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Dissertations / Theses on the topic 'Music, scottish'
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1
Olson, Ted. "Scottish Culture: Scottish and Scots-Irish Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1199.
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Stevenson, William. "Excellence in Scottish church music." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14473.
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Two propositions are advanced in the present study: firstly, national, not theological, attitudes have been the main influence on Scottish church music from the earliest days to the present; secondly, the present vitality of Scottish music can be traced back to a 19th-century search for musical excellence in church services by clergy, precentors and organists. Until the 19th century Scottish church music reflected a national indifference to music in general. Neither in pre-Reformation nor post-Reformation times is there completely convincing evidence of high-quality secular musical activity before a brief, if brilliant, period in Edinburgh during the late 18th century. Improvements in the national awareness of classical music came as a result of sweeping changes the Scottish churches had to make when they confronted the scientific and philosophical revolutions of the 19th century. Despite some resistance on the part of congregations, music came to be seen as a way of emphasising confidence and solidarity in the Christian faith. Thereafter more and more expert musicians were attracted to work in Scottish churches with long-term benefits for the churches themselves and for the community in which many of then worked as teachers and administrators. With a greater awareness of the potential benefits of music making, Scottish church and school soon began to regard musical excellence not only as desirable but also as a rationale - excellence equals truth. The pursuit of excellence on the part of leading clergy and church musicians from the late 19th century to the present, which has done so much for the musical health of the nation, has recently given rise to increasing concerns about accessibility. These concerns have fundamental implications for the music of the Scottish Church.
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Stell, Evelyn Florence. "Sources of Scottish instrumental music 1603-1707." Thesis, University of Glasgow, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323238.
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Anderson, Kirstin. "Music education and experience in Scottish prisons." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/9598.
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This research presents the first empirical study of music provision in Scottish prisons and explores the potential benefits of music engagement for prisoners, with a focus on young offenders’ experience. The scope of the study begins with an investigation into music provision in prisons throughout Scotland by means of a small-scale survey. This survey showed that despite a lack of documentation, music is currently present in Scottish prisons and has been previously, albeit intermittently. Music provision included a range of activity: learning how to play musical instruments, singing, music theory, song-writing and composition. Subsequently, two music intervention studies were conducted with young offenders at HM Young Offenders Institution Polmont. The first study was a ten-week project with three participant groups: a music group, an art group and a control group. Pre- and post-interviews and measures were used to assess participants’ self-esteem, self-control, behaviour, literacy skills and engagement with education. Numerous difficulties were identified with conducting such research in a prison environment, including the recruitment process and using standard assessment measures. However, results from the small number of men involved showed!an increase in engagement with education for all three groups during the project and a steady continued increase in education engagement for the music group after the project ended. Additionally, the music and art groups showed a small increase in mean scores for self-esteem, positive emotions reported and self-control. The second study examined two music interventions with young offenders as part of the year-long Inspiring Change pilot project. This study used interviews and session review forms with education staff and arts practitioners to document the process of the organisations involved in the planning and implementation of the projects. Focus groups with young offenders were carried out to gather their opinions of the programmes. Participants expressed that they especially appreciated the high level of professionalism of the arts practitioners, working as a group, and being recognised as making an individual contribution towards a final project. In addition to the survey and intervention studies, a Knowledge Exchange workshop was designed for music tutors in Scottish prisons to meet, learn about research on music in prisons, and exchange ideas for best practice. A workbook and afternoon workshop format was investigated in terms of its effectiveness and was found to be beneficial for music tutors in learning more about the research and practice of teaching music in prisons. This thesis contributes to the developing research on the benefits of music provision for prisoners and provides a baseline of music provision in Scottish prisons for further study.
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Munro, Gordon James. "Scottish church music and musicians, 1500-1700." Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/882/.
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Noltingk, Jacqueline Susan. "The Scottish orchestras and new music, 1945-2015." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8727/.
