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Journal articles on the topic 'Music, scottish'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

CHISHOLM, LEON. "WILLIAM MCGIBBON AND THE VERNACULARIZATION OF CORELLI'S MUSIC." Eighteenth Century Music 15, no. 2 (September 2018): 143–76. http://dx.doi.org/10.1017/s1478570618000039.

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ABSTRACTIn his 1720 poem ‘To the Musick Club’ Allan Ramsay famously called upon an incipient Edinburgh Musical Society to elevate Scottish vernacular music by mixing it with ‘Correlli's soft Italian Song’, a metonym for pan-European art music. The Society's ensuing role in the gentrification of Scottish music – and the status of the blended music within the wider contexts of the Scottish Enlightenment and the forging of Scottish national identity – has received attention in recent scholarship. This article approaches the commingling of vernacular and pan-European music from an alternative perspective, focusing on the assimilation of Italian music, particularly the works of Arcangelo Corelli, into popular, quasi-oral traditions of instrumental music in Scotland and beyond. The case of ‘Mr Cosgill's Delight’, a popular tune derived from a gavotte from Corelli's Sonate da camera a tre, Op. 2, is presented as an illustration of this process. The mechanics of vernacularization are further explored through a cache of ornaments for Corelli's Sonate per violino e violone o cimbalo, Op. 5, by the Scottish professional violinists William McGibbon and Charles McLean. The study foregrounds the agency of working musicians dually immersed in elite and popular musical traditions, while shedding new light on McGibbon's significance as an early dual master of Italian and Scots string-playing traditions.

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Nelson, Claire. "Scottish chamber music." Early Music XXIX, no. 3 (August 2001): 461–63. http://dx.doi.org/10.1093/earlyj/xxix.3.461.

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3

Williamson, Magnus. "Early Scottish music." Early Music XXV, no. 3 (August 1997): 489–91. http://dx.doi.org/10.1093/earlyj/xxv.3.489.

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4

Purser, J. "Scottish strains." Early Music 37, no. 1 (February 1, 2009): 121–23. http://dx.doi.org/10.1093/em/can150.

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5

Mantie, Roger, Jonathan Bayley, Kari Veblen, Kirsten Allstaff, and Danielle Sirek. "Considering musical communities online and offline: A dedication to the life and work of Janice Waldron (13 April 1957–7 November 2022)." International Journal of Community Music 16, no. 1 (March 1, 2023): 113–23. http://dx.doi.org/10.1386/ijcm_00078_1.

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Janice Waldron (1957–2022), professor at the University of Windsor (Canada), was an accomplished musician, teacher and researcher. Her scholarly passions revolved around informal music learning practices, online and offline music communities, social media and music learning, and Irish and Scottish traditional musics. In this dedication to Waldron, five friends and colleagues – Kari Veblen, Jonathan Bayley, Kirsten Allstaff, Danielle Sirek and Roger Mantie – offer reflections on her life and work and the legacy she has left for scholars and practitioners of community music.

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6

Holman, P. "English and Scottish instrumental music." Early Music 42, no. 2 (April 29, 2014): 307–9. http://dx.doi.org/10.1093/em/cau047.

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7

Kay, Anthony. "Scottish weather in Mendelssohn's music." Weather 67, no. 3 (February 27, 2012): 83. http://dx.doi.org/10.1002/wea.1914.

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8

Woods, Isobel. "‘Our Awin Scottis Use’: Chant Usage in Medieval Scotland." Journal of the Royal Musical Association 112, no. 1 (1987): 21–37. http://dx.doi.org/10.1093/jrma/112.1.21.

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In September 1507, James IV of Scotland issued a licence to the Edinburgh printers Chepman and Millar to produce, among other books, mass books, manuals, matin books and breviaries ‘efter our awin Scottis use’. This same licence (see Appendix 1) prescribes that these new books be used throughout Scotland and that all imports according to Salisbury use be banned. This Scottish use, therefore, was considered to be a separate entity – but what was it?

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9

Mikusi, Balazs. "Mendelssohn's "Scottish" Tonality?" 19th-Century Music 29, no. 3 (2006): 240–60. http://dx.doi.org/10.1525/ncm.2006.29.3.240.

