Thematische Bibliographien / The Traditional and National Music of Scotland

Auswahl der wissenschaftlichen Literatur zum Thema „The Traditional and National Music of Scotland“

Autor: Grafiati

Veröffentlicht am 26. Juli 2024

Zuletzt aktualisiert am 27. Juli 2024

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Zeitschriftenartikel zum Thema "The Traditional and National Music of Scotland"

Pettegree, Jane. „Volunteer Bands and Local Identity in Caithness at the Time of the Second Reform Act“. Scottish Studies 40 (24.01.2024): 83–110. http://dx.doi.org/10.2218/ss.v40.9291.

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Caithness lay outside the national railway network in 1868, but as this article demonstrates, used the band music of its local volunteer military units, embedded within a wider contemporary British context of imperial music-making, as a means to express and shape local political identities. The second Reform Act of 1867, enacted in Scotland by the Representation of the People (Scotland) Act 1868, prompted wider reimagining about what it meant to be a citizen of Scotland and Britain. Regular references to civic bands in contemporary newspapers and carefully posed photographs in local archives provide evidence for the popularity of Silver and Brass bands connected with the Caithness Volunteer movement. As they marched around towns, villages and countryside, especially around the time of the national elections and local by-elections of 1868-9, their music created powerfully affective soundscapes that connected traditional local identities with the modern British fiscal-military state, helping people to imagine their place as citizens in a period of widening political engagement. The county’s band music provides a microhistory that allows exploration of contrasts between rural and civic patterns of political behaviour in this period.

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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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Martynova, V. I. „Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, Nr. 54 (10.12.2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.

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Risk, Laura. „Community-based Traditional Music in Scotland: A Pedagogy of Participation, Josephine L. Miller (2022)“. International Journal of Community Music 16, Nr. 3 (01.09.2023): 341–45. http://dx.doi.org/10.1386/ijcm_00092_1.

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Gelbart, Matthew. „ALLAN RAMSAY, THE IDEA OF ‘SCOTTISH MUSIC’ AND THE BEGINNINGS OF ‘NATIONAL MUSIC’ IN EUROPE“. Eighteenth Century Music 9, Nr. 1 (27.01.2012): 81–108. http://dx.doi.org/10.1017/s1478570611000352.

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ABSTRACTThis article examines the process of fashioning an idea of ‘national’ music, by considering the social and political conditions that made such an idea possible at a particular historical moment. An early example, Scotland, is the focus here, and helps to show the type of discursive and active work involved in giving meaning to the idea of ‘Scottish music’ in a cultural sense. I argue that the poet and song collector Allan Ramsay played a central role in the years beginning around 1720. Before Ramsay's generation, there was only a limited sense of ethnic identity translating into poetic or musical style. Furthermore, Ramsay himself, in attempting to harness song and music as national cultural capital, also had to contend with the fact that Scotland was ethnically, culturally and linguistically split along the Highland–Lowland divide, and in other ways as well. Through his song collectionA Tea-Table Miscellanyand his follow-up publication of tunes for that collection, as well as through his involvement with Edinburgh's elite musical community, Ramsay helped transform Scotland's musical culture from a manuscript-based milieu organized around specific musical functions and occasions to one in which national origins helped validate music, and printed collections enshrined such groupings. Lastly, in addition to its direct influence, Ramsay's work helped shape the emergent discourse about national song indirectly: an extensive outgrowth of thought rooted partly in Ramsay's own ideas led to his being used as a negative example among collectors of ‘folk’ music from the later eighteenth century onward.

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Wei, Yuanjun, und Yan Gao. „Research on the Protection Strategy of Traditional Culture of National Music in Shanxi Province from the Perspective of Intangible Cultural Heritage“. Journal of Education and Educational Research 5, Nr. 2 (01.09.2023): 36–39. http://dx.doi.org/10.54097/jeer.v5i2.12202.

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Traditional culture of national music is different from ordinary music culture. Traditional culture of national music is a music culture with strong national and regional characteristics, which grows and develops with the nation in the process of national evolution and development. Shanxi's national music is the treasure of Shanxi's artistic development, and it is also the spiritual pillar of Shanxi's artistic culture. However, at present, the development of Shanxi's national music is not satisfactory. Therefore, in the view of intangible cultural heritage, it is of great practical significance to study the protection strategy of Shanxi's national music traditional culture by using the theory and method of folk culture. In view of the dilemma of protecting the traditional culture of national music in Shanxi Province, this paper puts forward some relevant strategies from the aspects of opening up new communication channels, infiltrating the awareness of inheriting local music culture in practical education, innovating the traditional cultural content of national music, perfecting the talent training system and increasing government investment.