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This dissertation critically examines the presentation of new music in live concerts by three Scottish orchestras. It considers what they have commissioned, what performed, the context in which the music has been programmed, and who was involved. The orchestras are the three which are established on a permanent basis and give regular subscription series in Scotland: the BBC Scottish Symphony, Royal Scottish National, and Scottish Chamber Orchestras. The study contributes to the debate around classical music programming of new music, taking these orchestras as examples. It asks how in practice some of those responsible for programming in the period from 1945 to 2015 have reconciled conflicting expectations and desires. On the one hand there is a vast heritage, an 'imaginary museum', of old music, and it is this which most audiences want to hear. On the other hand, living composers continue to write and some audiences want to hear their music performed. This is music which speaks of and to our own times. The dissertation asks about some of the factors which have influenced programmers' decisions and how those programmers have presented new music to the public — alongside the old, in special events, or in another way. It considers the advantages and disadvantages of each type of programming. Underlying these questions is the changing status in the west of western classical music. Even if it is not dying, as some commentators have stated, it is but one among many musics, with a relatively small market share. Given that situation, are orchestras, which are heavily dependent on public and/or private funding, still relevant to contemporary society? And if so, is part of their role to reflect aspects of that society by playing new music?
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Glen, Katherine Marshall. "Expressive microtimings and groove in Scottish Gaelic fiddle music." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54477.
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This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listeners’ bodies in complex ways and stimulate movement. My study focuses on the reel, a type of dance tune used in the Scottish Gaelic tradition. Despite the repetitiveness and relative simplicity of the melody in this genre, these tunes have been widely played and performed for many years, and this seems to be due, in large part, to their rhythmic features. I analyze five recordings of a popular reel, “Jenny Dang the Weaver,” by different performers, using methodologies typically applied to the jazz canon. Each recording features only a solo fiddle, so any expressive microtimings are the result of the single performer and musical line, not influenced by interaction with other instruments. My analysis demonstrates that these recordings create groove through beat subdivisions and subversion of expected microtiming patterns.
The primary method for analysis is a comparison of beat-upbeat ratios (BUR) and upbeat-beat-ratios (UBR) throughout the measure to determine any trends or significant outliers. The analysis shows that these performers, despite their different backgrounds, share certain microtiming trends and patterns (particularly in the performance of beats 2 and 3, and the presence of phenomenal accents on beat 2), which could therefore be understood as characteristic features of the Gaelic style. Conversely, I also demonstrate that while conforming to those patterns, each musician nevertheless has idiosyncrasies of microtiming that distinguish them from each other.Arts, Faculty of
Music, School of
Graduate
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Clements, Joanna. "The creation of 'ancient' Scottish music history, 1720-1838." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4699/.
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This thesis examines the writing of Scottish music history from the 1720s to 1838. It concludes that the Scottish music histories written over this period were fundamentally shaped by the interaction of ideas about universal historical progress with ideas specific to the Scottish context of the work. Ramsay’s pioneering claims that Scots songs were ancient were supported by parallels between the features of song – simplicity, pastorality and naturalness - and ideas about the nature of the past held more widely. The contrasts he drew with Italian music and English verse further supported his claims in ways specific to the Scottish context. In the later eighteenth century the Enlightenment model of universal historical progress – simple and pastoral societies developed into complex and commercial ones over time - came to underpin the continued perception that Scots songs were ancient. This same universal model underpinned narratives of scalic development, and narratives of preservation. Contemporary perceptions of the place of the Scottish Highlands and rural societies in the universal model of historical progress resulted in the collection of more purportedly historic song from Highlanders and the rural poor of the Lowlands and Borders. These same perceptions also seem to have resulted in the differing use of written sources to create a picture of a gradually evolving Lowland/Border music history and a static Highland music history. Specifically Scottish destructive events were used to explain the lack of other forms of evidence of purportedly ancient songs in the past: the Reformation, defeudalisation, and the modernisation of the countryside form turning points in many of the narratives. Writers’ reasons for writing Scottish music history similarly reveal twin concerns with the universal and the particularly Scottish. In foregrounding the social and cultural factors which underpinned the construction of Scottish music history in the eighteenth and early nineteenth centuries, this study challenges the continued inclusion of elements of the present-day received view. In addition, in demonstrating the parallels between music-historical and historical writings more broadly this thesis enriches our understanding of Enlightenment historical thought.
