Relevant bibliographies by topics / Scottish Singers

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Academic literature on the topic 'Scottish Singers'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Scottish Singers"

1

Barlow, Jeremy. "London, Trinity College: David Johnson's ‘Sorry, False Alarm’." Tempo 58, no. 229 (July 2004): 79–80. http://dx.doi.org/10.1017/s0040298204270243.

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An opera which runs for less than an hour and has 20 solo parts might seem destined to remain unperformed, but Scottish composer David Johnson's Sorry, False Alarm was composed as a training opera for students, and a workshop production by singers from Trinity College of Music (24 March, Greenwich) demonstrated that it fits its purpose admirably.
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Ezeji, Cass. "Speaking our Language: Past, Present and Future." Scottish Affairs 30, no. 2 (May 2021): 231–39. http://dx.doi.org/10.3366/scot.2021.0362.

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In this essay Cass Ezeji, a singer and linguist from Glasgow, explores her experiences of Gaelic Medium Education (GME) as a child with no direct roots to a’ Ghàidhealtachd. She challenges the limitations of Scottish history taught in schools as well as perspectives on the Gaelic language. She considers the historical context of Afro-Scottish identities as a means of broadening the way we think about Gaelic and its speakers, whilst shedding light on a neglected diaspora.
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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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Veselova, Inna. "Feigned Weakness, False Happiness, Pretended Submission and Other Tricks of the Heroines of the Russian Epos." Studia Religiologica 53, no. 3 (2020): 213–25. http://dx.doi.org/10.4467/20844077sr.20.015.12755.

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This article is based on study of the tricksters’tricks played by the heroines of the Russian epos known as bylinas. Variants of bylina plots with female protagonists have been contemplated, taking into consideration the concept by Michel de Certeau of two modes of practices – tactic and strategic –a nd James Scott’s concept of “the weapons of the weak.”The narrator informs the audience first about the modi operandi under various circumstances, and second about the underlying values governing the choice of this or that modus operandi. Systematic studies of variants of bylina plots confirm the fact that the narrators pay a lot of attention to the personality, appearance and agency of epic heroines. The cunning tricks, daring deceptions, bold choices and exceptional physical fortitude of the heroines surprise the singers of the tales. The activities of female characters are analysed in the social context. The story-telling is a method of teaching modes and ways of real-life behavior. The bylinas’ singers are rendering their personal experience and knowledge in fictionalized form.
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Papineau, Brandon. "“Hooked on Celebri[ɾ]y”." Lifespans and Styles 6, no. 2 (December 10, 2020): 22–31. http://dx.doi.org/10.2218/ls.v6i2.2020.5218.

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T-glottaling in Scotland has been studied as a salient linguistic variable, which has been found to index (in)formality, socio-economic class, and region, among other speaker and situational characteristics. Realisations of /t/ have also been studied in a musical context, where they have been found to be linked to genre and identity. This study examines Scottish singer-songwriter Nina Nesbitt, and her realisations of the intervocalic /t/ variable in both speech and song. She shows high rates of t-glottaling in speech, but within song, her realisations vary; the only significant predictor of /t/ realisations is song genre, where pop and pop folk songs favour [ɾ] realisations and acoustic songs favour the [t] realisation. T-glottaling is uncommon in all genres of her music. I argue that this variability is a strategy employed to create coherent musical identities that situate Nesbitt within the musical marketplaces in which she performs.
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Baldwin, Olive, and Thelma Wilson. "The Harmonious Unfortunate: new light on Catherine Tofts." Cambridge Opera Journal 22, no. 2 (July 2010): 217–34. http://dx.doi.org/10.1017/s0954586711000140.