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MacIntyre, Peter D., Jessica Ross und Heather Sparling. „Flow Experiences and Willingness to Communicate: Connecting Scottish Gaelic Language and Traditional Music“. Journal of Language and Social Psychology 38, Nr. 4 (12.08.2019): 536–45. http://dx.doi.org/10.1177/0261927x19867364.

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This brief report examines correlations between intense, highly motivating flow experiences, perceptions of competence, and willingness to communicate in both language and music, in the context of Scottish Gaelic and traditional music. The sample of 54 persons, mostly from Canada and Scotland, was contacted via Facebook groups. The frequency of flow experiences correlated highly between language and music contexts. Correlations for willingness to communicate/play and perceived competence with language and music also are reported. Results are interpreted as reflecting a combination of social (e.g., identity) and personality-based (e.g., autotelic) processes.

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Engström, Robin. „The body politic of independent Scotland“. Metaphor and the Social World 8, Nr. 2 (23.10.2018): 184–206. http://dx.doi.org/10.1075/msw.17009.eng.

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Abstract The creation of national personifications is a political act that informs us about ideological and cognitive strategies underpinning nation-building. Many European nations are associated with national personifications, but Scotland stands out by not having a tradition of representing the nation in this way. The 2014 independence referendum began to change that, and national personifications featured, not only in the main pro-independence campaign material, but in the visual profile of many new, radical organizations. These personifications also raise questions about the use of metaphor in political discourse. By combining multimodal metaphor and metonymy analysis with interviews with artists who have designed Scottish personifications for the independence movement, this article investigates how new Scottish body politic metaphors were constructed during the campaign. This methodology increases our understanding of the wider context of the referendum, and aids the interpretation of national personifications by providing arguments for interpretation. The analysis shows that body politic metaphors used in the campaign draw on traditional Scottish symbols, but traditional body politic metaphor types are subverted, typically concerning gender roles, in order to convey messages that are relevant in a contemporary political landscape.

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Symon, Peter. „Music and national identity in Scotland: a study of Jock Tamson's Bairns“. Popular Music 16, Nr. 2 (Mai 1997): 203–16. http://dx.doi.org/10.1017/s0261143000000374.

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The subject of his article reflects what Robert Crawford has called ‘a growing wariness of notions of an essentialist Scotland’ (1994, p. 57). The article has been written partly as a contribution to the critique of ‘essentialist’ notions of national identity in gerneral and ‘Scottishness’ in particular. I share the concern of Stuart Hall (1990; 1995) and others (Massey 1991; Rose 1995) to challenge ideas which reproduce notions of the ‘boundedness’ or ‘purity’ of territorial and national identities; whilst recognising that such identities are, by definition, only likely to change slowly (Therborn 1995). My approach to the analysis of national identity is to try to follow the ‘social construction of reality’ thinking which informs much current writing on the relationships between ethnicity, place and identity (Jackson and Penrose 1993). From that point of view, regarding Scottish national cultural identity in the late twentieth century,

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Li, Jing. „The Inheritance Form of Chinese Traditional Music under College Music Education System“. Region - Educational Research and Reviews 1, Nr. 2 (02.01.2020): 6. http://dx.doi.org/10.32629/rerr.v1i2.69.

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In colleges and universities music education system, strengthen the inherit and carry forward the Chinese traditional music, from the point of view of the school, are beneficial to improve college music education quality and effectiveness, to help colleges and universities music education better and the combination of Chinese traditional music teaching, also help colleges and universities music education to fully absorb the cultural charm of Chinese traditional music and national music elements, enrich the college music education content and education resources, and further promote the college music education and the common development of the Chinese traditional music. From the perspective of students, inheriting traditional Chinese music in the music education system in colleges and universities is conducive to enhancing students' profound understanding of the theoretical knowledge of traditional Chinese music, enabling students to better feel the cultural charm and national connotation of traditional music, and solving the problem of disconnection that appeared in the process of students learning music with the development of traditional music culture.

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Dissertationen zum Thema "The Traditional and National Music of Scotland"

Stevenson, Lesley. „'Scotland the Real' : the representation of traditional music in Scottish tourism“. Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1297/.

