Relevant bibliographies by topics / Songs of Scotland

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Songs of Scotland'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Songs of Scotland"

1

Millar, Stephen R. "Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act." Popular Music 35, no. 3 (2016): 297–319. http://dx.doi.org/10.1017/s0261143016000519.

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AbstractIrish rebel songs afford Scotland's Irish diaspora a means to assert, experience and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland's majority Protestant population. The Scottish Government's Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of S
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2

Alarcão, Miguel. "For Auld Lang Syne’: A Tale of Two Songs." Via Panoramica: Revista de Estudos Anglo-Americanos 13 (2024): 117–30. https://doi.org/10.21747/2182-9934/via13_1v1.

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Besides the Royal Family and the touristic, artistic, aesthetic, and literary fruition and appraisal of Scotland and her landscapes since the mid-18th century, two distinguished English artists have paid a musical tribute to Britain’s northernmost nation, offering us two “lyrical ballads” which, in a joint framework of the heritage and culture industries and the new memory studies, can be subject to some brief comments: Paul McCartney’s Mull of Kintyre(1977) and Rod Stewart’s Every Beat of my Heart(1986)
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Noden, Shelagh. "Songs of the spirit from Dufftown." Innes Review 70, no. 1 (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 retur
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Dobrowolska, Anna Maria. "„Tam jest pamiątek ognisko”. Elementy osjaniczne w twórczości Augusta Antoniego Jakubowskiego oraz Maurycego Gosławskiego." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 55, no. 2 (2022): 133–49. http://dx.doi.org/10.36770/bp.697.

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The aim of the article was to trace the similarities between the Songs of Ossian and the works of selected authors of the Ukrainian school, which allowed Maurycy Mochnacki to create in 1826 the metaphor of Ukraine as "Polish Scotland". We are talking about similarities in terms of building mood, creating images of space, reflecting on history, passing and memory, as well as a special sensitivity and way of feeling nature and the world. This metaphor has already been commented on many times, and it also evoked extreme opinions. Stanisław Makowski and Alina Witkowska, among others, found it unfo
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Atkinson, David. "‘This is England’? Sense of Place in English Narrative Ballads." Victoriographies 3, no. 1 (2013): 1–22. http://dx.doi.org/10.3366/vic.2013.0103.

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Rightly or wrongly, ballads and folk songs collected in England are often thought to embody a sense of Englishness, even though substantial numbers of the items contained in such collections could equally be found in, say, Scotland, or even America. Nevertheless, ballad texts do reference topology and environment, and they do reference specific localities. However, while it is not difficult to think of some songs that unequivocally identify a fairly specific location (‘Rufford Park Poachers’ and ‘The Folkestone Murder’ are discussed here), many of the classical ballads in particular establish
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Papineau, Brandon. "“Hooked on Celebri[ɾ]y”". Lifespans and Styles 6, № 2 (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
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7

Edwards, Elizabeth, and Kirsteen McCue. "Making Song Travel: Crosscurrents of Language and Landscape in Welsh and Scottish Song Collections, 1804–1818." Studies in Romanticism 63, no. 2 (2024): 189–212. http://dx.doi.org/10.1353/srm.2024.a931781.

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Abstract: From the second half of the eighteenth century onwards, song collections gave dramatic presence to the distinctive landscapes, histories, and traditions of the nations and regions of Britain and Ireland. This essay analyzes some of the musical, linguistic, and cultural features of 'national airs' through case studies from Scotland and Wales. Focusing on editors John Parry, George Thomson, and Alexander Campbell, we trace crosscurrents of travel, language, and translation revealing how Romantic songs move unpredictably between manuscript and print, beyond national borders and across l
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Sparling, Heather. "“Music is Language and Language is Music”." Ethnologies 25, no. 2 (2004): 145–71. http://dx.doi.org/10.7202/008052ar.

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Abstract In this article, the author considers the effects of language attitudes, a sociolinguistic concern, on musical practice. This article assumes that language and music attitudes are related as different expressions in and of a common cultural context. The author demonstrates how Scots Gaelic language attitudes in Cape Breton (where a few hundred people still speak the language) have developed, and considers the possible interplay with current attitudes towards two particular Gaelic song genres. Gaelic language learners and native/fluent speakers in Cape Breton articulated distinct and o
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Fox, Adam. "‘Little Story Books’ and ‘Small Pamphlets’ in Edinburgh, 1680–1760: The Making of the Scottish Chapbook." Scottish Historical Review 92, no. 2 (2013): 207–30. http://dx.doi.org/10.3366/shr.2013.0175.