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McKerrell, Simon Alasdair. "Scottish competition bagpipe performance : sound, mode and aesthetics." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/4809.
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This study is an ethnomusicological analysis of Scottish competition bagpiping, examining three fundamental aspects of performance: sound aesthetics, performance aesthetics and the modal complex of the core repertoire. Through a mixture of discussions, modal analysis and reflections upon performance, it deconstructs the music of the 2/4 competition pipe march and the aesthetics surrounding competition performance. Focussing on a small number of the world's leading Highland bagpipers, this research demonstrates how overall sound combined with the individual choices about repertoire and how to play it, results in the maintenance of individual identity. In chapter three, analysis of the ‘modal complex', comprising pitch sets, hierarchies, phrasing-structure, the double-tonic, structural tones, melodic motifs and rhythm-contour motifs reveal the characteristics of various modes in the 2/4 competition pipe march. As an insider of this music-culture, I offer a definition of mode based upon motivic content rather than pitch set. The modal complex is framed by an understanding of how pipers themselves think about their competitive tradition. Understanding the concepts presented in this thesis provides an original and holistic picture of how Scottish bagpipe competition performance sounds the way it does.
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Sparling, Heather. "Puirt-a-beul an ethnographic study of mouth music in Cape Breton /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ56204.pdf.
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McLaughlin, Sean Robert. "Locating authenticities : a study of the ideological construction of professionalised folk music in Scotland." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7947.
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In the last forty years, there has been a steady increase in research on Scottish traditions of music and song. Growing from its roots in ‘collection’, the field (in Scotland) has been dominated by rather limiting methodological approaches. The study of Scottish folk music has seriously neglected post-‐1960s cultural practices and the influences of hybridisation, professionalisation and commercialisation. These and related areas of the field are largely uncharted in departments of Music and Scottish Studies. One result, stemming from this problem, is a continuing confusion in the use of descriptive and ideological terms. ‘Folk music’ is the most widely used concept and its problematic and elusive meaning, its function for and understanding by industry professionals, is the focal point of this thesis. The aims of this thesis are to position current understandings of ‘folk’ as a term and a practice in the wider social and historical contexts of British folk music and to investigate the ways in which the discursive history of folk music informs contemporary cultural practices. My objective was to uncover, in particular, what, according to today’s performers and other industry participants, gives Scottish folk music its contemporary meaning. My thesis is designed to shed new light on the ideological and aesthetic constructions of folk music in Scotland.
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McAulay, Karen E. "Our ancient national airs : Scottish song collecting c.1760-1888." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1242/.
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This thesis explores the musical dimension of Scottish song-collecting between the years c.1760 and 1888. The collections under investigation reflect the general cultural influences that bear on their compilers, starting with those associated with what we now call the Scottish Enlightenment, and continuing with those we associated with developing nineteenth-century romanticism. Building upon the work of Harker on the concept of ‘fakesong’, and of Gelbart on the developing idea of ‘folk’ versus ‘art’ music, I suggest that the sub-title of James Johnson’s Scots Musical Museum, ‘Our Ancient National Airs’, has implications which can be traced throughout this period. The nature of the finished collections tells us much about editorial decisions, value-judgements, and intended audiences. The prefaces, other published writings and surviving correspondence have been especially informative. Parallels can be traced between Joseph and Patrick MacDonald’s A Collection of Highland Vocal Airs, and the Ossian works of James Macpherson, embodying an urge to record and preserve the heritage of Highland Scotland’s primitive past. The collaborations of Robert Burns with James Johnson and George Thomson, and the English Joseph Ritson’s Scotish Song, similarly reflect the antiquarian ‘museum’ mentality. However, the drive to record and codify is tempered by Burns’s and Thomson’s wish simultaneously to improve and polish. The ‘discovery’ of the Highlands as a tourist destination, and the appeal of its primitive history, prompted a substantial body of literature, and Alexander Campbell’s output particularly exemplifies this, but the sense of place was as much a motivator for private collectors. It can also be demonstrated that later song-collectors, such as Robert Archibald Smith, were as much motivated to create and improve the repertoire, as were James Hogg and his literary peers. A passion for domestic music-making, and an increased wish to educate and inform, is evidenced in song-collections by George Farquhar Graham, Finlay Dun and John Thomson, but most significantly, this thesis demonstrates a resurgence of cultural nationalism, driven as much by William Chappell’s anxiety to define and defend the English repertoire, as by Andrew Wighton’s and James Davies’ passion for the Scottish, with Graham and Laing caught in the crossfire. Thus, even if ‘Our Ancient National Airs’ appeared at different times in different kinds of musical setting, and for differing purposes, it can clearly be demonstrated that published Scottish song-collections of this period can, indeed, be taken to reflect a wider range of contemporary cultural trends than has hitherto been recognised.