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Several of Mendelssohn's minor-mode songs, duets, and choral songs feature a peculiar tonal move: a sudden shift takes us to the relative major (without a "modulation" proper), but the opening minor key soon returns equally abruptly (via its V). Closer examination of these pieces suggests that the composer used the major-mode excursus as a topos, whose associations include the ideas of farewell, wandering, and distance (the latter both in the geographical and chronological sense, in accordance with the shift's quasi-modal--thus equally exotic and archaic--character). I suggest that this topos may have influenced the tonal structure of at least three large-scale Mendelssohn compositions, all of which are closely related to the same exotic and historical ideas. In the Hebrides Overture the relationship between the primary B minor and the secondary D major is (for a sonata-form movement) exceptionally equal: rather than acting as sharply contrasting tonal areas, they almost appear as two sides of the same key. The first-act finale of the unfinished opera, Die Lorelei, elaborates the original topos in another way: the E-minor-G-major kernel is extended in both directions, resulting in a chain of third-related keys, which eventually takes us back to the opening E level (now turned into major). In the light of this example, the (less complete) third-layered tonal structure of the "Scottish" Symphony may also be understood as growing out from the same miniature song topos.

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10

Noden, Shelagh. "The Revival of Music in the Post-Reformation Catholic Church in Scotland." Recusant History 31, no. 2 (October 2012): 239–60. http://dx.doi.org/10.1017/s0034193200013595.

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This article presents a narrative description of the state of music in the Scottish Catholic Church from the Reformation up to the publication of George Gordon’s collection of church music c.1830. For the first two hundred years after the Reformation, Scottish Catholics worshipped in virtual silence owing to the oppressive penal laws then in force. In the late eighteenth century religious toleration increased and several members of the clergy and other interested parties attempted to reintroduce singing into the worship of the Scottish Catholic Church. In this they were thwarted by the ultra-cautious attitude of the Vicar-Apostolic for the Lowland District, Bishop George Hay, who refused to allow any music in Catholic churches in case it should inflame Protestant opinion. Only after his retirement could the reintroduction take place, and the speed at which it was achieved bears witness to the enthusiasm and commitment of Scottish clergy and laity for church music. Research in this area is long overdue, and it is hoped that this article will form a basis for further investigations.

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11

Ross, D. James. "Review: Our awin Scottis use: Music in the Scottish Church up to 1603." Music and Letters 83, no. 2 (May 1, 2002): 283–85. http://dx.doi.org/10.1093/ml/83.2.283.

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12

STEINER, KATHERINE KENNEDY. "Composing St Columba, Hope of the Scots." Plainsong and Medieval Music 27, no. 1 (April 2018): 41–61. http://dx.doi.org/10.1017/s0961137118000037.

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ABSTRACTThe singular Office of St Columba in the Inchcolm Antiphoner, a unique relic celebrated for its distinct Scottish chant, was composed in the late thirteenth century amidst a battle for the claim of Scotland's patron saint. Previous studies of the office have suggested that unique chants reflect a pre-Norman tradition of Celtic chant. This article demonstrates that the office was not only composed much later, and severely edited in the fifteenth century, but also almost entirely composed of contrafacta. Some of these engage directly with the cult of St Andrew, the other saint with a major claim to the patronage of Scottish royalty. Three chants in the office connect the celebration of St Columba at Inchcolm Abbey to music from St Andrews Cathedral as recorded in a St Andrews antiphoner and W1. The office thus bears witness to the authority of music for St Andrew and the association of W1 with his cathedral in the early fourteenth century. The music of the office is not distinctly Scottish, but the office constructed for St Columba reflects the competition between the cults of St Andrew and St Columba in the construction of Scottish identity.

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13

MEWS, CONSTANT J. "Jerome of Moray: a Scottish Dominican and the evolution of Parisian music theory 1220–1280." Plainsong and Medieval Music 31, no. 2 (October 2022): 123–42. http://dx.doi.org/10.1017/s0961137122000092.

