Artículos de revistas: "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, n.º 3 (14 de septiembre de 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, n.º 2 (10 de diciembre de 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, n.º 2 (13 de abril de 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 y Kirsteen McCue. "Making Song Travel: Crosscurrents of Language and Landscape in Welsh and Scottish Song Collections, 1804–1818". Studies in Romanticism 63, n.º 2 (junio de 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, n.º 1 (mayo de 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, n.º 1 (31 de diciembre de 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, n.º 2 (4 de noviembre de 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, n.º 1 (mayo de 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, n.º 2 (octubre de 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 y Mujammilatul Halimah. "Self Actualization of MOSMA Participants in Maintaining Cultural Identity in Scotland, United Kingdom". Palakka : Media and Islamic Communication 5, n.º 1 (28 de junio de 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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Edwards, Owen Dudley. "PATRICK MACGILL AND THE MAKING OF A HISTORICAL SOURCE: WITH A HANDLIST OF HIS WORKS." Innes Review 37, n.º 2 (diciembre de 1986): 73–99. http://dx.doi.org/10.3366/inr.1986.37.2.73.

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Patrick MacGill was born at Glenties, a little village in one of the wildest districts of Donegal on the north coast of Ireland, twenty-one years ago. The eldest of a family of ten, he had to go out into the world at a very early age and begin his fight in the great battle of life. When twelve years old he was engaged as a farm hand in the Irish Midlands, where his day's work began at five o'clock in the morning and went on till eleven at night through summer and winter. It was a man's work with a boy's pay. At fourteen, seeking newer fields, he crossed from 'Derry to Scotland; and there for seven years was either a farm hand, drainer, tramp, hammer-man, navvy, plate-layer or wrestler. During all these years he devoted part of his spare time to reading, and found relief from the drag of the twelve-hour shift in the companionship of books. At nineteen he published 'Gleanings from a Navvy's Scrapbook', and in September, 1911, left the service of the Caledonian Railway Company at Greenock and came to London. In the following year he relinquished his post with the newspaper, and published 'Songs of a Navvy'. This, as well as the former, being now out of print, he has put together some of the pieces out of either, re-written others, and added fresh ones to the same in the present 'Songs of the Dead End'. Windsor, July, 1912. J.N.D.

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Waiton, Stuart. "Criminalizing songs and symbols in Scottish Football: how anti-sectarian legislation has created a new ‘sectarian’ divide in Scotland". Soccer & Society 19, n.º 2 (21 de enero de 2016): 169–84. http://dx.doi.org/10.1080/14660970.2015.1133413.

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Skoptsova, Olena y Nataliia Pertsova. "Repertoire Palette of Foreign Folk Choir Groups". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, n.º 1 (6 de junio de 2022): 103–10. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258154.

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The purpose of the research is to study the specifics of the repertoire palette of foreign folk choirs. Achieving the goal involves determining not only the features of the current repertoire preferences of leading groups but also the prospects that may open up in view of the transformation of listeners' preferences and the demands of today’s audience. The research methodology, while determining the specifics of the repertoire of foreign folk choirs, involves the use of the method of synthesis, which outlines the range of works to which choirmasters turn. The method of analysis is used to study the specifics of the interpretation of folk sources by choirs. The scientific novelty of the research is the selection of foreign folk choirs that operate in Scotland, Britain, France, USA; defining their repertoire palette. Conclusions. The vocal style of the performers and the repertoire are of dominant importance in the formation of the creative face of the ensemble. The study of folk choirs that operate abroad, shows a significant spread of such compositions. Folk choirs were formed in Scotland, Great Britain, France and the USA. Their repertoire consists of folk songs (Celtic, Scottish, Gaelic) and original works, which testifies to the universality and diversity of groups. Some choirs use folk and academic vocal style, where the choice of one or another is determined by the repertoire. Attempts to fully reproduce the folklore layer of musical culture can be traced in the preservation of folk vocal style, type of voting, the fricative basis in the arrangements and so on. Promoting Ukrainian folklore as part of the repertoire of foreign folk choirs is seen as a promising direction. This will contribute to its dissemination, which is important for the preservation of the cultural heritage of the Ukrainian people.

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Mackenzie, Niall. "Review: The Jacobite Relics of Scotland: Being the Songs, Airs, and Legends of the Adherents of the House of Stuart (Second Series)". Review of English Studies 56, n.º 226 (1 de septiembre de 2005): 679–81. http://dx.doi.org/10.1093/res/hgi095.

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Heather Sparling. "1951 Edinburgh People’s Festival Ceilidh, and: Gaelic Songs of Scotland: Women at Work in the Western Isles (review)". Journal of American Folklore 122, n.º 1 (2008): 83–85. http://dx.doi.org/10.1353/jaf.0.0066.