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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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Collinson, Lucy M. "A living tradition? : the survival and revival of Scottish Gaelic song." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343498.
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Perttu, Melinda Heather Crawford. "A Manual for the Learning of Traditional Scottish Fiddling: Design, Development, and Effectiveness." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299300924.
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Hook, Dave. "An autoethnography of Scottish hip-hop : identity, locality, outsiderdom and social commentary." Thesis, Edinburgh Napier University, 2018. http://researchrepository.napier.ac.uk/Output/1255222.
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The published works that form the basis of this PhD are a selection of hip-hop songs written over a period of six years between 2010 and 2015. The lyrics for these pieces are all written by the author and performed with hip-hop group Stanley Odd. The songs have been recorded and commercially released by a number of independent record labels (Circular Records, Handsome Tramp Records and A Modern Way Recordings) with worldwide digital distributionlicensed to Fine Tunes, and physical sales through Proper Music Distribution. Considering the poetics of Scottish hip-hop, the accompanying critical reflection is an autoethnographic study, focused on rap lyricism, identity and performance. The significance of the writing lies in how the pieces collectively explore notions of identity, ‘outsiderdom', politics and society in a Scottish context. Further to this, the pieces are noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective. Reflecting the multi-disciplinary nature of hip-hop studies, an autoethnographic framework (Monaco, 2010; Munro 2011) is combined with poetic analysis, musicological discussion and social and cultural studies toexamine the pieces that comprise the published works. Through a consideration of poetics, linguistics, sociological issues and cultural considerations, a schematic emerges, describing a construct of lyrical techniques, signifying practices, social interactions and outsider narratives that speak to (re)imagining, (re)creating and (re)constructing local culture by expressing it through hip-hop and vice versa. This study demonstrates new knowledge regarding global and local intersections in Scottish hip-hop, identity construction and negotiation, and creative approaches to rap storytelling.
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McKinney, Rebecca. "Old tunes for new times : contemporary Scottish nationalism and the folk music revival." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/22476.
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This thesis examines the complex of relationships between the contemporary drive for Scottish self-determination and the performance of Scottish folk and traditional music. The central argument of this work revolves around A.P. Cohen's (1996) notion of personal nationalism, which posits that individuals make the concepts of nation and nationalism relevant to themselves through daily experience and practice. Rather than examining or attempting to define Scottish nationalism as an internally homogeneous movement, this thesis focuses upon the ways in which various types of nationalist sentiment are created, expressed, and shaped through a particular form of cultural performance. Thus it is argued that there are numerous types of nationalism in Scotland, ranging from the Scottish National Party's explicit calls for political independence to artistic and cultural expressions of "Scottishness" which may or may not be directly connected to specific party-political objectives. As an ethnographic study of largely amateur folk music performers in Edinburgh, this work examining the role of music and musical performance in everyday life. It argues that, for these individuals, music and music-making are central in the formation of a sense of both personal and social identity. Through the performance of music which is symbolically linked to aspects of Scottish history, geography, cultural tradition and language, these performers see themselves to be performing aspects of Scottishness: a national identity which cannot be objectively defined but which is continually shaped and re-shaped through cultural practice. The Scottish musical traditions are discussed as ones which the musicians perceive to be still "living" and changing, rather than as historical artefacts to be preserved. This thesis draws upon the interdisciplinary studies of contemporary Scottish politics, society, and culture and, based upon fieldwork conducted from August 1996-October 1997, is historically situated in a time of political change.