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ABSTRACTThis article examines the Tractatus de musica of Jerome of Moray (‘de Moravia’), affirming his Scottish identity, as proposed by Michel Huglo in 1994. It argues that the Tractatus de musica presents an important overview of Parisian music theory in the thirteenth century, relating to both chant and mensurable music in that century, because it combines the views of several generations: the Positio discantus vulgaris, which he says was used ‘among the nations’; the De mensurabili musica of John of Garland, who corrected its deficiencies; and the treatises of Franco of Cologne and Petrus Picardus. It considers Jerome's career in three phases: his exposure to music and music theory in Scotland; his studies in Paris, most likely under John of Garland, perhaps at the cathedral school of Notre-Dame; and his involvement in the liturgical reforms within the Dominican Order, implemented by its Master, Humbert of Romans in 1256. Rather than assigning Franco's Ars cantus mensurabilis to 1280 (as proposed by Wolf Frobenius) and Jerome's Tractatus to sometime after this, I suggest that Jerome was exposed to John of Garland's teaching in the 1240s and that the Franconian system may have started to gain ground in the 1250s. Jerome compiled his Tractatus over a period of time, adding an excerpt about cosmic music from the commentary of Thomas Aquinas on Aristotle's De caelo perhaps as early as 1271 or 1272, in response to the criticisms of John of Garland and his followers being made by Johannes de Grocheio.

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14

McAulay, Karen E. "Nineteenth-Century Dundonian Flute Manuscripts Found at the Royal Scottish Academy of Music and Drama." Royal Musical Association Research Chronicle 38 (2005): 99–141. http://dx.doi.org/10.1080/14723808.2005.10541010.

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Early in 2002, three nineteenth-century Scottish flute manuscripts came to light in the Whittaker Library at the Royal Scottish Academy of Music and Drama (RSAMD). The manuscripts are inscribed with the name of James Simpson of Dundee. The two slimmer volumes are dated 1828 and 1830. The third undated manuscript is a more handsomely bound volume and, judging by the content and handwriting, was likely to have been started at around the same time. Each manuscript consists almost entirely of flute duets and trios, and untexted psalm tunes for three and four voices. The history of the manuscripts is unknown, but it can be deduced that they were acquired by the RSAMD sometime after 1958. The manuscripts offer a colourful ‘snapshot’ of music-making in Dundee in the nineteenth century, with their cross-section of Scottish tunes and more widely-used drawing-room music, not to mention their church connections.

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15

Begin, Carmelle, and David Johnson. "Scottish Fiddle Music in the 18th Century." Yearbook for Traditional Music 17 (1985): 209. http://dx.doi.org/10.2307/768444.

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16

Turner, Steve Sweeney. "Fiddle Pibroch: 18th-Century Scottish Violin Music." Musical Times 134, no. 1802 (April 1993): 218. http://dx.doi.org/10.2307/1002492.

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17

Sweeney‐Turner, Steve. "Reading Scottish classical music A historiographical critique." Journal of Area Studies 5, no. 10 (March 1997): 104–20. http://dx.doi.org/10.1080/02613539708455799.

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18

Sloggie, James, and James Ross. "Music in Scottish Secondary Schools: Towards a New Vision." British Journal of Music Education 2, no. 3 (November 1985): 267–77. http://dx.doi.org/10.1017/s0265051700000632.

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This is the story of a remarkable change in approach to musical education which has taken place in Scottish secondary schools during recent years.Readers will bear in mind that the system of education in Scotland is independent of, and different from, that established in England. It is administered locally by education authorities which, together with head-teachers, are responsible for the curriculum taught within the schools. The Secretary of State for Scotland, nevertheless, retains an overall responsibility for the structure and balance of the school curriculum, which he fulfils by providing education authorities and head-teachers with general advice and guidance on curriculum matters. He is advised on these matters by HM Inspectorate of Schools (Scotland) and by the Consultative Committee on the Curriculum. The Consultative Committee on the Curriculum, in turn, is advised on musical matters by its subcommittee, the Scottish Central Committee on Music. Two external examinations, Ordinary and Higher Grades – taken at ages 16 and 17 respectively – are the responsibility of the Scottish Examination Board.Scotland has a population of some five and a half million people. It has four professional orchestras – two with international reputations – professional opera and ballet companies, national youth brass and wind bands, and orchestra. There are over four hundred secondary schools. Instruction in music has been a feature of Scottish schools for centuries.