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Bratton, Jacky. "Scotland and the Music Hall, 1850–1914. By Paul Maloney. Studies in Popular Culture. Manchester and New York: Manchester University Press, 2003; pp. 240. $24.95 paper." Theatre Survey 46, n.º 1 (mayo de 2005): 147–49. http://dx.doi.org/10.1017/s004055740531009x.

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Paul Maloney's study of Victorian and Edwardian Glasgow's entertainment is part of the series Studies in Popular Culture, under the general editorship of Jeffrey Richards, and it benefits from the protocols of its social-history methodology. His approach to the halls has a welcome freedom from the constraints that dog theatre scholars whose disciplines have equipped them with subliminally insistent literary and musical criteria. Maloney is able to acknowledge the stereotypical, misogynistic, jingoist materials used by music-hall performers but still understand them as functional expressions of working-class attitudes that are counterhegemonic. In his argument, manner and style are read as signifiers before words, articulated positions, and character types. He asserts of Scottish music hall that “[a]s a popular entertainment format it did not articulate its social agenda but embodied it in its functioning and culture” (50). This is an important insight, one that not only circumvents the impasse presented to textual analysis by the bland and unrevealing songs and other materials that survive on the page, but also chimes with the latest research in the history of performance, which is beginning to emphasize the historicism of the embodied. We move toward the possibility of historical and theatrical methodologies jumping together, independently of literary judgments, and producing previously unavailable nuance and fresh insight.

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Davis, Leith. "“A Piece of History the Most Remarkable & Interesting That Ever Happened in Any Age or Country”: “The Lyon in Mourning” Manuscript of Robert Forbes". Eighteenth-Century Life 48, n.º 1 (1 de enero de 2024): 159–82. http://dx.doi.org/10.1215/00982601-10951374.

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This chapter presents a book-history analysis of a 2,148-page manuscript book known as “The Lyon in Mourning.” Compiled after the defeat of the Jacobites at the Battle of Culloden (1746), the work consists of pro-Jacobite materials copied out by Episcopalian minister Robert Forbes into ten blank octavo books. The items collected include scaffold speeches by executed Jacobite prisoners, eyewitness narratives of those who helped the Stuart cause, letters, songs, poems, and even a list of goods the Jacobites purchased in the last few months of the conflict. Although “The Lyon in Mourning” remained unpublished in Forbes's lifetime, the Scottish Historical Society published a three-volume printed version in 1895–96. The printed version succeeded in generating knowledge about the work, but it also fundamentally changed how the manuscript was perceived. In an effort to shine new light on Forbes's project and to generate new research on Jacobitism in general, Simon Fraser University's Research Centre for Scottish Studies and the Digital Humanities Innovation Lab are partnering with the National Library of Scotland to create a Digital Humanities project focused on “The Lyon in Mourning.” Here, I outline some of the research directions that we will pursue as we gain insight into Forbes's use of the manuscript medium in the context of the eighteenth-century mediascape. The first section considers the historical context and generic content of Forbes's collection. The second section examines the multimedia nature of the items that Forbes collected, noting his own focus on the materiality of the texts he copied out. The third section considers Forbes's use of the manuscript genre for the storage, curation, and retrieval of information. I conclude by examining how Forbes's project to preserve the experiences of his fellow Jacobites was intertwined in this handwritten document with his fashioning of his own life as a reader/writer and witness for Jacobite networks.

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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, n.º 1 (27 de enero de 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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Lamb, William. "Reeling in the Strathspey: The Origins of Scotland’s National Music". Scottish Studies 36 (31 de diciembre de 2013): 66. http://dx.doi.org/10.2218/ss.v36.2706.

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According to the conventionally held view, the strathspey or 'strathspey reel' was an eighteenth century innovation instigated by fiddlers of the Speyside region, such as the Browns of Kincardine and the Cummings of Grantown. However, the basic rhythmic characteristics inherent to the strathspey – a series of long and short notes, organised within two or four strong beats per bar – are found in Gaelic songs thought to be much older. Using a range of data from early fiddle collections and transcriptions of twentieth century audio recordings, this paper explores the musical and semantic connections between the strathspey and Gaelic song, suggesting an alternative developmental path for Scotland’s national music.

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Roberts, Alasdair. "The Jubilee of Bishop Kyle". Innes Review 63, n.º 1 (mayo de 2012): 1–29. http://dx.doi.org/10.3366/inr.2012.0029.