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AbstractCatherine Tofts, ‘the first English prima donna’, was the female lead in the all-sung operas in the Italian style performed on the London stage from1705, but little has previously been known about her early life or musical training. This article draws on various sources, including her father's will, a petition she wrote in 1704 and Delarivier Manley's Memoirs of Europe to show that her family background was Scottish and that she grew up in the household of Bishop Gilbert Burnet. It names possible singing teachers and lovers, and shows that she did not leave the stage in 1709 because of mental instability, as has been assumed, but because of debt and the consequent need to escape from her creditors. The end of her career shows the difficulties faced by a leading English singer when Italians, particularly the castrati, came to dominate the operatic scene in London.
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McKay, George. "Skinny blues: Karen Carpenter, anorexia nervosa and popular music." Popular Music 37, no. 1 (December 8, 2017): 1–21. http://dx.doi.org/10.1017/s026114301700054x.

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AbstractThis article discusses an extraordinary body in popular music, that belonging to the person with anorexia which is also usually a gendered body – female – and that of the singer or frontperson. I explore the relation between the anorexic body and popular music, which is more than simply looking at constructions of anorexia in pop. It involves contextually thinking about the (medical) history and the critical reception and representation, the place of anorexia across the creative industries more widely, and a particular moment when pop played a role in the public awareness of anorexia. Following such context the article looks in more detail at a small number of popular music artists who had experience of anorexia, their stage and media presentations (of it), and how they did or apparently did not explore their experience of it in their own work and public appearances. This close discussion is framed within thinking about the popular music industry's capacity for carelessness, its schedule of pressure and practice of destruction on its own stars, particularly in this instance its female artists. This is an article about a condition and an industry. At its heart is the American singer and drummer Karen Carpenter (1950–1983), a major international pop star in the 1970s, in the Carpenters duo with her brother Richard; the other figures discussed are Scottish child pop star Lena Zavaroni (1963–1999), and the Welsh rock lyricist, stylist and erstwhile guitarist of the Manic Street Preachers, Richey Edwards (1967–1995 missing/2008 officially presumed dead).
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8

Povey, Gillian M., G. M. Webster, and T. E. C. Weekes. "The Response of silage-fed scottish blackface lambs to different levels of energy and protein supplementation with or without a store period." Proceedings of the British Society of Animal Production (1972) 1989 (March 1989): 95. http://dx.doi.org/10.1017/s0308229600010874.

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In the past, the use of silage-based diets for finishing lambs indoors has met with limited success. Good quality silage is required to maximize voluntary intake but liveweight gains on silage alone are still generally low (Reed, 1979). While cereal supplements have been shown to improve lamb performance at the expense of silage intake, additional protein may have a stimulatory effect on both (Yilala and Bryant, 1985). This trial was therefore designed to investigate the performance responses of silage-fed hill lambs to increasing levels of whole barley and fishmeal supplementation and to examine the effect of a store period on these responses.Two hundred and forty Scottish Blackface wether lambs, 5 months of age with a liveweight of 26.5 ± 0.18 kg (mean ± s.e.), which had all been reared as singles, were selected for the trial. On housing in September all lambs were kept under artificial lighting conditions of 14th light : 10h dark to remove the confounding effect of daylength.
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Redmond, M. "The Hamann–Hume Connection." Religious Studies 23, no. 1 (March 1987): 95–107. http://dx.doi.org/10.1017/s0034412500018564.

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It is well known that the eighteenth century Scottish philosopher and sceptic David Hume was a severe critic of religious belief, but what may not be so familiar, and has been brought to our attention in recent years by Isaiah Berlin, is that some religious believers have found in Hume's sceptical arguments a source of nurture for their religious faith. In particular, Berlin singles out the example of Hume's contemporary, Johann Georg Hamann (17388), a devout but unconventional believer as well as one of the leaders of the German Counter-Enlightenment. Hamann's primary claim to fame, however, rests upon his influence upon the Danish theologian, Soren Kierkegaard. Although Kierkegaard never met Hamann, he was familiar with his writings, and calls Hamann ‘his only teacher.’ Kierkegaard's vast influence on modern Christianity, especially Protestantism, is, of course, a commonplace. What, though, is often overlooked, and Berlin calls our attention to, is that this man who influenced Kierkegaard was himself deeply influenced by Hume. The student of religion, as well as the philosopher, cannot help but be struck by this historical connection between Hume and believers such as Johann Hamann and thus, ultimately, between David Hume and modern Protestantism.
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Stott, A. W., and J. Slee. "The effects of litter size, sex, age, body weight, dam age and genetic selection for cold resistance on the physiological responses to cold exposure of scottish blackface lambs in a progressively cooled water bath." Animal Science 45, no. 3 (December 1987): 477–91. http://dx.doi.org/10.1017/s0003356100002968.