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19

Kirwan, Paul. "Scottish Music Handbook, 19969758Scottish Music Handbook, 1996. Glasgow: The Scottish Music Information Centre 1995. viii + 301 pp, ISBN: 0‐9525489‐0‐9 £12.99." Reference Reviews 11, no. 1 (January 1997): 44–45. http://dx.doi.org/10.1108/rr.1997.11.1.44.58.

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20

Johnston, Derek. "Scottish Local Government Reform and Instrumental Music Instruction." Scottish Educational Review 33, no. 2 (March 18, 2001): 133–41. http://dx.doi.org/10.1163/27730840-03302004.

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Research concerned with Scottish local government reform has largely ignored the implications for one aspect of education provision – instrumental music instruction. This paper attempts to focus on this area through exploring the main policy issues with regard to the delivery of this service during a period of change. It is argued that the experience of music tuition under Scotland’s new unitary authority structure is an example of how local government can misinterpret its responsibilities towards the local community and, in doing so, threaten its continued influence over the formation of education policy. It is suggested that the administration of music instruction could supply local authorities with the opportunity to strengthen local democracy through empowering communities in the policy formation process. However, inadequate delivery may lead to the intervention of central government and councils’ loosing control over an area of their education provision.

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21

Sheridan, Mark. "Post-compulsory Education in Scottish Schools." British Journal of Music Education 9, no. 3 (November 1992): 217–31. http://dx.doi.org/10.1017/s0265051700009104.

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With the introduction of the new Revised Higher Grade Examination in Music, the proposed Certificate of Sixth Year Studies in Music and the plethora of modules and short courses available from the Scottish Vocational and Educational Council and the Scottish Examination Board, teachers now have the opportunity to tailor courses to suit individual student needs. Those involved in planning have been meticulous in ensuring that performing, inventing and listening are present at all stages of certification. This ‘comprehensive musician’ approach ensures that students have breadth of experience in playing more than one instrument and that they are all involved in inventing – improvising, composing or arranging. In addition, having adopted a concept-based approach to the acquisition of knowledge and understanding, the whole process is very clearly associated with the philosophy of the ‘spiral’ curriculum.

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22

Sweeney-Turner, Steve, Iwo Zaluski, and Pamela Zaluski. "The Scottish Autumn of Frederick Chopin." Musical Times 135, no. 1815 (May 1994): 286. http://dx.doi.org/10.2307/1003168.

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23

Humphreys, Mark. "A pastoral and ‘the Scottish play’." Early Music 33, no. 3 (August 1, 2005): 524–26. http://dx.doi.org/10.1093/em/cah118.

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24

Snedden, Ian. "‘WHAT REALLY MAKES THE HEART SING’: DAVID JOHNSON IN INTERVIEW." Tempo 63, no. 249 (July 2009): 33–40. http://dx.doi.org/10.1017/s0040298209000242.

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Editorial Note: Just after the following interview had been edited for inclusion in the present issue of Tempo, we were saddened to learn of the sudden death of David Johnson at his home in Edinburgh on about 30 March, aged 66. He had been an occasional reviewer of Scottish musical events for Tempo. The projects mentioned in the interview were destined to remain unfulfilled, but his substantial legacy of compositions and scholarship had made a distinct and independent-minded contribution to the Scottish musical scene.

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25

Hook, Dave. "‘Scottish people can't rap’: the local and global in Scottish hip-hop." Popular Music 40, no. 1 (February 2021): 75–90. http://dx.doi.org/10.1017/s0261143021000040.

