Thematische Bibliographien / Songs of Scotland

Auswahl der wissenschaftlichen Literatur zum Thema „Songs of Scotland“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Songs of Scotland"

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Millar, Stephen R. „Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act“. Popular Music 35, Nr. 3 (14.09.2016): 297–319. http://dx.doi.org/10.1017/s0261143016000519.

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AbstractIrish rebel songs afford Scotland's Irish diaspora a means to assert, experience and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland's majority Protestant population. The Scottish Government's Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.
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Papineau, Brandon. „“Hooked on Celebri[ɾ]y”“. Lifespans and Styles 6, Nr. 2 (10.12.2020): 22–31. http://dx.doi.org/10.2218/ls.v6i2.2020.5218.

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T-glottaling in Scotland has been studied as a salient linguistic variable, which has been found to index (in)formality, socio-economic class, and region, among other speaker and situational characteristics. Realisations of /t/ have also been studied in a musical context, where they have been found to be linked to genre and identity. This study examines Scottish singer-songwriter Nina Nesbitt, and her realisations of the intervocalic /t/ variable in both speech and song. She shows high rates of t-glottaling in speech, but within song, her realisations vary; the only significant predictor of /t/ realisations is song genre, where pop and pop folk songs favour [ɾ] realisations and acoustic songs favour the [t] realisation. T-glottaling is uncommon in all genres of her music. I argue that this variability is a strategy employed to create coherent musical identities that situate Nesbitt within the musical marketplaces in which she performs.
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Sparling, Heather. „“Music is Language and Language is Music”“. Ethnologies 25, Nr. 2 (13.04.2004): 145–71. http://dx.doi.org/10.7202/008052ar.

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Abstract In this article, the author considers the effects of language attitudes, a sociolinguistic concern, on musical practice. This article assumes that language and music attitudes are related as different expressions in and of a common cultural context. The author demonstrates how Scots Gaelic language attitudes in Cape Breton (where a few hundred people still speak the language) have developed, and considers the possible interplay with current attitudes towards two particular Gaelic song genres. Gaelic language learners and native/fluent speakers in Cape Breton articulated distinct and opposing attitudes towards the song genre of puirt-a-beul [mouth music], and these attitudes are examined in relation to those towards the Gaelic language and compared with their response to eight-line songs, a literary Gaelic song type. Detailed musical and lyric analyses of three Gaelic songs are provided to illustrate the connection between language and music attitudes. The current attitude towards Gaelic in Cape Breton is traced through the history of language policy in Scotland and Cape Breton. These sociolinguistic and musicological analyses are supplemented with ethnographic evidence.
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Edwards, Elizabeth, und Kirsteen McCue. „Making Song Travel: Crosscurrents of Language and Landscape in Welsh and Scottish Song Collections, 1804–1818“. Studies in Romanticism 63, Nr. 2 (Juni 2024): 189–212. http://dx.doi.org/10.1353/srm.2024.a931781.

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Abstract: From the second half of the eighteenth century onwards, song collections gave dramatic presence to the distinctive landscapes, histories, and traditions of the nations and regions of Britain and Ireland. This essay analyzes some of the musical, linguistic, and cultural features of 'national airs' through case studies from Scotland and Wales. Focusing on editors John Parry, George Thomson, and Alexander Campbell, we trace crosscurrents of travel, language, and translation revealing how Romantic songs move unpredictably between manuscript and print, beyond national borders and across lines of class—powerfully shaping the cultural and political imagination of the Celtic-speaking countries in the process.
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Noden, Shelagh. „Songs of the spirit from Dufftown“. Innes Review 70, Nr. 1 (Mai 2019): 36–54. http://dx.doi.org/10.3366/inr.2019.0201.

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Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.
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Dunbar, Robert Douglas. „Elegies and Laments in the Nova Scotia Gaelic Song Tradition: Conservatism and Innovation“. Genealogy 6, Nr. 1 (31.12.2021): 3. http://dx.doi.org/10.3390/genealogy6010003.

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Gaelic-speaking emigrants brought with them a massive body of oral tradition, including a rich and varied corpus of song–poetry, and many of the emigrants were themselves highly skilled song-makers. Elegies were a particularly prominent genre that formed a crucially important aspect of the sizeable amount of panegyric verse for members of the Gaelic aristocracy, which is a tradition dating back to the Middle Ages. This contribution will demonstrate that elegies retained a prominent place in the Gaelic tradition in the new world Gaelic communities established in many parts of Canada and in particular in eastern Nova Scotia. In many respects, the tradition is a conservative one: there are strong elements of continuity. One important difference is the subjects for whom elegies were composed: in the new world context, praise for clan chiefs and other members of the traditional Gaelic aristocracy were no longer of relevance, although a small number were composed primarily out of a sense of personal obligation for patronage shown in the Old Country. Instead—and as was increasingly happening in the nineteenth century in Scotland, as well—the deaths of new community leaders, including clergy, and other prominent Gaels were recorded in verse. The large number of songs composed to mark the deaths of community members is also important—particularly young people lost at sea and in other tragic circumstances, occasionally in military service, and so forth. In these song–poems, we see local poets playing a role assumed by song-makers throughout Gaelic-speaking Scotland and Ireland: that of spokespeople for the community as a whole.
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Dobrowolska, Anna Maria. „„Tam jest pamiątek ognisko”. Elementy osjaniczne w twórczości Augusta Antoniego Jakubowskiego oraz Maurycego Gosławskiego“. Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 55, Nr. 2 (04.11.2022): 133–49. http://dx.doi.org/10.36770/bp.697.