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Celebrations surrounding the golden jubilee of Bishop James Kyle's priesthood in 1862 generated a considerable volume of documentary evidence, mostly in the form of letters. The Northern District of the Catholic Church in Scotland represented a rural tradition from penal times. Its priests considered themselves to be gentlemen, though impoverished, serving congregations different from the mainly Irish ones in urban areas. The article is, by implication, about clergy culture as well as clergy finance. Bishop Kyle's base was at the archival treasure-house of Preshome near Fochabers in the Enzie district where an underground practice of religion had been maintained since the seventeenth century. Most of the Northerners (strikingly young by today's standards, and attention is drawn the number of early deaths among priests of that day) had spent time at Preshome at the start of their careers. The focal point of the jubilee was a dinner at Blairs College, Scotland's junior seminary. The focal point of the dinner was a pastiche of ‘Tullochgorum’, described by Robert Burns as Scotland's finest song. In it a young priest entertained his colleagues while teasing the more senior of them in convivial fashion.

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Munro, Robert. "Adapting Sunset Song: Authorial, Industrial, and National Discourses in the 2015 Film Adaptation of Sunset Song". International Review of Scottish Studies 49, n.º 1 (junio de 2024): 18–39. http://dx.doi.org/10.3366/irss.2024.0027.

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This article traces the discourses shaping the 2015 film adaptation of Sunset Song, directed by Terence Davies. In doing so, it shows how both the film and Lewis Grassic Gibbon's original novel are involved in complex negotiations of ideas about Scottishness. In the case of the film, this is evident in its sophisticated and poetic visual engagement with some aspects of the novel's characterization of Chris Guthrie, its use of language, and its representation of landscapes. The same negotiations are apparent in paratextual materials that demonstrate the route taken by the producers and director when navigating the fraught economic terrain of feature-length filmmaking in Scotland, both in terms of funding applications to national funder Creative Scotland, and the way it mobilized particular discourses of arthouse and auteur cinema in its marketing and production materials. Finally, through a close look at the emphasis on militarism, femininity, and landscape in the film text, the article considers how the film performs a kind of Scotland that is amenable to the tastes of the filmmaker, the desires of the public funder, and the arthouse film festival circuit where it was primarily consumed.

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Cetrà, Daniel y Malcolm Harvey. "‘The Song Remains The Same?’ Constitutional Developments in Catalonia and Scotland in 2015". European Yearbook of Minority Issues Online 14, n.º 1 (12 de septiembre de 2017): 155–70. http://dx.doi.org/10.1163/22116117_01401007.

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Scotland and Catalonia have long been seen as comparative cases: distinctive minority national identities with autonomist movements that have seen a measure of electoral or constitutional success. In 2014, both cases reached a critical juncture, with an official referendum in Scotland and a non-binding ‘participation process’ in Catalonia. Those events have been studied in detail elsewhere, but the focus of this article is on the aftermath – specifically, the political and constitutional developments in each case in the 12 months following their respective votes. In particular, we look at the plethora of actors involved in each case, the evolution of their attitudes and strategies and conclude that, irrespective of recent developments, the constitutional question will remain on the agenda in both Scotland and Catalonia for the foreseeable future.

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Davies, R. R. "Presidential Addres: The Peoples of Britain and Ireland 1100–1400 II Names, Boundaries and Regnal Solidarities". Transactions of the Royal Historical Society 5 (diciembre de 1995): 1–20. http://dx.doi.org/10.1017/s0080440100016157.

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During1301 the propaganda war between the king of England and the Guardians of the kingdom of Scotland reached a climax in a welter of claims and counter-claims submitted to the Pope. Differing historical mythologies were part of the arguments deployed by both parties. The English case was based on a gloss placed on one of the wondrous legends recorded in Geoffrey of Monmouth'sHistory of the Kings of Britain. Britain, according to the legend, had been divided by its illustrious eponymous ruler, Brutus, between his three sons, Locrine, Albanact and Camber. Scotland, originally known as Albany, was Albanact's portion; but—and here we come to the gloss placed on the legend—he was to be subordinate to his elder brother and first-born son of Brutus, Locrine, to whom alone the royal dignity was reserved. Such was the ultimate historical basis for Edward I's claim to superior lordship over Scotland. The Scots could not be expected to accept such a tall story lying down. They did not. They countered with their own even taller tale. They insisted that Brutus's three sons were of equal standing, ‘so that none of them was subject to another’; they even queried whether Albany had ever been equated with the whole of what we know as Scotland, suggesting instead that it was the part of the original Britain which stretched from the Humber to the Forth, but no further north. They then went on the offensive, asserting that a lady called Scota, daughter of Pharaoh of Egypt, had conquered the northern part of Britain (if indeed it was such), expelled the Britons and renamed it Scotland in honour of herself.