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AbstractHip-hop is a global culture, where local representation is a core tenet of its ideology. It therefore provides opportunities to observe how a global cultural structure is interpreted, realigned and expressed in local cultural forms. This article combines autoethnography and rap lyric analysis to consider the complex relationship between the local and global in relation to cultural articulation and authenticity. Through a study of the poetics of Scottish hip-hop, a series of patterns and connections appear relating to interpretation, negotiation and hybridisation of local and global culture, presenting a demonstration of how the local, global and individual intersect to ‘devise unique ways of communicating thoughts, emotions and everyday realities’ (Alim 2003, Journal of English Linguistics, March, 31/1, pp. 60–84, p. 62). Furthermore, this article presents a framework for autoethnographic study of hip-hop, signposting bridging points between scholarship and practice.

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26

McMorland, Leigh-Ann, and Deirdre Mactaggart. "Traditional Scottish Music Events: Native Scots Attendance Motivations." Event Management 11, no. 1 (March 1, 2007): 57–69. http://dx.doi.org/10.3727/152599508783943246.

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27

Thompson, Emil. "Three Rural Scottish Music Scenes – An Ethnographic Study." Popular Music and Society 43, no. 4 (February 18, 2020): 389–400. http://dx.doi.org/10.1080/03007766.2020.1730649.

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28

Murray, Alan V., and Alison Kinnaird. "The Harp Key. Music for the Scottish Harp." Jahrbuch für Volksliedforschung 35 (1990): 187. http://dx.doi.org/10.2307/848237.

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29

Jones, Michael. "Piano Music by Erik Chisholm." Tempo 59, no. 231 (January 2005): 72. http://dx.doi.org/10.1017/s004029820524007x.

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Piano music of Erik Chisholm and his friends. BARTÓK: With Drums and Pipes. SORABJI: Fantasiettina sul nome illustre dell'Egregio poeta Hugh MacDiarmid ossia Christopher Grieve. CHISHOLM: Piano Sonata in A, An Riobain Dearg. STEVENSON: A Threepenny Sonatina. BUSONI: Fantasia Contrappuntistica. Murray McLachlan (pno). Dunelm DRD0219.CHISHOLM: Music for piano Volume 1. Straloch Suite; Scottish Airs for Children; Piano Sonata in A (abridged version 2004). Murray McLachlan (pno). Dunelm DRD0222.

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Gloag, Kenneth. "The Recent Music of James Clapperton." Tempo, no. 188 (March 1994): 10–15. http://dx.doi.org/10.1017/s0040298200047811.

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In a review of the first performance of James Clapperton's The Parliament of four Futtit Beistis, Jonathan Cross described the work's ‘blatant but effective modality’ as being ‘evidently an aspect of Clapperton's self-realignment with his Scottish roots’, and concluded, ‘whatever its origins, the end result is more effective than anything of his I have previously heard’.

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31

Anderson, Martin. "Reports from London and Bristol." Tempo 59, no. 232 (April 2005): 81–84. http://dx.doi.org/10.1017/s0040298205270171.

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32

Wolf, Edward C. "The Convivial Side of Scottish Psalm Tunes." American Music 14, no. 2 (1996): 141. http://dx.doi.org/10.2307/3052350.

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33

Greenwood, Andrew Alexander. "Song and Improvement in the Scottish Enlightenment." Journal of Musicological Research 39, no. 1 (January 2, 2020): 42–68. http://dx.doi.org/10.1080/01411896.2020.1716193.

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34

Gibson, Ronnie, and Michael Talbot. "Mudge's Medley Concerto." Journal of the Royal Musical Association 144, no. 1 (2019): 1–28. http://dx.doi.org/10.1080/02690403.2019.1575587.

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AbstractA previously unnoticed concerto for two horns and strings published anonymously in London probably in late 1757 or 1758 is attributable to Richard Mudge (1718–63), a clergyman-composer best known for his Six Concertos in Seven Parts. The print names it A Concerto Principally Form'd upon Subjects Taken from Three Country Dances, and there is evidence to suggest that it is identical to the Medley Concerto listed elsewhere under Mudge's name. The concerto can in turn be linked to so-called ‘Medley Concerts’ that took place in London in 1757. The country dances, on whose material Mudge draws with obvious respect for the originals, are all Scottish tunes found in James Oswald's slightly earlier collections. Mudge's original and attractive work testifies to the great interest in Scottish, in particular ‘Highland’, music in mid-eighteenth-century London, prompting reflection on the many-sided and surprisingly intimate relationship that then existed between traditional music and art music.