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The aim of the article was to trace the similarities between the Songs of Ossian and the works of selected authors of the Ukrainian school, which allowed Maurycy Mochnacki to create in 1826 the metaphor of Ukraine as "Polish Scotland". We are talking about similarities in terms of building mood, creating images of space, reflecting on history, passing and memory, as well as a special sensitivity and way of feeling nature and the world. This metaphor has already been commented on many times, and it also evoked extreme opinions. Stanisław Makowski and Alina Witkowska, among others, found it unfounded, but its sources seem worth re-examining. The work aims to identify those features of Ukraine which, in the eyes of the authors of early Polish Romanticism, made it similar to Osianic Scotland. In the article, fragments of Songs of Ossian will be juxtaposed with selected works of lesser-known poets from the Ukrainian school, August Antoni Jakubowski and Maurycy Gosławski. Indigenous Ukrainian duma, which is related to the Songs of Ossian in general terms by the presence of epic elements, as well as frequently appearing historical topics, is important research material. The Ukrainian steppe was the space where the Kobzar sitting on the grave praised the heroic deeds of the Cossacks, just as Ossian told the stories of Fingal's warriors. This allowed Mochnacki to believe that the poets of the Ukrainian school, referring to indigenous folk art, would create national literature that would play a decisive role in "recognizing the nation as its own being”.
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Atkinson, David. „‘This is England’? Sense of Place in English Narrative Ballads“. Victoriographies 3, Nr. 1 (Mai 2013): 1–22. http://dx.doi.org/10.3366/vic.2013.0103.

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Rightly or wrongly, ballads and folk songs collected in England are often thought to embody a sense of Englishness, even though substantial numbers of the items contained in such collections could equally be found in, say, Scotland, or even America. Nevertheless, ballad texts do reference topology and environment, and they do reference specific localities. However, while it is not difficult to think of some songs that unequivocally identify a fairly specific location (‘Rufford Park Poachers’ and ‘The Folkestone Murder’ are discussed here), many of the classical ballads in particular establish locality in much more elliptical fashion. Looking at a selection of ballads and their variants, both as collected songs and in broadside print, I aim to sketch out the way(s) in which ballads maintain a fragile, allusive sense of place. Albeit that it is inevitably overshadowed by the emphasis on action and emotion that characterise ballad style, what is here described as an ‘elliptical’ sense of place is nonetheless an important facet of the ‘feel’ of these ballads.
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Fox, Adam. „‘Little Story Books’ and ‘Small Pamphlets’ in Edinburgh, 1680–1760: The Making of the Scottish Chapbook“. Scottish Historical Review 92, Nr. 2 (Oktober 2013): 207–30. http://dx.doi.org/10.3366/shr.2013.0175.

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This article considers the development of the ‘chapbook’ in Scotland between 1680 and 1760. Chapbook is here defined as a publication using a single sheet of paper, printed on both sides, and folded into octavo size or smaller. The discussion focuses on production in Edinburgh which at this time was the centre of the Scottish book trade. While very few works were produced in these small formats in the city before the last quarter of the seventeenth century, the three generations thereafter witnessed their emergence as an important part of the market. This chapbook literature included ‘penny godlies’ and ‘story books’, poems and songs, which had long been staples of the London trade. Indeed, much output north of the border comprised titles pirated from the south. It is suggested, however, that an independent repertoire of distinctively Scottish material also began to flourish during this period which paved the way for the heyday of the nation's chapbook in the late eighteenth and early nineteenth centuries. The Edinburgh trade is shown to be much more extensive than has been appreciated hitherto. Discovery of the testament of Robert Drummond, the Edinburgh printer who died in 1752, reveals that he produced many such works that are no longer extant. It demonstrates not only that a number of classic English chapbooks were being reprinted in Scotland much earlier than otherwise known, but also that an indigenous Scottish output was well established before the reign of George III.
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Rusnali, Andi Nur Aisyah, und Mujammilatul Halimah. „Self Actualization of MOSMA Participants in Maintaining Cultural Identity in Scotland, United Kingdom“. Palakka : Media and Islamic Communication 5, Nr. 1 (28.06.2024): 26–42. http://dx.doi.org/10.30863/palakka.v5i1.6174.