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ABSTRACTThe resistance to body cooling of 594 newborn Scottish Blackface lambs was measured in a water bath during a programme of upwards and downwards genetic selection. Cold resistance was defined as the time taken for rectal temperature to fall to 35°C in the water bath.Upwards selection produced increased cold resistance which was genetically associated with increased skin thickness, increased total body insulation and greater persistence of high metabolic rate during cold exposure. The first two correlated responses to selection were more pronounced in twins than in singles.High cold resistance was phenotypically, but not genetically, associated with greater body weight, increased coat depth and higher levels of cold-induced metabolic rate (heat production). Single lambs showed higher weight-adjusted metabolic rates and higher cold resistance than twins. Singles recovered from hypothermia faster than twins in the low selection line only.Female lambs showed higher metabolic rate (whether weight-adjusted or not) and greater total body insulation than males. Their greater cold resistance was not quite significant. Increasing age (range 0·3 to 36 h) was associated with a small but significant decline in cold resistance.Thermoneutral metabolic rate was proportional to body surface area, whereas peak metabolic rate was proportional to body weight such that peak metabolic rate per unit body weight was independent of changes in body weight. These findings are discussed in relation to lamb survival.
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Books on the topic "Scottish Singers"

1

Throll, Mary. The Scottish nightingale: An autobiography. Auckland, N.Z: Wordsell Press, 2004.

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Wallace, William. Harry Lauder in the limelight. Lewes: Book Guild, 1988.

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It's lovely to be here: The touring diaries of a Scottish gent. London: Domino Press, 2011.

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A traveller's life. Edindurgh: Birlinn, 2011.

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5

Lobban, Maighread Dhòmhnallach. Lachann Dubh a' Chrògain =: Lachlan Livingstone and his grandsons : bards of Mull and Lismore. Isle of Iona: New Iona Press, 2004.

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Duxbury, Brian MacDougall. Highlander by election. [Scotland]: Comunn Gaidhealach, 2005.

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McKean, Thomas A. Hebridean song-maker: Iain MacNeacail of the Isle of Skye. Edinburgh: Polygon, 1996.

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McCrumb, Sharyn. The songcatcher: A ballad novel. New York, NY: Signet Book, 2001.

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9

The songcatcher: A ballad novel. New York, N.Y: Signet, 2002.

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10

The songcatcher: A ballad novel. New York: Dutton, 2001.

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Book chapters on the topic "Scottish Singers"

1

Jackson Williams, Kelsey. "Stupendous Fabricks." In The First Scottish Enlightenment, 126–61. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198809692.003.0006.

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This chapter turns towards artefacts, tracing the sudden rise in interest in prehistoric sites and monuments across Scotland during this period. It shows that cutting-edge approaches to the study of material as diverse as Roman forts and ancient megaliths could interact with older syncretist theories of knowledge and human origins to produce surprising, sometimes radical, reinterpretations of the distant past. Archaeologists and writers as diverse as the opera singer-turned-antiquary Alexander Gordon and the freethinker John Toland used these ancient monuments as telescopes through which to glimpse an almost unimaginable antiquity, one which could exert a dramatically destabilizing effect on present-day hierarchies of culture and geography.
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Manning, Jane. "THEA MUSGRAVE (b. 1928)A Suite o’Bairnsangs (1953)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 219–21. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0061.

