This volume of the songs of Scottish poet Robert Burns contains 85 songs excerpted from the chapter "Country Life" in a larger collection of 324 Burns songs compiled and researched by Serge Hovey. It includes songs portraying farmers, shepherds, millers, weavers, tinkers, colliers, coopers, shoemakers, tailors, and other country folk reflecting Burns's intense love of the Scottish countryside and the oral tradition and music of its people. Robert Burns (1759- 1796) spent his life collecting Scottish songs, using fragments of existing lyrics asthe basis for his own poems, and wrote original lyrics for traditional melodies.Burns left for posterity about 270 poems and more than 300 songs which are usually printed without their tunes. Serge Hovey meticulously examined Burns' own sources, letters, and manuscripts to determine the origin of every tune and all the verses as well as Burns' intended match of words and music. He then arranged each song with highly imaginative and beautiful accompaniments geared for pianists with average skills.

This second volume of the songs of Scottish poet Robert Burns contains 70 songs excerpted from the chapter "The Lasses" in a larger collection of 324 Burns songs compiled and researched by Serge Hovey. It includes songs expressing the poet's "passion" for his wife Jean, and for "that other species." Robert Burns (1759-1796) spent his life collecting Scottish songs, using fragments of existing lyrics as the basis for his own poems, and wrote original lyrics for traditional melodies. Burns left for posterity about 270 poems and more than 300 songs which are usually printed without their tunes. Serge Hovey meticulously examined Burns' own sources, letters, and manuscripts to determine the origin of every tune and all the verses as well as Burns' intended match of words and music. He then arranged each song with highly imaginative and beautiful accompaniments geared for pianists with average skills. This volume is illustrated with reproductions of paintings, drawings, and prints. These volumes also contain a glossary of frequently appearing Scots words and insightful historical notes for each song.

"Robert Burns is more than Scotland's national poet. With Shakespeare, Burns is an icon for the UK and Scotland he is a national symbol. This volume of poems and songs is a best selling, beautiful edition of his work."--Publisher description.

This book is unashamedly aimed at a wider market than the ordinary academic volume, as it seeks to extend the impact of the research it contains, making it available to the worldwide community of Burns enthusiasts, without compromising on scholarship. Contributors have been selected not only for their academic rigour and reputation, but also because of their ability to handle their material with elegance and accessibility for the general reader. They offer fresh insights for both academic and general readers, not least through the volume's interdisciplinary approaches, including a contribution from the great interpreter of Burns's songs, Sheena Wellington. A key part of this volume's attraction lies in the way it opens up fresh issues and aspects of performance and performativity and their impact on our perception of Robert Burns and his work.

A collection of nineteen of Burns' best-loved songs for guitar and voice. Notation and tablature are provided. Also included are many pages describing the life and works of Burns and an appendix featuring ukulele chords. Songs included are: A ManÕs a Man for AÕ That; Ae Fond Kiss; Afton Water; Afton Water (Original Version); Auld Lang Syne (Original Version); Auld Lang Syne; Comin' Thro the Rye; Corn Rigs; John Anderson, My Jo; Lord Gregory; Mary Morison; My HeartÕs In the Highlands; My Love Is Like a Red, Red Rose; My Love SheÕs But a Lassie; My NannieÕs AwaÕ; O Lay Thy Loof in Mine, Lass; The SoldierÕs Return; The Weary Pund OÕ Tow; Ye Banks and Braes.

This book provides a critical study of the relationship between Robert Burns and the United States of America, c.1786-1866. Though Burns is commonly referred to as Scotland’s “National Poet”, his works were frequently reprinted in New York and Philadelphia; his verse mimicked by an emerging canon of American poets; and his songs appropriated by both abolitionists and Confederate soldiers during the Civil War era. Adopting a transnational, Atlantic Studies perspective that shifts emphasis from Burns as national poet to transnational icon, this book charts the reception, dissemination and cultural memory of Burns and his works in the United States up to 1866.