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This thesis explores how Scottish traditional music has been represented to tourist audiences, through systems of representation such as travel literature, recordings and traditional music events (including folk festivals, tourist shows and sessions). It argues that an explicit concern with the “real” has been a recurrent, although contested, discursive trope in such representations. In particular, the thesis demonstrates how paradigmatic shifts in conceptions of authenticity have wrought ideological changes on tourist-oriented depictions of Scottish folk music. The thesis identifies four generic categories of authenticity which have mediated touristic representations of Scottish traditional music, namely: authenticity of text; authenticity of performer; authenticity of context; and authenticity of locality. The first of these was of significance throughout the eighteenth, nineteenth and early twentieth century, as folksong collectors, travel writers and guidebooks authors based their judgements of musical authenticity upon the printed text. The folk revival of the 1950s resulted in a fundamental rupture in discursive formations of authenticity, leading to assessments of the “real” being based upon performers, their backgrounds and musical upbringings. As the folk revival developed, such assessments became predicated upon the context of the musical performance, and, in particular, the extent to which events succeeded in minimising the performer-audience stratification and facilitating communal participation. Finally, the geographical scope of the musical expression has recently become particularly significant in this regard: practitioners frequently regard localised musical identities as “real”, while deriding the homogeneity and commercial connotations of transnational musical identities such as “Celtic music".

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Paek, Inok. „Transmission processes in Korean traditional music : contemporary musical practice and national identity“. Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425202.

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Roy, Diane Carole. „Performing abroad: ‘Lucnica Slovak National Folklore Ballet’ in Melbourne, 2007“. Phd thesis, 2011. http://hdl.handle.net/1885/8868.

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This thesis explores the significance of a Slovak traditional music and dance performance in Melbourne in October 2007 by Lucnica: Slovak National Folklore Ballet’. While the troupe represents a genre of traditional music performance that is revered by many Slovaks, it is also criticized in the community and scholarly narratives as being ‘artificial’. This thesis shows that Lucnica’s performances are deeply significant, however, and that they constitute a legitimate form of music folklore practice for performers and Slovak audiences, embodying the Slovak landscape and history, despite artistic modifications. However, by taking an interactional viewpoint, this thesis shows that on foreign soil, complex meanings were thrown into relief. While Lucnica’s stated mission is to spread Slovak traditional music culture abroad, it was found that in multicultural Melbourne, Lucnica’s performance generated a variety of discursive strands. The same performance confirmed and celebrated Slovak ethnicity for Slovak Australians, and at the same time, contributed to the discourse of British hegemony and marginalization of the same. A second, but equally important focus of the thesis, is that it addresses the dialectic between theory and data. Ethnographic notes were analyzed according to Goffman’s model for non-verbal interaction, an ethnographic interview was analyzed according to the methods of Conversation Analysis, and an audience survey was conducted. These varied data and methodologies were unified by adopting an over-arching Foucauldian theoretical framework, thus aligning theory, data, and methodologies, and giving findings added cogency.

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Williams, Joseph. „Rhizomatic thinking and traditional music as difference-in-itself : a virtual historical revision of England's Victorian/Edwardian folk revival“. Thesis, 2019. http://hdl.handle.net/1959.7/uws:54511.

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This dissertation problematizes the principle of identity in the contemporary understanding and evaluation of traditional music in international contexts. Through a virtual historical revision of England’s folk revival of the late nineteenth and early twentieth centuries, I ask whether it is possible to rethink the concept of traditional music in terms of what Gilles Deleuze called difference-in-itself. The orientation of my historical revision is informed by Deleuze’s concept of the virtual, which concerns the relationship between the past, as it exists in the present without being actual, and the actual as it exists in the present as a particular state of affairs. The concepts which Deleuze developed, often in collaboration with Félix Guattari, are employed throughout the dissertation to open a path towards new ways of understanding and evaluating traditional music as a distinctive mode of musical creativity. I begin by showing how a romantic nationalist interpretation of folk music’s cultural significance emerged during the revival and came to shape the way that traditional music is defined by bodies like the International Council for Traditional Music and the United Nations Educational, Scientific, and Cultural Organisation. I then demonstrate that these ideas were developed in contradiction to the existence of various minoritarian influences within the revival, including Celticism, Romani music, and sea songs and chanties. Descending from the level of traditional music’s relationship with communal cultures, I undertake an analysis of its impact in the lives of two prominent revivalists, Frank Kidson and Lucy Broadwood. This analysis shows that the principle of deterritorialization, which is to say difference and becoming, is more appropriate for understanding and valuing individual engagements with traditional music than the principle of identity. Finally, I examine the way that Darwinian evolutionary concepts were drawn into the influential theory of traditional music that was expounded by Cecil Sharp in 1907, arguing that contemporary evolutionary concepts offer a radically different and much more nuanced theoretical foundation for thinking about traditional music.