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This chapter discusses Thea Musgrave's settings of nursery rhymes from her native Scotland. The poems are aptly projected, in music of an approachable style, with some rhythmic quirks, all in an unmistakeably Scottish vein. A young and relatively inexperienced singer will feel happy and comfortable performing them, and should relish the challenge of enunciating the dialect words. For the faint-hearted, however, the author has made a straight English translation, but this could perhaps diminish the bracing effect of the piece. The composer has set the Scottish words meticulously, so some of the translations do not roll off quite so easily in the voice. Moreover, a light, clear tone is appropriate for the infectious, dancing lines, and there is plenty of contrast in mood and tempo, making it a beautifully balanced item for a recital.
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Manning, Jane. "HELEN GRIME (b. 1981)In the Mist (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 93–95. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0030.

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This chapter studies Scottish composer Helen Grime’s In the Mist (2008). In this work, Grime’s writing for the medium of voice and piano shows a healthy resistance against the growing trend amongst younger composers to revisit conventionally expressive, ‘accessible’ styles. Especially distinctive is her treatment of the piano, not as a nineteenth-century Romantic instrument, but as a purveyor of bright, steely resonances that occasionally evoke the metallic sheen of keyed percussion. Void of weighty, sustaining chords, spaces are filled out with decorative figures, as in harpsichord music. There is also much verbal repetition, expanding Lloyd Schwartz’s poem’s spare, gnomic lines. The singer’s part is exhilaratingly physical, requiring fitness and stamina. As a former oboist, the composer thinks in long phrases, which, well controlled, will be of benefit to the voice. A clear, youthful tenor sound is needed—heavier voices could find the highly sprung phrases uncomfortable.
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DiSavino, Elizabeth. "8. Introduction by Katherine Jackson French." In Katherine Jackson French, 141–44. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.003.0009.

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This little volume has a modest, though distinctly unique, purpose—the securing of these quaint renditions of the old English and Scottish ballads for future generations; these, journeying across the seas to Virginia and the Carolinas, were later hidden away in the Kentucky hills for 150 years. They are peculiarly Anglo-American, most characteristic of the traditional history and spirit of their composers of the fourteenth, fifteenth, and sixteenth centuries, and likewise, after generations of contact, made to be a part of the blood, bone, and sinew of the settlers in the remote land. Though told in their own homely household speech and illustrative of their own crude life, withal they are poems of the highest art—because they are not artful. They have lived because they were loved, and, with this excuse for existence, they have played for ages on free, generous, and impulsive minds. This, then, becomes an immemorial record of sentiment, loyalty, principle—a conserver of their love for poetry of song. Ballads are then an immemorial record of the pure ancestry of the singer and an undoubted proof of the sturdiness and truth of song in having been sufficient for another period of long yesterdays....
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Deane-Drummond, Celia E. "Beyond Animal Rights." In Theological Ethics through a Multispecies Lens, 22–44. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843344.003.0002.

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This chapter sets out the philosophical context for current debates in animal ethics, including abolitionist versions of animal rights that are against all forms of animal use, including animal experimentation and agriculture. The author argues that while a more muted version of animal rights is more convincing, rights language has proved inadequate to the modest task of shifting to more humane treatments of other animals. There are also theoretical problems associated with the use of rights language that itself is premised on a particular approach to social justice. Utilitarian advocates following Peter Singer do not fare much better in that his liberationist agenda is ethically ambiguous by his association of speciesism with racist and even sexist views. This approach could just as easily diminish women and those of colour, or deny human dignity, all of which have a strong political and social agenda, rather than elevating concern for other animals. Even anti-speciesism still relies on a comparative approach that begins by widening the moral world of humans to sentient others, even while, ironically perhaps, denying the special significance of the human species. Christine Korsgaard has made the most convincing case so far for rehabilitating Immanuel Kant’s categorical imperative so that it is extended to other animals. Rather more promising is the largely theoretical approach of Peter Scott’s argument for postnatural right and Cynthia Willett’s interspecies ethics to begin to map out the multispecies frameworks.
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