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French, Gillian. "Follow the band : community brass bands in the Scottish Borders." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9482.
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This thesis presents research into the history and contemporary context of brass bands in the Scottish Borders. It discusses how the survival of the brass bands in the Scottish Borders can be accounted for over the last 150 years, in particular with regard to the continuity of their interaction with the community which has enabled them to overcome cultural, social and demographic changes. The textile industry which provided a stimulus for the formation of the brass bands in the nineteenth century has largely disappeared, but the traditional role of the bands has been carried forward to the present day. Previous study of the social and cultural history of the brass band movement has concentrated on the history of brass banding in the North of England. Although research into the history of brass bands has been carried out in other areas of Britain such as the South of England this is the first in-depth study of these bands in a region of Scotland. This research follows previous studies of amateur music-making in specific locations by studying in detail the brass bands that exist in seven towns and one village of the Scottish Borders where the bands can date their formation to the mid-nineteenth century. Historical and archival research has provided most of the data relating to the first hundred years, including the use of individual band archives, local newspaper archives and museum records. Ethnographic methods, including interviews and participant observation, have provided the data for more recent times. Details of brass band repertoires have been extracted from various sources including musical examples taken from individual band libraries. A central research finding is the strong relationship of the brass bands with their local communities, particularly the support given to the bands by local people and the way in which the bands support their communities by providing music for civic and community events. The close relationship of the brass bands with their local communities has been fundamental in providing the means by which the bands have been sustained over time. There is a strong Scottish Borders identity that links the towns, especially through family ties, and this is also found in a musical repertoire with songs that are specifically connected to the region and to individual towns. By playing this music for civic and community events, especially at the time for the Common Ridings which are annual events unique to the Scottish Borders, the brass bands have provided a service to the community which has ensured their survival.
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Miller, Josephine L. "An ethnographic analysis of participation, learning and agency in a Scottish traditional music organisation." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/14286/.
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The aim of this thesis is an ethnographic investigation of social and musical participation, learning and agency in a traditional music organisation in Scotland. I documented the activities of an established group and related my findings to wider scholarship. In previous studies of the transmission of traditional music, little attention has been given to the structures and practices of community-based groups which set out to create environments for learning and making music. This thesis uses a case study approach to research how competence is acquired and employed in one large charitable organisation, where learning is jointly shaped by tutors and participants. Fieldwork was undertaken mainly between January 2013 and June 2014, with Glasgow Fiddle Workshop (founded in 1990). I observed classes, sessions and events, typically in Further Education Colleges in Glasgow, but also in pubs and domestic settings. I engaged closely over an extended period with the diverse activities of GFW. I observed, conducted interviews, participated, recorded audio-visual data, and kept field notes as part of a multi-modal methodology. The key findings of this empirical study are that participation and agency function in multiple ways to empower members and tutors in communicating repertoire, skills and performance practice. It is argued that some existing models of music learning are inadequate in relation to the learning of traditional music, and that a more sophisticated conceptual framework is needed to describe the nature of the musical community observed. The conclusion to this thesis asserts that perceptions and practices of traditional music as social and participatory are central to the transmission of the genre, and learning roles are flexible in a stylistic community of practice which facilitates musical and social agency. This study contributes to scholarship on music learning in addressing cross-cutting themes and synthesising theoretical approaches, with potential impact for our understanding of wider, comparative practices of music making in the contemporary world.
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Swarbrick, Elizabeth Joy. "The medieval art and architecture of Scottish collegiate churches." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12210.
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Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded. To the author's knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.
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Davies, Morgan Lloyd. "The impact of change upon music curriculum practice in Scottish schools between 1978 and 2000." Thesis, University College London (University of London), 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430831.
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Nebel, Deanna T. "Scottish Fiddling in the United States: Reviving a Tradition and Maintaining a Community." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429628404.