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Shoupe, Catherine A. "Music and Song Traditions in Scotland: Springthyme Records". Journal of American Folklore 104, n.º 412 (1991): 182. http://dx.doi.org/10.2307/541228.

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Kurajian, Olivia A. "“Fraternally Yours”: The Role of Women in Montreal’s Prominent Scottish Fraternities, 1870s–2000s". International Journal of Canadian Studies 58 (1 de abril de 2021): 110–22. http://dx.doi.org/10.3138/ijcs.58.x.110.

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Fraternal societies were integral to both the social and fiscal security of newcomers and to established generations of Scottish-Canadians in the nineteenth and twentieth centuries. In Montreal, scholars have identified the pan-Canadian Sons of Scotland Benevolent Association and St. Andrew’s Society of Montreal as having been particularly active fraternal organizations. Much of the existing literature on Scottish associational culture in Canada understands it in terms of ethnicity. However, the underexplored concept of gender in associational culture can provide an equally valuable framework. Despite a seemingly shared ethnic identity, the lived experiences, beliefs, identities, socio-economic realities, religions, genders and approaches to inclusion were markedly different among Scottish-Canadian Montrealers. Through the use of an oral history project, the Sons of Scotland Benevolent Association and St. Andrew’s Society archives, and peer-reviewed literature, this article illuminates gender issues in androcentric Scottish-Canadian fraternal societies through careful examination of women’s lives within and on the periphery of Montreal’s fraternal orders.

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Goodall, Kay, Simon McKerrell, John Markey, Stephen R. Millar y Michael J. Richardson. "Sectarianism in Scotland: A ‘West of Scotland’ Problem, a Patchwork or a Cobweb?" Scottish Affairs 24, n.º 3 (agosto de 2015): 288–307. http://dx.doi.org/10.3366/scot.2015.0079.

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Drawing on research carried out for the Scottish Government in 2014, this article explores how people experience sectarianism in Scotland today. For some, sectarianism is manifestly part of their everyday experience, but for others it is almost invisible in their social world. The article sets out a metaphor of sectarianism experienced like a cobweb in Scotland; running strongly down the generations and across masculine culture particularly, but experienced quite differently by different people depending on their social relationships. Using the examples of song and marching, the article suggests that sectarian prejudice should be conceived of as much as a cultural phenomenon as in social and legal terms. A multidisciplinary and intergenerational approach to tackling sectarian prejudice would help emphasise its cultural and relational construction. Much can also be learned from examining the broader research on prejudice worldwide, rather than treating Scottish sectarianism as if it is a unique and inexplicable quality of the national character.

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27

McCulloch, Margery. "Women, poetry and song in eighteenth-century lowland scotland". Women's Writing 10, n.º 3 (1 de octubre de 2003): 453–68. http://dx.doi.org/10.1080/09699080300200280.

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KRZYŻANOWSKA, MONIKA y C. G. NICHOLAS MASCIE-TAYLOR. "GEOGRAPHICAL VARIATION AND MIGRATION ANALYSIS OF HEIGHT, WEIGHT AND BODY MASS INDEX IN A BRITISH COHORT STUDY". Journal of Biosocial Science 43, n.º 6 (28 de julio de 2011): 733–49. http://dx.doi.org/10.1017/s0021932011000381.

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SummaryUsing a sample of 2090 father and son pairs, the regional variation in height, weight and body mass index (BMI) with intra- and inter-generational migration within Britain was examined. Highly significant regional differences in means were found only for fathers. The overall mean height difference between regions ranged from about 2.7 cm to 3.1 cm, with the tallest fathers being found in the East & South-East region and the shortest in Wales. The variation in mean weight between regions was less significant, with the difference between the heaviest region (West Midlands) and lightest (South-West) being about 3.5 kg. For BMI the highest mean was in the North and Wales and the lowest in the South-West (difference of about 1 kg m−2). Intra-generational migrants were, on average, significantly taller than non-migrants for both fathers (+1.4 cm) and sons (+2 cm), but BMI was only significant in fathers, with migrant fathers, on average, having a lower BMI. There were no significant differences in weight between geographically mobile groups for either fathers or sons. Differentiating between regional in- and out-migration revealed that in the fathers' generation in-migrants were taller, on average, in six of the nine regions. The tallest in-migrants among fathers came into the North region; the tallest out-migrants were from Yorkshire & Humberside and the shortest were from Scotland. The largest positive gain on fathers' height was in the West Midlands region and Scotland, while negative effects were found in the Yorkshire & Humberside, East Midlands and East & South-East regions. For sons in-migrants were taller in all regions except Wales, with the largest differences between in-migrants and non-migrants being in the South-East and South-West. For out-migrants, the tallest sons came from Wales, while the shortest came from the East Midlands region. The North, East Midlands, East & South-East and West Midlands regions were net gainers, while Wales and Scotland were net losers. For BMI among fathers, in-migrants were of lower BMI than non-migrants. For out-migrant fathers, the North-West and South-West regions were the only two regions showing positive values, with the largest negative values being found in the East Midlands and Yorkshire & Humberside. The net effect of migration indicated that the largest gains were in the East Midlands and Yorkshire & Humberside regions and the largest losses were in Scotland and Wales. The inter-generational migration for BMI showed that in-migrating sons into the North-West and Wales had higher BMI than sedentes, while in-migrants into Yorkshire & Humberside were lower in BMI. In all regions out-migrants had lower BMI than non-migrants. The net effect of migration revealed that six of the nine regions were net gainers, while the Yorkshire & Humberside region was a net loser.