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The importance of preserving and maintaining cultural identity has become a major highlight amidst ever-growing globalizations. In the context of student exchange, an interesting initiative has emerged in the Mora Overseas Student Mobility Award (MOSMA) program. This research aims to abstract the contributions and experiences of MOSMA participants in efforts to maintain Indonesian cultural identity in Scotland, United Kingdom. This research uses qualitative research methods with participant observation. Data collection was carried out by conducting in-depth interviews with MOSMA participants from various backgrounds. The research results show that MOSMA is not only a program for learning in the academic field but also a place to gain in-depth cultural experiences. MOSMA participants are actively involved in various activities, such as regular international student meetings, cultural discussions, introductions to traditional music and songs, all of which play an important role in maintaining and introducing Indonesia's cultural identity abroad. Apart from that, MOSMA also provides a platform to develop social skills, independence and a sense of belonging to the nation's cultural heritage. Through MOSMA, participants can feel a sense of pride in Indonesia's cultural identity, thereby strengthening their commitment to passing it on to future generations. In conclusion, MOSMA has proven itself as an effective program initiative in maintaining and strengthening Indonesia's cultural identity amidst globalizations. By continuing to provide adequate support and attention, MOSMA has the potential to become an inspiring model in maintaining cultural diversity throughout the world.
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Dissertationen zum Thema "Songs of Scotland"

1

Marwick, Sandra M. „'Sons of Crispin' : the St Crispin societies of Edinburgh and Scotland“. Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4195.

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City of Edinburgh Museums and Galleries hold a substantial collection of artefacts and record books donated in 1909 by the office bearers of the Royal Ancient Order of St Crispin. This organisation was the final reincarnation of the Royal St Crispin Society established around 1817. From 1932 the display of a selection of these objects erroneously attributed their provenance to the Incorporation of Cordiners of Canongate with no interpretation of the meaning and use of this regalia. The association of shoemakers (cordiners in Scotland) with St Crispin their patron saint remained such that at least until the early twentieth century a shoemaker was popularly called a ‘Crispin' and collectively ‘sons of Crispin'. In medieval Scotland cordiners maintained altars to St Crispin and his brother St Crispianus and their cult can be traced to France in the sixth century. In the late sixteenth century an English rewriting of the legend achieved immediate popularity and St Crispin's Day continued to be remembered in England throughout the seventeenth century. Journeymen shoemakers in Scotland in the early eighteenth century commemorated their patron with processions; and the appellation ‘St Crispin Society' appeared in 1763. This thesis investigates the longevity of the shoemakers' attachment to St Crispin prior to the nineteenth century and analyses the origin, creation, organisation, development and demise of the Royal St Crispin Society and the network of lodges it created in Scotland in the period 1817-1909. Although showing the influence of freemasonry, the Royal St Crispin Society devised and practised rituals based on shoemaking legends and traditions. An interpretation of these rituals is given as well as an examination of the celebration of the saint's day and the organisation and significance of King Crispin processions. The interconnection of St Crispin artefacts and archival material held by Scottish museums and archives is demonstrated throughout the thesis.
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Kucznierz, Christian. „Imagining Scotland : National self-depiction in Sir Walter Scott's "Waverley", Lewis Grassic Gibbon's "Sunset Song", Irvine Welsh's "Trainspotting" and Alasdair Gray's "Lanark"“. kostenfrei, 2009. http://www.opus-bayern.de/uni-regensburg/volltexte/2009/1256/.

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Kucznierz, Christian [Verfasser]. „Imagining Scotland : national self-depiction in Sir Walter Scott's Waverley, Lewis Grassic Gibbon's Sunset Songs, Irvine Welsh's Trainspotting and Alasdair Gray's Lanark / vorgelegt von Christian Kucznierz“. 2009. http://d-nb.info/994496494/34.

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Conn, Stephanie. „Carn Mor de Chlachan Beaga, A Large Cairn from Small Stones: Multivocality and Memory in Cape Breton Gaelic Singing“. Thesis, 2012. http://hdl.handle.net/1807/33892.

