«Elizabeth Ford has gifted the Scottish flute a rich history, with intriguing and entertaining characters, a varied repertoire, and a promising future. The book romps through its vast store of archival evidence with dry humour, part of the growing movement to take Scotland’s musical history seriously, rather than relying on myth and folklore.»(Dr David McGuiness, University of Glasgow)«Dr Ford’s book is wonderfully illuminating and thoughtful. Her immense curiosity matched by her thorough and organized research has produced an impressive work; shedding light not only on the flute in early Scotland, but music making in Europe during the Enlightenment. It’s a fascinating read!»(Chris Norman, Director, Boxwood Festivals, flute maker and player)

«Elizabeth Ford has gifted the Scottish flute a rich history, with intriguing and entertaining characters, a varied repertoire, and a promising future. The book romps through its vast store of archival evidence with dry humour, part of the growing movement to take Scotland’s musical history seriously, rather than relying on myth and folklore.»(Dr David McGuiness, University of Glasgow)«Dr Ford’s book is wonderfully illuminating and thoughtful. Her immense curiosity matched by her thorough and organized research has produced an impressive work; shedding light not only on the flute in early Scotland, but music making in Europe during the Enlightenment. It’s a fascinating read!»(Chris Norman, Director, Boxwood Festivals, flute maker and player)

«Elizabeth Ford has gifted the Scottish flute a rich history, with intriguing and entertaining characters, a varied repertoire, and a promising future. The book romps through its vast store of archival evidence with dry humour, part of the growing movement to take Scotland’s musical history seriously, rather than relying on myth and folklore.»(Dr David McGuiness, University of Glasgow)«Dr Ford’s book is wonderfully illuminating and thoughtful. Her immense curiosity matched by her thorough and organized research has produced an impressive work; shedding light not only on the flute in early Scotland, but music making in Europe during the Enlightenment. It’s a fascinating read!»(Chris Norman, Director, Boxwood Festivals, flute maker and player)