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Van, Niekerk Letitia. „Intimidation as a factor in the liberation struggle in South Africa with special reference to Bela Bela (Warmbaths) : an anthropological perspective“. Diss., 1999. http://hdl.handle.net/10500/17744.

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INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances.
INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik.
Anthropology and Archaeology
M.A. (Anthropology)

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Bücher zum Thema "The Traditional and National Music of Scotland"

Francis, David. Traditional music in Scotland: Education, information, advocacy. Edinburgh: Scottish Arts Council, 1999.

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Gnielinski, Anneliese Von. Traditional music instruments of Tanzania in the National Museum. [Dar es Salaam]: The Museum, 1985.

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Tanchʻe, Hanʾguk Ŭmak Yŏnju, Hrsg. The National Center for Korean Traditional Performing Arts. Seoul, Republic of Korea: National Center for Korean Traditional Performing Arts, Ministry of Culture & Tourism, 1999.

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Broad, Stephen. What's going on?: A national audit of youth music in Scotland. Edinburgh: Scottish Arts Council, 2003.

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Jones, Edward Huws. The Ceilidh collection: Traditional fiddle tunes from England, Ireland and Scotland. London: Boosey & Hawkes, 2017.

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Purser, John. Scotland's music: A history of the traditional and classical music of Scotland from earliest times to the present day. Edinburgh: Mainstream Pub. in conjunction with BBC Scotland, 1992.

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(Korea), Kungnip Kugagwŏn, Hrsg. Kŏnwŏn 1400-yŏn, kaewŏn 50-yŏn Kungnip Kugagwŏnsa: The National Center for Korean Traditional Performing Arts. Sŏul-si: Kungnip Kugagwŏn, 2001.

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Studwell, William E. The national and religious song reader: Patriotic, traditional, and sacred songs from around the world. New York: Haworth Press, 1996.

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British Broadcasting Corporation. Sound Archives. The national music of England, Ireland, Scotland and Wales: Historic music instruments including musical automata; with sections of general and historical musical interest. London: BBC, 1989.

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Cicchini, Emily Jane Ball. Edward, the owl, and the Calico Cat: A play / by Emily Cicchini, with traditional folk music of America, Scotland, England, and Wales. Woodstock, Ill: Dramatic Pub., 2005.

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Buchteile zum Thema "The Traditional and National Music of Scotland"

Collinson, Francis. „The Vocal Music of Lowland Scotland“. In The Traditional and National Music of Scotland, 119–58. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-5.

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Collinson, Francis. „The Music of the Pipes“. In The Traditional and National Music of Scotland, 174–98. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-7.

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Collinson, Francis. „The Music of Orkney and Shetland“. In The Traditional and National Music of Scotland, 252–60. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-10.

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Collinson, Francis. „The Bagpipes“. In The Traditional and National Music of Scotland, 159–73. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-6.

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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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Collinson, Francis. „The Gaelic Long Tunes for the Psalms“. In The Traditional and National Music of Scotland, 261–64. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-11.

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Collinson, Francis. „The Fiddle“. In The Traditional and National Music of Scotland, 199–227. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-8.

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Collinson, Francis. „Gaelic and Lowland Scots Song“. In The Traditional and National Music of Scotland, 32–66. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-3.

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Collinson, Francis. „Conclusion: The Reader's Part“. In The Traditional and National Music of Scotland, 265–68. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-12.

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Collinson, Francis. „Introduction“. In The Traditional and National Music of Scotland, 1–3. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-1.

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Konferenzberichte zum Thema "The Traditional and National Music of Scotland"

Sahnov, A., A. Klyuev und Yuliya Litvinova. „SCOTLAND AND ITS GEOGRAPHICAL NAMES THROUGH LINGUISTICS“. In Manager of the Year. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2022. http://dx.doi.org/10.34220/my2021_281-286.