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35

MacIntyre, Peter D., Jessica Ross, and Heather Sparling. "Flow Experiences and Willingness to Communicate: Connecting Scottish Gaelic Language and Traditional Music." Journal of Language and Social Psychology 38, no. 4 (August 12, 2019): 536–45. http://dx.doi.org/10.1177/0261927x19867364.

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

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36

Anderson, Martin. "Southwark Cathedral: a MacMillan première (and a CD round-up)." Tempo 57, no. 223 (January 2003): 80–83. http://dx.doi.org/10.1017/s0040298203230084.

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I am no believer in historical determinism, nor am I a Scottish (or any other kind of) nationalist, but the fact that The Sixteen should commission James MacMillan to set anew the text used by Robert Carver in his 19-part motet O bone Jesu brings a profound satisfaction. No one else could have tidied up five-centuries-old loose ends as he. Carver (c. 1487–1566) was part of the dizzyingly rich flourishing of Scottish culture in the early years of the 16th century – a Catholic culture, doused by the dour sincerity of the Reformation (the MacTaliban, if you wish). MacMillan, a dry-eyed member of Scotland's Catholic minority, is the first composer since those days whose combination of faith and accomplishment allows him to pick up the glove torn from Carver's hand. His O bone Jesu – given its first public airing by The Sixteen under their founder-conductor Harry Chistophers at Southwark Cathedral on 10 October, at the outset of a year-long tour that takes them round the British Isles and to North America – may not quite reach Carver's Olympian heights (no other Scottish composer has achieved commensurate greatness) but it exploits a striking range of emotional reference nonetheless.

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Noden, Shelagh. "Songs of the spirit from Dufftown." Innes Review 70, no. 1 (May 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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38

Rosenbaum, Art, and David Johnson. "Scottish Fiddle Music in the 18th Century. A Music Collection and Historical Study." Jahrbuch für Volksliedforschung 31 (1986): 177. http://dx.doi.org/10.2307/848338.

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39

McAulay, Karen. "Show me a strathspey: taking steps to digitize tune collections." Reference Reviews 30, no. 7 (September 19, 2016): 1–6. http://dx.doi.org/10.1108/rr-03-2015-0073.

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Purpose The present paper describes an Arts and Humanities Research Council (AHRC) research project into Scottish fiddle music and the important considerations of music digitization, access and discovery in designing the website that will be one of the project’s enduring outcomes. Design/methodology/approach The paper is a general review of existing online indices to music repertoires and some of the general problems associated with selecting metadata and indexing such material and is a survey of the various recent and contemporary projects into the digital encoding of musical notation for online use. Findings The questions addressed during the design of the Bass Culture project database serve to highlight the importance of cooperation between musicologists, information specialists and computer scientists, and the benefits of having researchers with strengths in more than one of these disciplines. The Music Encoding Initiative proves an effective means of providing digital access to the Scottish fiddle tune repertoire. Originality/value The digital encoding of music notation is still comparatively cutting-edge; the Bass Culture project is thus a useful exemplar for interdisciplinary collaboration between musicologists, information specialists and computer scientists, and it addresses issues which are likely to be applicable to future projects of this nature.

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40

Caswell, Glenys. "Beyond Words: Some Uses of Music in the Funeral Setting." OMEGA - Journal of Death and Dying 64, no. 4 (June 2012): 319–34. http://dx.doi.org/10.2190/om.64.4.c.

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Music is a common feature of funerals, both in terms of sacred music and also secular music when a funeral is personalized to the individual who has died. Drawing on data from research exploring Scottish funeral practices, this article examines some of the ways in which music can be used during a funeral. It suggests five specific uses of music in the funeral context: the use of music as a means of control; the use of music as a means of inclusion and exclusion; music as a source of collective activity; music as a means of creating or shifting emotion; and music as a means of evoking the memory of the deceased person. These uses of music are described and discussed, and suggestions made for further research exploring the use of music in funerals.