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29

Williamson, John. "The kilt is my delight? Popular music on early television from Scotland". Journal of Popular Television 9, n.º 1 (1 de marzo de 2021): 105–22. http://dx.doi.org/10.1386/jptv_00044_1.

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This article explores the careers of the first three musical stars of television in Scotland: Jimmy Shand, Andy Stewart and Kenneth McKellar. With reference to the shows with which they were most closely associated, The Kilt Is My Delight (1956–63), The White Heather Club (1958–68) and A Song for Everyone (1957–62), it investigates popular music on television from Scotland during its formative years, highlighting the geographic and political issues that made this distinct in a wider context. Drawing on a range of archival sources, it argues the importance of these acts and shows them both as a counterpoint to existing accounts of popular music on early television and in the wider context of the music and entertainment industries.

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30

Moodie, Crawford. "Student gambling, erroneous cognitions, and awareness of treatment in Scotland". Journal of Gambling Issues, n.º 21 (1 de junio de 2008): 30. http://dx.doi.org/10.4309/jgi.2008.21.5.

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Rates of probable pathological gambling in colleges and universities across Scotland were investigated with a nationally distributed sample consisting of students (n = 1,483) and members of staff (n = 492). Gambling-related erroneous cognitions (Gambling Beliefs Questionnaire [GBQ]) and gambling severity (South Oaks Gambling Screen [SOGS]) were measured, with additional questions enquiring about awareness of treatments available for gambling problems. Rates of past-year problem and probable pathological gambling for students were 4.0% and 3.9%, respectively. An exploratory factor analysis of the GBQ resulted in a 24-item five-factor model, with gambling severity (as indicated by SOGS scores), indices of increasing gambling involvement (gambling frequency and number of gambling activities), and male gender being positively correlated with higher levels of erroneous cognitions, suggesting erroneous cognitions may not be prominent for females with gambling problems. Less than a fifth of students were aware of where to go to receive help for gambling-related problems.

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31

Davis, Leith. "From Fingal's Harp to Flora's Song: Scotland, Music and Romanticism". Wordsworth Circle 31, n.º 2 (marzo de 2000): 93–97. http://dx.doi.org/10.1086/twc24044184.

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32

Grant, Kevin. "Oran an Fheamnaidh – song of the seaweed gatherer: an archaeology of early 19th-century kelping". Scottish Archaeological Journal 41, n.º 1 (marzo de 2019): 63–85. http://dx.doi.org/10.3366/saj.2019.0107.

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At the very end of the 18th century, economic circumstance and the capricious consequences of warfare on the continent turned seaweed on the West Coast and Isles of Scotland into an important industrial resource. This resource was kelp: a glassy substance used in various industrial processes, particularly in the glass and soap industries. Chiefs and landowners in the west of Scotland were quick to take advantage of the economic opportunity it presented. The industry would have profound effects on the people who lived and worked in coastal communities. This paper seeks to outline a landscape archaeology of kelping as it was lived and experienced. It will draw on archaeological, documentary, and historical evidence, and will also consider Gaelic culture and oral tradition. Using a case study from Loch Aoineart, South Uist, the kelp industry will be considered in the context of an early 19th century Hebridean community.

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McKean, Thomas A. "Willie Mathieson and the Primary Audience for Traditional Song". Tautosakos darbai 55 (25 de junio de 2018): 36–59. http://dx.doi.org/10.51554/td.2018.28498.

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Focusing on the song notebooks of William Mathieson (1879–1958), a farmworker in North-East Scotland, this essay examines the role of tradition in one man’s life, proposing that people learn, preserve, and perform folklore largely for themselves. Mathieson’s material is preserved as handwritten and typed texts, along with cylinder and tape recordings, made across more than half a century by three collectors: James Madison Carpenter, Hamish Henderson and, crucially, Mathieson himself. I suggest that this depth of evidence can be used in future to elucidate the essential nature of specific examples, but most importantly, I show that the primary audience for tradition is the individual.