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The article is devoted to Scotland, describes its geographical location, and also gives the most general information on the modern large cities and other settlements of Scotland as well as their most famous attractions. A brief overview of the history of Scotland, presented after a modern description of the country, gives the best idea on the creating the Scots as a nation and their national character and their national language. Some characteristic features of education, music and musical instruments, and clothing are also described in the article. The linguistic aspect explores toponyms, i.e. the major cities in Scotland, its capital Edinburgh, Aberdeen, Perth, a small but famous historical city, on the information from the dictionaries of the English language of the 18th century. The analysis of the linguistic material indicates a close connection between the language, history and culture of the nation.

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Jing, Yuanyuan. „Research and Protection of the National Traditional Music near Gansu with the background ofqSilk Road Economic Zoneq“. In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.6.

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Zhang, Xinlei, Chao Zheng, Yichen Zeng, Xinhao Zhan, Li Cheng Xie und Bingkun Qiu. „Visualization and Visual Communication of Tibetan Music“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003369.

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Tibetan music is a unique and ancient music form, which retains the original music characteristics and humanistic connotation, has unique Tibetan regional characteristics and cultural factors, and has high artistic value and aesthetic interest. Because of the restriction of the traditional national structure and modern communication system, Tibetan music can not be developed effectively in modern society. One is how to spread and inherit Tibetan music culture in the present and future society, and the other is how to spread and propagate Tibetan culture through music to attract more people to the Tibetan area. This paper will study the visualization of Tibetan music and visual communication derived from Tibetan music. The modern communication system combined with the preferences of young people to experiment with pioneer music and visual arts to stimulate the vitality of Tibetan culture and iteration. Under the framework of China's traditional ethnic minorities, the cultural genes related to Tibetan arts and humanities are deeply excavated to promote multi-cultural dissemination in the future.

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Loureiro, Mauricio. „The First Brazilian Symposium on Computer Music presents Brazilian computer music potentials - Caxambu, MG, 1994“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10463.

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The main objective of this talk is to report on the First Brazilian Symposium on Computer Music, which occurred in August 1994, at the city of Caxambu, Minas Gerais, promoted by the UFMG. The meeting occurred one year after the creation of NUCOM, a group of young academics dedicated to this emerging research field in Brazil gathered as a discussion list. This quite exciting and fancy event at Hotel Gloria in Caxambu was able to imposingly launch the group to the national, as well as to the international academic community. First, due to the excellency of the event’s output and its daring program, that included 34 selected papers by researchers from various institutions from Argentina, Brazil, Canada, Denmark, France, Hong Kong, Mexico, UK, and USA, five lectures an two panels of discussion offered by researchers from the most advanced computer music research centers all over the world. The program also included eight concerts, two of them featuring traditional music, such as Bach, Mozart, and Brazilian music.Six computer music concerts presented 48 selected compositions submitted to the symposium. Second, as the symposium happened as apart of the 14th Congress of Brazilian Computer Science Society (SBC), the excellency of its output was able to attract the interest of SBC’s board of directors. They invited NUCOM to integrate the society as a Special Committee, which are sub-groups of SBC dedicated to specific computer science topics. At the end of the description, this report aims at raising questions, arguments, and debates about today’s format of NUCOM meetings, considering more seriously the interdisciplinary character of the methodologic approaches adopted by the field. Interdisciplinarity should be pursued by striving to contaminate a growing number of different topics of musical sciences, as well as of other research fields.

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Ionica, Svetlana. „State I for soprano and instrumental group by Vlad Burlea – composition and dramaturgical features“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.22.

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Vlad Burlea is a prominent representative of contemporary national music, who actively participates in the national artistic life, manifesting himself in fields such as music propagation projects, pedagogy, animator of musical life etc. He has tackled almost all the chamber, instrumental, symphonic and oratorical genres. One of the representative works is Starea I (State I), composed in 2018 for soprano and instrumental group. The interpretation of the work State I presents certain difficulties for musicians – both intonational (for the soprano part), and rhythmic and of character (in the piano part).

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Balaban, Larisa, und Diana Bunea. „Scientific project valorisation and conservation by digitization of the colections of academic and traditional music from the Republic of Moldova (2021–2023)“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.01.

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The institutional research project Valorisation and conservation by digitization of the colections of academic and traditional music from the Republic of Moldova was developed between 2021–2023 at the Academy of Music, Theater and Fine Arts and represents an important contribution to the development of various activities of safeguarding the national immaterial patrimony, realized by a team of scholars and researchers in this field. The article presents a wide review of the activities carried out and the scientific results obtained within the project.

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Narynskaia, Anna Antonovna. „Non-traditional religious organizations in the modern society of the Republic of Korea“. In All-Russian Scientific Conference. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99342.

