The Wighton Heritage Centre

 Contact Details (For Bookings or Enquiries)

Central Library
The Wellgate
 Tel: 01382 431501
 FAX: 01382 431558


The Wighton Heritage Centre for the Study and Appreciation of Scottish Music was opened by Dr. Sheena Wellington. The Centre houses the world-famous Wighton Collection of early printed music and performs a vital role in furthering the study and development of music in Scotland. The Wighton Database is accessible from computer terminals, and the majority of the works may be consulted on microfilm or in digital format.

Where a need to view original manuscripts or print works can be demonstrated, these will be made available, subject to security provisions governing their use. The Centre caters for a wide range of interests, from music enthusiasts listening to recordings, through children practising their skills, to amateur and professional recitals.

Other music activities not directly related to the spirit of the Wighton Collection may be accommodated from time to time, subject to the space available and acceptable sound levels. The Centre can be hired for events such as seminars, provided that these do not conflict with its primary purpose.


The Centre may be used by individuals and groups for study, practice, rehearsal and performance, or any other role consistent with its aim. It may also, on occasions, be used in connection with conferences, seminars, ceremonies such as weddings, and similar events, provided that such use does not conflict with its primary purpose. The Centre is not limited to the performance of Scottish music and use of the facilities may from time to time be extended to practitioners of other types of music, subject to the noise limits imposed by its location within a working library. It is envisaged, for example, that jazz, chamber music and folk performances could reasonably be accommodated, but that piping or rock music could not.


The Centre is on the top floor of the Central Library, which is located in the Wellgate Centre. The Library may be approached from the shopping centre (follow the signs) or from Victoria Road. There are disabled car parking bays on Level 4 of the Wellgate car park, and level access to the Library from the fire door adjacent to these bays. Visitors should ring the call bell for assistance. Please note that the Wellgate car park closes at 6.30 p.m. every night. Other car parks, the out–of–town bus station and the railway station are shown on the map below. Various city buses call at the Victoria Road bus stances, which are just outside the main entrance to the Library.

There is easy access to the Wighton Centre and all other parts of the Central Library for disabled users. The doors to the Centre are not automatic, but library staff will be pleased to assist.

The Centre’s floor area is 80 square metres. It can accommodate a maximum of 50 people for performances, although events requiring a larger performance area would restrict this figure to 35. There is an elliptical performance area on the same level as the remainder of the floor. This “stage” is 1.75 metres from front to rear and 3.25 metres wide (see plan below).

Plan of Wighton Heritage Centre


Seating and tables are provided for study or performance, and there is a range of computers and microfilm readers for use by those studying copies of the works. Projectors and screens are available for giving presentations, and an electronic piano is provided for keyboard work.


The majority of the works in the Wighton Collection may be consulted on microfilm. Where there is a need to consult an original work, this will be provided by staff, subject to evidence of identity (two suitable documents) and the completion of an application form. People consulting original works will be seated in an area covered by CCTV and will be asked to wear cotton gloves when handling the materials. They must observe all the rules governing use of the materials and access may be withdrawn in the event of infringement.

The Wighton Collection of National Music, housed in the Central Library, Dundee bears full witness to the assiduous labours of the able musician of about a hundred years ago whose name the Collection carries. Andrew John Wighton was born in Cargill, Perthshire, in 1804 and died in Dundee in 1866. As a young man he opened and carried on a grocer’s business in Hilltown, Dundee and, later, as a good citizen, became a member of the Town Council. Yet, busy man as he was, he had time for a hobby and his chief diversion was to collect from far and near the printed and MS. music of Scotland chiefly, but also of England, Ireland and Wales.

After his death the Town Council accepted custody of the Collection, which had been offered them on certain conditions, and those who have examined the Collection know how wide is its range and how sound was Wighton’s musical choice. There are 620 bound volumes in the Collection, but as some of the volumes contain more than one printed book or manuscript, the number of titles must be in excess of 700. It is a treasure house waiting to be explored. Wighton visited Paris, Berlin, Leipzig, and other musical centres in pursuit of his hobby. It is interesting to find amongst the English music books early and late editions of John Playford’s “Dancing Master”, Tom D’Urfey's “Pills to Purge Melancholy” (MS.), books of harpsichord music and many sheets of vocal music sung at Ranelagh and Vauxhall.

The great Bunting Collection of Irish music is also amongst Wighton’s acquisitions, as are several books of Welsh music, but the Collection is richest in the hundreds of volumes of vocal or instrumental music of Scottish origin. This large body of music reveals a sound knowledge and a wide choice on the part of the collector, and there are very few books in the Collection that have not some interesting feature of artistic value. Indeed, the assemblage of books is a veritable mine of musical material for the music student. Colclough and Geoghan's bagpipe tutors are here, both recently of interest to American research.

Wighton’s care and thoroughness come out in many ways. When he learned that Andrew Blaikie, an engraver of Paisley, had MSS. of music for the viol da gamba, dated 1683–1692, which could not be acquired, he copied out the Scottish airs in the MSS. The originals are lost but Wighton’s copies remain extant as the internationally famous and now unique “Blaikie Manuscript”.

Again, when Wighton saw a rare copy of the “Musick for the Scots Songs in Allan Ramsay’s Tea-Table Miscellany”, as set by Alexander Stuart in 1726, he found he could not acquire it, and so he copied out all the tunes. This music book is surely one of the worst ever printed but Wighton corrected every error and left practically a perfect copy of this music.

Music published by Robert Bremner (1713–1789) is also well represented.

The Friends of Wighton is an external site created and maintained by Simon Chadwick.

Please note that this site is non-responsive and therefore is best viewed on a large tablet or PC/Macintosh.