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41

Steiner, Katherine Kennedy. "The Scribe of W1 and His Scottish Context." Journal of Musicology 38, no. 3 (2021): 364–99. http://dx.doi.org/10.1525/jm.2021.38.3.364.

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This article examines W1 (Wolfenbüttel, Herzog August Bibliothek, cod. Guelf. 628 Helmstad.) as a source of musical identity in St Andrews through a “new philological” approach. Challenging the current view on the production of W1, it argues that a single singer-scribe, whose work spanned his association with at least two different bishop’s communities, was responsible for copying the manuscript’s entire contents. New archival assessments suggest that the manuscript was compiled for the community of secular clerics in St Andrews, who may have been taught by the scribe. Parisian polyphony, both in its written form and in performance, thus directly influenced the local production of liturgical polyphony, including a unique collection of polyphony for the Lady mass, at St Andrews Cathedral through the scribe of W1.

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42

Walton, Chris. "Act of Faith: Klemperer and the 'Scottish' Symphony." Musical Times 145, no. 1886 (2004): 35. http://dx.doi.org/10.2307/4149093.

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43

Mercer-Taylor, Peter. "Mendelssohn's "Scottish" Symphony and the Music of German Memory." 19th-Century Music 19, no. 1 (1995): 68–82. http://dx.doi.org/10.2307/746720.

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44

Sweeney-Turner, Steve. "Airs for the Seasons: Scottish Music of the 1700s." Musical Times 135, no. 1818 (August 1994): 514. http://dx.doi.org/10.2307/1003338.

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45

Mercer-Taylor, Peter. "Mendelssohn's "Scottish" Symphony and the Music of German Memory." 19th-Century Music 19, no. 1 (July 1995): 68–82. http://dx.doi.org/10.1525/ncm.1995.19.1.02a00040.

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46

Everett, William A. "National Themes in Scottish Art Music, ca. 1880-1990." International Review of the Aesthetics and Sociology of Music 30, no. 2 (December 1999): 151. http://dx.doi.org/10.2307/3108443.

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47

Moran, Nikki, and Gica Loening. "Community music knowledge exchange research in Scottish higher education." International Journal of Community Music 4, no. 2 (July 8, 2011): 133–46. http://dx.doi.org/10.1386/ijcm.4.2.133_1.

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48

Elder, Morag Anne. "D. Johnson, Scottish fiddle music in the eighteenth century." Northern Scotland 7 (First Series, no. 1 (January 1986): 83–84. http://dx.doi.org/10.3366/nor.1986.0015.

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49

Spracklen, Karl. "‘Come: It is time to keep your appointment with the Wicker Man’: The re-enchantment of Scotland through Wicker Man tourism." Journal of European Popular Culture 14, no. 1 (April 1, 2023): 51–70. http://dx.doi.org/10.1386/jepc_00054_1.

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Abstract:

The location filming of The Wicker Man (1973) used a number of places to invent the Pagan Scottish island of Summerisle. In the film, Summerisle feels like a timeless place in the Inner or Outer Hebrides. The actual locations are well-known in fan and academic literature. The film begins with aerial shots of the plane carrying Sergeant Howie passing over the dramatic mountains of Skye. But the rest of the film was shot somewhere else. In this article, I will explore how fans online make sense of the construction of the film, and how that feeds into wider academic debates about horror films and outsiders, and Scottishness and Gaelicness. I will then discuss my own pilgrimage tourism to the location sites in Scotland and use my own pictures and reflections to argue that while all tourism is a highly contested leisure activity, Wicker Man tourism allows tourists to find themselves off the map. It also allows people to re-enchant Scotland, and make meaning of Scottish landscape and history, even if the film draws on English folklore and music and The Golden Bough as much as Scottish folklore and music.

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50

Shea, Mara. "Scottish dance beyond 1805: reaction and regulation." Ethnomusicology Forum 30, no. 1 (January 2, 2021): 163–66. http://dx.doi.org/10.1080/17411912.2021.1919540.

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