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The article is devoted to the situation with the activities of different sectarian organizations in the Republic of Korea. There is a huge amount of information in our world that is not always possible to be objectively analyzed. It helps some sectarian organizations to promote their principles and ideas. This is especially true for the Republic of Korea, where the religious worldview is one of the most important components of the national mentality. Freedom of religion is highly valued in the country, sectarian ideas have the right to spread, and sects are practically not regulated by the state. According to rough estimates of Korean sociologists, today there are about 300 non-traditional religious sects in the Republic of Korea. These organizations disseminate their sectarian propaganda through music, books, marches, leaflets, active recruitment and the Internet.

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Pintong, Sarawuth. „Revitalizing The National Folk Play: The Tiger Hunting Folk Play“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002046.

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“Kratua Thaeng Suea” is a story of hunting the tigers that trespass into town. It is a Thai traditional folk play which has been passed down from generation to generation for more than 200 years. However, this folk play is rapidly fading away from the Thai society due to the change of aesthetic preference which caused its unpopularity. Nowadays, there are only two troupes left in Bangkok which recently one of them decided to discontinue their show because of COVID-19 situation. How to preserve this intangible cultural heritage and combine it with modern aesthetics for transmission is an urgent issue. This study combines literature research and field trip methods in order to identify some of the problems faced in the dissemination of it. The research results show that, in order to renew this folk play that complement the new aesthetic preference, all related elements of this play such as its story, costumes, music, and performance need to be modernized. The new play will combine “Street Culture” such as street art, street fashion, street music, and street performance into the play with a new storyline which is twisted from the story of a tiger hunter to be rescuing the tigers instead. All of this could draw some attention from the society and thus achieve the goal of sustainable inheritance and preservation of this folk play. The new concept of “Kratua Thaeng Suea” is the combination between the old and the new which does not only reflect the beauty of cultural dynamic or build up the sense of ecological awareness in the form of “Soft Power”, but also provides a “Cultural Revitalizing model” which could be an alternative model to inherit the culture.

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Tcacenco, Victoria. „Genres of jazz origin in moldovan music from the first half of the 20th century: Ragtime by Ștefan Neaga“. In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.02.

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This article represents the first attempt in national and world musicology to introduce into the scientific circuit the piano piece named Ragtime written by the classic of the Moldovan national school of composition Ştefan Neaga in 1935. The author analyzes some aesthetic and stylistic features of this genre of early jazz reflected in Ş. Neaga’s opus, using the tools of comparative analyses. As for the material for comparison, collections written by the classic of ragtime music, the American composer Scott Joplin, have been studied. At the same time, a non-traditional treatment of the typical genre features has been identified, revealing Şt. Neaga’s individual approach.

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Van, Kesin. „Bel Canto's Influence on the Development of Modern Chinese Opera Singing“. In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-98545.

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Since the emergence of bel canto in China, traditional Chinese singing has been greatly influenced. Modern Chinese opera not only inherits the essence of Chinese national music, but also includes the unique vocal abilities of bel canto. It is thanks to Chinese national music and bel canto, which give Chinese opera singing in modern opera a whole new artistic experience that makes contemporary Chinese opera singing aimed at diversified development. The article analyzes the direction of development of bel canto in the field of Chinese art and the influence of bel canto on the direction of development of Chinese opera singing. Clarify the direction of development of the Chinese operatic art.

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Berichte der Organisationen zum Thema "The Traditional and National Music of Scotland"

Lefevre, Bruno, und Philippe Bouquillion. Communications, media and internet concentration in France, 2019-2021. Global Media and Internet Concentration Project, Carleton University, 2024. http://dx.doi.org/10.22215/gmicp/2024.2.

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This report focuses on approximately thirty French markets, contributing to local debates and research as part of the Global Media and Internet Concentration Project (GMICP). It explores the dynamics of diversified economic players in cultural industries (press, audiovisual, books, music), emphasizing the coexistence of 'traditional' and 'new' entrants. The study provides sector-based and global analyses, revealing a dual dynamic of diversification and concentration in the production, distribution, and broadcasting of cultural and information content. Audiovisual content broadcasting, both free and pay, demonstrates national dominance but faces challenges from foreign groups. Financialization and concentration affect media and cultural goods industries, posing risks to diversity of opinion. The dominance of North American groups in digital services, particularly in advertising, is noted, impacting traditional media revenues. Telecom operators lead the French market, with regulators monitoring concentration dynamics for potential negative impacts on diversity.

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.

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