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34

Lyall, Scott. "Minor Modernisms: The Scottish Renaissance and the Translation of German-language Modernism". Modernist Cultures 14, n.º 2 (mayo de 2019): 213–35. http://dx.doi.org/10.3366/mod.2019.0251.

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Germany has been epitomised in the twentieth century as Britain's main rival and adversary. Yet Scottish modernists were influenced by Germany and German-language modernism to think more internationally about their nation and work, a cultural encounter that took place largely in and through translation. Willa and Edwin Muir, who in the early 1920s stayed at educational modernist A. S. Neill's experimental school in Germany, translated German-language modernists such as Kafka and Broch. Hugh MacDiarmid utilised translations of Nietzsche to inform his call for a renascent Scotland. Lewis Grassic Gibbon would write Sunset Song after reading Gustav Frenssen's regional novel Jörn Uhl. Behind this lies the contention that the breakup of world empires, such as the British and Austro-Hungarian, occasioned minor modernisms (to adapt Deleuze and Guattari) such as that in Scotland, and that translation was central to the emergence, impact, and transnationality of the Scottish renaissance movement.

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35

Dziennik, Matthew y Micheal Newton. "Egypt, Empire, and the Gaelic Literary Imagination". International Review of Scottish Studies 43 (7 de marzo de 2019): 1–40. http://dx.doi.org/10.21083/irss.v43i0.3912.

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This article presents an edition, translation, and analysis of a Scottish Gaelic song by the Reverend Seumas MacLagain [James McLagan] (1728-1805) about the battle of Alexandria of 1801. This text, which has not received any previous scholarly attention, is a rare illustration of an attempt of a member of the Gaelic intelligentsia to re-frame Gaelic identity and history so as to reconcile them with the agenda of British imperialism. While largely unmentioned in analysis of Gaelic Scotland, the victory in Egypt was a crucial moment that was used by McLagan and others to draw the Gaidhealtachd into a British sphere more completely than ever before. By exploring the motifs, formulas, and devices used by McLagan in his song, and contrasting them with other Gaelic and pan-British approaches to the victory in Egypt, this article challenges assumptions about the nature of Gaelic military song in this era and suggests the importance of British imperialism to the Gaelic literary imagination in the early nineteenth century.

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36

Lixa Victor Neves, Lucas y Bruna Aparecida Gomes Coelho. "CULTURA E NACIONALISMO ESCOCÊS: THE CORRIES, DUAS CANÇÕES E SUAS QUESTÕES". História e Cultura 10, n.º 2 (3 de enero de 2022): 399–417. http://dx.doi.org/10.18223/hiscult.v10i2.3474.

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A célebre dupla folk escocesa The Corries (1966-1990), composta por Ronnie Browne e Roy Williamson, nasceu em um efervescente período para a cultura e o nacionalismo escoceses. O revivalismo folk verificado na Escócia entre os anos 1950 e 1960 revolucionou a maneira como o público escocês se relacionava com a arte e com a política. Analisaremos os usos de referências históricas, seus possíveis objetivos e significados em duas canções gravadas pela dupla The Corries: a autoral Flower of Scotland e The Skye Boat Song, esta última uma regravação.

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37

Conway, H. y R. T. Hutcheson. "Two Sons of Paisley and the Birth of Academic Pathology in Scotland". Scottish Medical Journal 46, n.º 3 (junio de 2001): 89–91. http://dx.doi.org/10.1177/003693300104600309.

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38

Toussaint, Benjamine. "“To exult and sing out” Stevenson’s Song and the Song of a Divergent Scotland: Ronald Frame’s The Lantern Bearers". Études écossaises, n.º 15 (15 de abril de 2012): 11–28. http://dx.doi.org/10.4000/etudesecossaises.523.

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39

Gukalova, N. V. "The Inglis language and the emergence of the Lowland Scotland literary tradition". Philology and Culture, n.º 4 (29 de diciembre de 2023): 24–30. http://dx.doi.org/10.26907/2782-4756-2023-74-4-24-30.