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Burke, Victoria Elizabeth. "Women and seventeenth century manuscript culture : miscellanies, commonplace books, and song books compiled by English and Scottish women, 1600-1660." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338746.
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Ritchie, Martin Scott. "'Dour-mongers all?' : the experience of worship in the Early Reformed Kirk, 1559-1617." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25907.
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This thesis studied the experience of worship in Scotland in the first generations after the Scottish Protestant Reformation. It was inspired by the realisation that earlier historiography had been a denominational battle-ground whose dogmatism had obscured the view of worship in the parish. Aonghus MacKechnie’s phrase, ‘Dour-Mongers All?’ sums up the leading question; was Reformed worship as austere and colourless as its detractors and advocates suggested? Questions surrounding the key components of Reformed worship: architecture, liturgy, music and preaching have more recently been addressed with less sectarian interest, but these individual strands have tended to be studied in isolation. In terms of the experience of worship, they belong together. Traditionally, the period 1560-1638 has been used as the period defining the first phase of the Reformed Kirk, with the National Covenant of 1638 marking the end of what could be called the experimental phase of the new dispensation. However, 1559 was chosen as the starting point to recognise the significant changes to worship that began with the “cleansing” of the churches and friaries of Perth and St Andrews in that year. The terminal date of 1617 marked King James VI’s return to Scotland, during which worship at Holyrood Palace was conducted in the manner of the English court both in terms of liturgical materials, music, and the refurbishment of the Chapel Royal. This proved to be a portent of James’ vision for liturgical change by statute in the Five Articles of Perth that were a significant watershed for the Kirk. Whilst it took another 20 years for the full outworking of this policy under his son Charles I, after 1617 the vibrant and complex worship culture of the Scottish Kirk that had been developed since 1559 began to be squeezed. That culture became a victim of the polemicized battle between extreme Scottish and English Reformed models advocated in the growing controversy over the relationship between Church, Crown and State within the Three Kingdoms. By 1650, an austere new psalter and worship directory had been adopted by the victors and the diversity and richness of the earlier Scottish worship culture had been lost. The first part of the necessarily multi-disciplinary thesis explores the experience of worship by isolating its key components: church buildings and furnishings, liturgical material, and singing. It does this by analysing the surviving material culture and the written and visual documentary evidence of church buildings and interior furnishings used for worship after 1559; surveying the nature, extent and use of the liturgical material included within the Psalme Buiks, with particular focus on the Henrie Charteris edition of 1596; and exploring the development and impact of the new and popular phenomenon of metrical Psalm-singing. The second part assesses the contribution of four significant ministers: John Davidson, James Melville, William Cowper, and John Welch, examining their lives, writing and preaching and judging how their contribution enriched the experience of worship in their parishes. This evidence is used to reconstruct the experience of worship in this period and show that it was vibrant and compelling, influenced in its raw materials by much from outside Scotland but strongly developed in the diverse contexts of Scottish parishes.
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Phillips, Olivia H. "Marine Melodies: Traditional Scottish and Irish Mermaid and Selkie Songs as Performed by Top Female Vocalists in Contemporary Celtic Music." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/622.
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Mermaids and human-seal hybrids, called selkies, are a vibrant part of Celtic folklore, including ballad and song traditions. Though some of these songs have been studied in-depth, there is a lack of research comparing them to each other or to their contemporary renditions. This research compares traditional melodies and texts of the songs “The Mermaid,” “The Grey Selchie of Sule Skerry,” and “Hó i Hó i” to contemporary recordings by top female vocalists in Scottish and Irish music.
The texts and melodies I have identified as “source” material are those most thoroughly examined by early ballad and folklore scholars. The source material for “The Grey Selchie of Sule Skerry” is a 1938 transcription by Otto Andersson. The source of notation and text for “The Mermaid” is the ballad’s A version from the Greig-Duncan Collection. The melody of “Hó i Hó i,” collected by folklorist David Thomson and published in 1954, serves as the third source version. Modern recordings included in the study are “The Mermaid” by Kate Rusby, “The Grey Selchie” by Karan Casey with Irish-American band Solas, and “Òran an Ròin,” a variant of “Hó i Hó i,” by Julie Fowlis.
