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Relevant bibliographies by topics / Music, scottish / Dissertations / Theses

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Dissertations / Theses on the topic 'Music, scottish'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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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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2

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 be

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3

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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4

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 the

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5

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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6

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

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7

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 see

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8

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 cl

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9

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 p

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10

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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11

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 descr

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12

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 Natio

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13

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 gene

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14

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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15

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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16

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 re

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17

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 a

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18

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 pre

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19

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 organ

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20

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 sk

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21

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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22

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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23

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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24

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

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25

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

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26

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 conce

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27

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 con

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28

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/.

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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

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29

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 thi

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30

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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31

Emmick, Matthew S. "Scottish and Irish elements of Applachian fiddle music /." 1995. http://digitalcommons.butler.edu/ugtheses/21/.

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32

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

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