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The paper studies the social history of the idiom spoken by the indigenous population of Lowland Scotland and the Borders of the late 12th – third quarter of the 14th centuries, as well as the first written poetic monuments of Early Middle Scots (Inglis). The aim of this study is to consider the factors that contributed to the spread of the Inglis language, giving a description of its ethnic and social base, the areas of use and the study of the first important poetic monuments written in this language, preceding the epic poem “Bruce” (1375) by J. Barbour, associated by most scholars with the emergence of the literary tradition of the Lowland Scotland regional language. The article gives a brief overview of the literary heritage of Thomas the Rhymer, the poetic work “Song on the Death of Alexander III”, as well as other written monuments of the Scottish pre-literary period. We describe the history of the creation of the “Auchinleck Manuscript”, which includes texts written in various dialects of Middle English, and points out the special scientific value of the Manuscript. As a result of the research, we have come to the conclusion that the isolation of the Scots language and the emergence of its own literary tradition was caused by both external factors, related to the independence of the Scottish state, and internal ones, related to the growth of the Inglis idiom prestige on the territory of Lowland Scotland during the period in question of the Scots language history.

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40

Graham, Michael F. "Conflict and Sacred Space in Reformation-Era Scotland". Albion 33, n.º 3 (2001): 371–87. http://dx.doi.org/10.2307/4053196.

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On Whitsunday in June 1593 William Sinclair of Galwaldmuir and two of his sons attended a kirk near Stirling to hear the Sabbath day's sermon. Perhaps they and some of their fellow parishioners were inspired by hearing the word of God, but not everyone in the neighborhood was in a forgiving mood. Just after they left the kirk, “immediatlie aftir sermond,” the Sinclairs were attacked by Sir Archibald Stirling of Keir and several of his followers. When the melee was over, the three Sinclairs lay dead. This was no random act of violence. Rather, it was part of an ongoing feud; Sinclair of Galwaldmuir had earlier been involved in the killing of Stirling of Keir's brother James. The discord originated with a disputed title to the lands of Auchinbie in the parish of Dunblane. The Sinclairs claimed that they held it in feu from the king, while the Stirlings countered that they held it on similar terms from their kinsman William Chisholm, bishop of Dunblane, and they had backed this with a royal confirmation of the feu charter the previous December. The attack was also a significant incursion of profane activity into sacred space—an act situated in such a way as to maximize its dramatic impact.By following the course of the Sinclair-Stirling feud to its conclusion and also drawing on other examples in which officials of Scotland's Reformed Kirk became involved in conflicts, either as peacemakers or antagonists, this article will examine two related issues.

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41

Hodgson, N. "The British Expedition of Septimius Severus". Britannia 45 (14 de febrero de 2014): 31–51. http://dx.doi.org/10.1017/s0068113x1300055x.

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AbstractArchaeological evidence has emerged over the last half century which helps shed light on the British expedition (a.d.208–11) of the emperor Septimius Severus and his sons, famously but meagrely reported by the historians Cassius Dio and Herodian. Excavation at the Severan supply-base at South Shields, full publication of excavations of the 1960s and 1970s at the fortress of Carpow on the Tay, and more recently at Cramond, and recent work on the indigenous societies encountered by the Romans, all offer new perspectives. The archaeological evidence is reviewed in conjunction with the historical. A critical assessment is made of: (1) the widespread belief that personal or political considerations brought Severus to Britain rather than actual need for military intervention; (2) recent claims that the fortress at Carpow was founded earlier under Commodus (a.d.180s) and abandoned even before the Severan expedition; (3) the widespread assumption that Severus wished to occupy Scotland permanently and thus be the first conqueror of the whole of Britain; (4) the prevailing view that Carpow and Cramond were abandoned and that all Roman activity in Scotland ceased abruptly on Severus’ death in February 211, and that the campaigns brought about a period of peace in third-century Britain.

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42

Bawcutt, P. "A Song from the Complaynt of Scotland: 'My Hart is Leiuit on the Land'". Notes and Queries 49, n.º 2 (1 de junio de 2002): 193–97. http://dx.doi.org/10.1093/nq/49.2.193.

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43

Bawcutt, Priscilla. "A Song from the Complaynt of Scotland : ‘My Hart is Leiuit on the Land’". Notes and Queries 49, n.º 2 (1 de junio de 2002): 193–97. http://dx.doi.org/10.1093/nq/490193.

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44

Groves, David. "‘Scotland's Guid Auld Channel Stane’: A Song by James Hogg". Notes and Queries 32, n.º 3 (1 de septiembre de 1985): 343. http://dx.doi.org/10.1093/notesj/32.3.343.

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45

Banks, Iain, Paul R. J. Duffy y Gavin MacGregor. "Archaeology of landscape change in south-west Scotland, 6000 BC–AD 1400". Scottish Archaeological Internet Reports, n.º 32 (2008): 1–40. http://dx.doi.org/10.9750/issn.2056-7421.2008.32.1-40.