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Since the first Scottish Gaelic-speaking settlers arrived in Nova Scotia in the late 18th century, their Gaelic singing tradition has been an integral part of life in communities on Cape Breton Island. With the waning of the Gaelic language, however, came efforts to collect and preserve the song tradition, and the intention to pass it along intact. This dissertation eschews the consideration of Gaelic singing as a monolithic tradition with a common repertoire and experience, and instead examines it as a multifaceted process enacted by individuals in three main sites: home, public performance and the archive. It examines the various ways the practice manifests itself, concluding that memory and individual agency are constants, both for singers and listeners. Through interviews, participant-observer activity and archival research, this study demonstrates that Gaelic singers have been far from passive culture-bearers but have instead actively shaped their song practice by choosing repertoire, melody variants and texts. It also discusses the dynamic role of memory and social interaction in the transmission and performance of Gaelic song. Memories of other singers, discussion of the text, and contextual details draw singers and listeners into a community that is both synchronic and diachronic. This practice is chiefly oral, but is supported by recordings and printed songbooks as well as an array of objects – photo albums, clippings, tapes – which evoke the sense of previous performances and their singers. Despite their intention to transmit the songs with little or no change, singers have a flexible relationship with the material and in some cases subvert the authority of recorded or printed sources by turning instead to first-hand experiences. This simultaneous presence of past and present has tremendous implications for what it means to know a song, and one comes to understand it as a composite of multiple memories, performances and meanings.
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Bücher zum Thema "Songs of Scotland"

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Laird, Kenneth. Songs of Scotland. Midlothian: Dalkeith, 1988.

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Kelly, Ben. New songs of Scotland, vol. 1. Edinburgh: Saltire Music, 2000.

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Gorbals voices, siren songs. London: Chatto & Windus, 1990.

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Glasser, Ralph. Gorbals voices, siren songs. London: Chatto & Windus, 1990.

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Glasser, Ralph. Gorbals voices, siren songs. London: Pan Books, 1991.

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Paterson, Wilma. Songs of Scotland: A hundred of the best. Edinburgh: Mainstream Publishing, 1996.

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Edward, Ardizzone, Norman Monath und Cole William. Folk songs of England, Ireland, Scotland, and Wales. Miami, Fla: Warner Bros. Publications, 1993.

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Marion, Sinclair, und Newton Michael Steven 1965-, Hrsg. Hebridean odyssey: Songs, poems, prose, and pictures from the Hebrides of Scotland. Edinburgh: Polygon, 1996.

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1840-1926, Tolmie Frances, Hrsg. One hundred and five songs of occupation from the Western Isles of Scotland. Felinfach: Llanerch, 1998.

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Shaw, Margaret Fay. Folksongs and folklore of South Uist. 3. Aufl. Aberdeen: Aberdeen University Press, 1986.

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Buchteile zum Thema "Songs of Scotland"

1

Collinson, Francis. „The Gaelic Labour Songs“. In The Traditional and National Music of Scotland, 67–118. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-4.

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„THE SONGS“. In Travellers' Songs from England and Scotland, 59–60. Routledge, 2015. http://dx.doi.org/10.4324/9781315645520-12.

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„Diddling Songs“. In Travellers' Songs from England and Scotland, 366–68. Routledge, 2015. http://dx.doi.org/10.4324/9781315645520-138.

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Fox, Adam. „Ballads and Songs“. In The Press and the People, 306–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198791294.003.0009.

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Chapter 8 deals with the broadside ballads and printed songs issued in Scotland between the sixteenth and the eighteenth centuries. It traces both the import of English texts and the production of domestic presses. The manner in which lyrics and tunes from south of the border influenced the development of single-sheet songs in Scotland is assessed. At the same time an independent repertoire of Scottish ballads in print is recovered and analysed. The discussion illustrates the ways in which political events and social change in early modern Scotland are reflected in the texts of these cheap and popular publications.
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„The Flowers of Scotland“. In Songs by the Ettrick Shepherd, 65–66. Edinburgh University Press, 2014. http://dx.doi.org/10.1515/9781474433037-056.

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Eichner, Barbara. „Singing the Songs of Scotland“. In Nineteenth-Century British Music Studies, 171–91. Routledge, 2017. http://dx.doi.org/10.4324/9781315090511-9.

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Eichner, Barbara. „Singing the Songs of Scotland“. In Nineteenth-Century British Music Studies Volume 3, 171–94. Routledge, 2019. http://dx.doi.org/10.4324/9780429032424-9.

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„The Forty-Second’s Welcome to Scotland“. In Songs by the Ettrick Shepherd, 97–98. Edinburgh University Press, 2014. http://dx.doi.org/10.1515/9781474433037-079.

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„Scots Songs in the 18th and 19th Centuries“. In The Poetry of Scotland, 409–21. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473439-042.

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Campbell, Katherine. „Enactments and Representations of the National Bard: Burns and the Folk Context“. In Performing Robert Burns, 164–82. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474457149.003.0011.

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The chapter examines the performance of Burns's songs in folk tradition drawing on two major sources of evidence: 'The Greig-Duncan Folk Song Collection' from Northeast Scotland and the Tobar an Dualchais/Kist o Riches website of archival audio recordings. It finds that Burns's songs could vary substantially from their original form as a result of the reworkings of folk tradition. In particular, the tune Burns desired was quite often not used once the song entered the tradition, with singers instead sometimes turning to something with which they were already familiar.
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