This study compares the forms, melodic contours, and texts of these variants, examining ways that contemporary recordings have maintained the integrity of traditional songs and ballads from which they are derived while adapting them to draw in a contemporary audience. The thesis illustrates the continued and evolving presence of mermaids and selkies in Scottish and Irish song.
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Cooper, Kathryn Lavinia. "Robert Edward's Commonplace Book : the context and function of a seventeenth-century Scottish music manuscript (GB-En MS.9450), with an edition of the musical content." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7394/.
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This study concerns the manuscript music book of Robert Edward (c. 1614–c. 1697), minister, author and musician. The manuscript, formerly part of the library at Panmure House, is now held in the National Library of Scotland and is commonly referred to as ‘Robert Edward’s Commonplace Book’ (GB-En MS.9450). The present study is in two parts and begins with an exploration of the physical book, including the structure, compilation, hands and ownership before a second chapter explores the biography of the eponymous owner, contextualising GB-En MS.9450 locally and nationally. The third chapter concerns the function of the manuscript which, it is argued, is closely related to pedagogy. The final three chapters discuss the content of the manuscript, taking in turn the vocal music, instrumental music and the selection of Italian three-part villanelle.
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Nelson, Claire M. "Creating a notion of 'Britishness' : the role of Scottish music in the negotiation of a common culture, with particular reference to the 18th century accompanied sonata." Thesis, Royal College of Music, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489910.
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Since the creation of the British nation in 1707, scholars have traditionally assumed an Anglo-centric bias to British culture. However, in terms of music it has long been acknowledged that throughout the eighteenth century, England experienced a dearth of native compositional innovation. This thesis instead presents Scotland, and in particular Scottish music, as the cultural power-base of eighteenth-century Britain, its influence extending to the early years of the nineteenth century. It contends that the promotion of Scotland's culture, particularly in the period between 1760-1800, was a conscious attempt on the part of Scotland's intellectual classes to provide their homeland with the strongest possible profile within the emergent British national identity. Achieved through the introduction of a number of significant texts in the fields of literature, philosophy and music; the importance of Scottish music in the cultivation of a British national musical culture is demonstrated through an examination of the representation of national identity in, and the political context of, music; its philosophical ideology, status and reception history; and, as far as is possible, the intentions of the composers and editors who created it. As a result, this study demonstrates that British, and in particular London audiences accepted Scottish music as representative of their national musical culture. The popularisation of Scottish music was accomplished at the instigation of a core, interrelated group of individuals - notably including the philosopher James Beattie, and the editor and publisher George Thomson - but resulted in a transformation of the performing practice of music incorporating Scottish melodies. In creating an acceptable compromise between European and Scottish compositional styles, composers such as J C Bach, Pleyel and Kozeluch evolved what was to become known as 'the Scotch style' - a collection of fundamental Scottish characteristics which captured, but did not necessarily replicate, Scotland's native compositional style. As can be heard on the accompanying CD, the accompanied sonata epitomises the sound world of these pseudo-Scots arrangements, whose song-like qualities succeeded in capturing the imagination and attention of Scottish and English audiences alike.
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Dunbar, Sarah. "Tommy Smith's Two Sonatas, "Hall of Mirrors" and "Dreaming with Open Eyes": A Performance Guide and Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538774/.
Full textAbstract:
Tommy Smith is considered by many to be one of the greatest jazz saxophonists not only in Scotland, but world-wide. Celebrated for his virtuosic performance skills, tremendous compositions, and prized albums in the jazz idiom, Smith has also had great success as a composer and performer of the classical genre. Fusing the styles of jazz and classical, he composed and recorded two sonatas, entitled, Sonata No. 1 - Hall of Mirrors and Sonata No 2. - Dreaming with Open Eyes, on his 1998 album, Gymnopédie: The Classical Side of Tommy Smith. Unique pieces, they are not considered standard repertoire in the classical saxophone world, however, they are welcomed, substantial works for either the soprano or tenor saxophone and piano. Composed in a classical style and performed with jazz inflections and improvisation, these sonatas are challenging pieces to learn and execute at a high level. For many classical saxophonists, improvising a cadenza or utilizing standard jazz performance techniques could dissuade them from performing these terrific, distinctive works. This study is intended to aid in the learning and presentation of these two pieces, and includes transcriptions from Tommy Smith's album, errata, and performance analyses for each sonata.