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Between 1996 and 1998, Glasgow University Archaeological Research Division (GUARD) undertook a programme of archaeological investigation at the headquarters of William Grant and Sons Distillers Ltd, Girvan (NGR: NS 200 006). The work revealed evidence of occupation and use from prehistoric times, including palaeobotanical and pedological evidence of deliberate prehistoric tree clearance, and the presence of six discrete deposits of burnt mound material. The project also confirmed the survival of archaeological deposits relating to the occupation of the medieval moated enclosure of Ladywell. A number of worked lithics, indicative of prehistoric tool making or maintenance, were also recovered. The excavation and post-excavation work allowed an opportunity to explore the occupational, ecological and geomorphological history of the entire length of the valley, from the immediate post-glacial period to the present day. The results contribute significantly to our understanding of the changing patterns of human interaction with environment and landscape over a period of some 10,000 years, both in the immediate area and beyond.

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46

Davis, Joanne. "Family Trees: Roots and Branches – The Dynasty and Legacy of the Reverend Tiyo Soga". Studies in World Christianity 21, n.º 1 (abril de 2015): 20–37. http://dx.doi.org/10.3366/swc.2015.0103.

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The Reverend Tiyo Soga, ordained as a minister in the United Presbyterian Church of Scotland in December 1856, is a remarkable figure in many ways. However, one area not yet commented on in the scholarly literature on Soga is the legacy of his family within the ministry. This paper examines the role of Soga's parents, ‘Old Soga’ and NoSuthu, in his conversion and introduces his wife, Janet Soga, and their seven surviving children, of whom two sons – William Anderson and John Henderson – were ordained ministers and missionaries, and two daughters – Isabelle McFarlane and Francis Maria Anne – worked in missions in the Eastern Cape. The three remaining Soga siblings, who did not go in for the ministry, nonetheless led full and interesting lives. Kirkland Allan was a pioneer of the now ruling African National Congress, Festiri Jotelo was the first South African veterinary surgeon, and Jessie Margaret was a pianist and music teacher in Scotland, where she looked after Janet Soga after they moved to Dollar following Soga's death. In addition, Soga's nephew and namesake, Tiyo Burnside Soga, became an ordained minister and a writer, and since then, several of Soga's great- and great-great-grandchildren have become ministers. This paper seeks to situate the Soga family as a powerful family in South African religious history and its intelligentsia.

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Evans, Josie M. M., David McNaughton, Peter T. Donnan y Thomas M. MacDonald. "Pharmacoepidemiological research at the Medicines Monitoring Unit, Scotland: data protection and confidentiality". Pharmacoepidemiology and Drug Safety 10, n.º 7 (29 de noviembre de 2001): 669–73. http://dx.doi.org/10.1002/pds.644.

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AbstractThe Medicines Monitoring Unit (MEMO) is a University‐based organization that uses record‐linkage techniques to construct an observational database for the population of Tayside, Scotland (approximately 400 000 people). This contains healthcare data indexed by a unique identifier, including data on all prescriptions dispensed, which facilitates pharmacoepidemiological (and other) research. It has hitherto been possible to carry out drug safety studies in the entire population, with access to original medical records of patients where necessary, that have satisfied ethical concerns and confidentiality legislation. However, the recent UK Data Protection Act 1998 (which enforces the 1995 European Directive on Data Protection) has important implications for MEMO's research. The Act has necessitated changes to the way in which research studies are carried out, with MEMO's objective being to ensure that research can continue while protecting the rights and privacy of individual patients. This involves anonymization of data, seeking specific ethical approval for research studies and obtaining relevant permissions from ‘Caldicott Guardians’, as described in this article. Copyright © 2001 John Wiley & Sons, Ltd.

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48

Jenkins, D. y A. Watson. "Dates of first arrival and song of birds during 1974–99 in mid-Deeside, Scotland". Bird Study 47, n.º 2 (julio de 2000): 249–51. http://dx.doi.org/10.1080/00063650009461183.

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Cooke, Peter. "Gaelic Songs of Scotland: Women at Work in the Western Isles. 2006. The Alan Lomax Collection. Rounder 11661-1785-2. Recorded by Alan Lomax. Annotated by Margaret Bennett. Collection produced by Anna Lomax Wood and Jeffrey A. Greenberg. 36 pp. of notes in English (including song texts in Gaelic with English translations). 9 b/w photographs. 11-item bibliography. 1 compact disc, 38 tracks (65:33). Original field recordings made in 1951." Yearbook for Traditional Music 39 (2007): 199–200. http://dx.doi.org/10.1017/s0740155800006998.

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Nelson, C. "Tea-table miscellanies. The development of Scotland's song culture, 1720-1800". Early Music 28, n.º 4 (1 de noviembre de 2000): 596–618. http://dx.doi.org/10.1093/em/28.4.596.

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