after about 1695, there was also a sizable number of these so-called ‘‘Scotch tunes’’ used as entr’actes and incidental music on the London stage.

Josue´ Harari in The Foucault Reader, ed. Paul Rabinow (London: Penguin, 1984), 101–20; Roger Chartier, ‘‘Figures of the Author,’’ in The Order of Books, trans. Lydia C. Cochrane (Stanford: Stanford University Press, 1994), ch. 2; Carla Hesse, ‘‘Enlightenment Epistemology and the Laws of Authorship in Revolutionary France, 1777–1793,’’ Representations 30 (1990), 109–37; Mark Rose, ‘‘Author as Proprietor: Donaldson vs. Becket and the Genealogy of Modern Authorship,’’ Representations 23 (1988), 51–85; Rose, Authors and Owners: The Invention of Copyright (Cambridge, MA: Harvard University Press, 1993); Martha Woodmansee, ‘‘The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the ‘Author,’’’ Eighteenth-Century Studies 17 (1984), 425–48 – this and other essays are also reprinted in her book The Author, Art, and the Market: Rereading the History of Aesthetics (New York: Columbia University Press, 1994); and Susan Stewart, Crimes of Writing: Problems in the Containment of Representation (New York and Oxford: Oxford University Press, 1991).

Edn (New York: Verso, 1991), esp. 37–46; and Neil Davidson, The Origins of Scottish Nationhood (London and Sterling, VA: Pluto Press, 2000), 24–46. See for example E. J. Hobsbawm, Nations and Nationalism since 1780: Programme, Myth, Reality, 2nd edn (Cambridge: Cambridge University Press, 1992), 10–13, 78–9. See the famous passage in his Topographia Hibernica (available in Giraldi Cambrensis, Opera, vol. 5, Chronicles and Memorials of Great Britain and Ireland During the Middle Ages 21 [London: Longmans, Green, Reader, and Dyer, 1867], 153–5).

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