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Gasser, Mark. "Ronald Stevenson, composer-pianist : an exegetical critique from a pianistic perspective." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/694.
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This exegetical critique makes a conceptual summation of Ronald Stevenson’s life’s work for the piano and his contributions as a composer‐pianist. Chapters one and two provide a profile of Stevenson as a pianist, examining the aesthetic and musical concerns that defined his long career, as well as precedents and antecedents of his pianism. Of particular interest are the ways that Stevenson coalesces aspects of the ‘grand manner’ and his obsession with a pianistic bel canto style. Chapter three examines Stevenson’s remarkable output in terms of piano transcriptions. His conceptualization of this as ‘capturing the essence’ of the original composer is used to mount a defense of this erstwhile unfashionable genre, examining the ways that Stevenson’s output blurs the line between transcription and composition. Chapter four offers a detailed examination of the art of pedalling in Stevenson’s own work, particularly the use of the sostenuto pedal, and the ways that he exploited more complex forms of combination pedalling in his compositions and transcriptions.
Chapter five examines the ways that Stevenson’s works abound with socio‐political referencing and historical allusions, with particular attention to the Passacaglia on DSCH—a work that constituted such a political provocative act that it resulted in a police raid. Chapter six further interrogates aspects of the Passacaglia, its embodiment of the miniature and the monumental, and the ways that it personifies the culmination and summation of Stevenson as both a pianist and composer.
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Maughlin, Ashley Marie. "A graduate recital in wind band conducting : featuring analysis of Malcolm Arnold's Four Scottish Dances, arr. John Paynter, Marion Gaetano's Mosaic, Op. 30 for percussion octet, and Joan Tower's Celebration Fanfare from "Stepping Stones," arr. Jack Stamp." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1412.
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Emmick, Matthew S. "Scottish and Irish elements of Applachian fiddle music /." 1995. http://digitalcommons.butler.edu/ugtheses/21/.
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Lutz, Gretchen Kay. "The feminine corpus in F. J. Child's collection of the English and Scottish popular ballads." Thesis, 1998. http://hdl.handle.net/1911/19283.
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The ballads examined here are from F. J. Child's The English and Scottish Popular Ballads, the authoritative collection of ballads. Though definitions of the ballad vary, most agree that the ballad is an orally transmitted folksong that tells a story. The Child ballad collection has stood a solitary monument from its publication (1882-1894). In it Child brought together from manuscripts and printed sources all of the extant English and Scottish ballads that he regarded as authentic. Though Child's work itself was groundbreaking, exploring territory marginal to the sort of academic study making up his official duties as professor of English at Harvard, his collection soon became canonical, subjected to critical study as a sub-genre. Perhaps because Child himself died before he could write his essay on what the ballads were and what they meant, since Child's death, much of the critical work has been an attempt to fill in what was left undone by Child, that is, defining the ballad and analyzing the criteria by which Child made his choices. In more recent times, critical studies of Child's works have applied psychoanalytic and feminist critiques to selected ballads. Yet, no previous work has examined the relationship of Child himself to his collection. This work sets out to view the Child collection in terms of literary critical theory, showing that Child's collecting is an act of Lacanian paternity whereby the collector, attracted especially by the bodies of the female characters, is moved to bring all the ballads under his dominion yet is subverted in his desire for dominion as female characters present themselves in terms of "bodytalk." Chapter one shows Child's collecting as Lacanian paternity. Chapter two focuses on the presentation of women's bodies in the ballads, The final chapter shows that the women characters in selected ballads speak according to what critic Jane Burns terms "bodytalk."