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This article considers the development of the ‘chapbook’ in Scotland between 1680 and 1760. Chapbook is here defined as a publication using a single sheet of paper, printed on both sides, and folded into octavo size or smaller. The discussion focuses on production in Edinburgh which at this time was the centre of the Scottish book trade. While very few works were produced in these small formats in the city before the last quarter of the seventeenth century, the three generations thereafter witnessed their emergence as an important part of the market. This chapbook literature included ‘penny go
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Skoptsova, Olena, and Nataliia Pertsova. "Repertoire Palette of Foreign Folk Choir Groups." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (2022): 103–10. https://doi.org/10.31866/2616-7581.5.1.2022.258154.

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The purpose of the research is to study the specifics of the repertoire palette of foreign folk choirs. Achieving the goal involves determining not only the features of the current repertoire preferences of leading groups but also the prospects that may open up in view of the transformation of listeners' preferences and the demands of today’s audience. The research methodology, while determining the specifics of the repertoire of foreign folk choirs, involves the use of the method of synthesis, which outlines the range of works to which choirmasters turn. The method of
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Dissertations / Theses on the topic "Songs of Scotland"

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Marwick, Sandra M. "'Sons of Crispin' : the St Crispin societies of Edinburgh and Scotland." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4195.

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City of Edinburgh Museums and Galleries hold a substantial collection of artefacts and record books donated in 1909 by the office bearers of the Royal Ancient Order of St Crispin. This organisation was the final reincarnation of the Royal St Crispin Society established around 1817. From 1932 the display of a selection of these objects erroneously attributed their provenance to the Incorporation of Cordiners of Canongate with no interpretation of the meaning and use of this regalia. The association of shoemakers (cordiners in Scotland) with St Crispin their patron saint remained such that at le
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Kucznierz, Christian. "Imagining Scotland : National self-depiction in Sir Walter Scott's "Waverley", Lewis Grassic Gibbon's "Sunset Song", Irvine Welsh's "Trainspotting" and Alasdair Gray's "Lanark"." kostenfrei, 2009. http://www.opus-bayern.de/uni-regensburg/volltexte/2009/1256/.

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Kucznierz, Christian [Verfasser]. "Imagining Scotland : national self-depiction in Sir Walter Scott's Waverley, Lewis Grassic Gibbon's Sunset Songs, Irvine Welsh's Trainspotting and Alasdair Gray's Lanark / vorgelegt von Christian Kucznierz." 2009. http://d-nb.info/994496494/34.

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Conn, Stephanie. "Carn Mor de Chlachan Beaga, A Large Cairn from Small Stones: Multivocality and Memory in Cape Breton Gaelic Singing." Thesis, 2012. http://hdl.handle.net/1807/33892.

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Since the first Scottish Gaelic-speaking settlers arrived in Nova Scotia in the late 18th century, their Gaelic singing tradition has been an integral part of life in communities on Cape Breton Island. With the waning of the Gaelic language, however, came efforts to collect and preserve the song tradition, and the intention to pass it along intact. This dissertation eschews the consideration of Gaelic singing as a monolithic tradition with a common repertoire and experience, and instead examines it as a multifaceted process enacted by individuals in three main sites: home, public performance a
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Books on the topic "Songs of Scotland"

1

Glasser, Ralph. Gorbals voices, siren songs. Chatto & Windus, 1990.

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2

Paterson, Wilma. Songs of Scotland: A hundred of the best. Mainstream Publishing, 1996.

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Edward, Ardizzone, Norman Monath, and Cole William. Folk songs of England, Ireland, Scotland, and Wales. Warner Bros. Publications, 1993.

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1835-1910, McTaggart William, ed. William McTaggart, 1835-1910: Singing songs of the Scottish heart. Atelier Books, 2007.

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5

Marion, Sinclair, and Newton Michael Steven 1965-, eds. Hebridean odyssey: Songs, poems, prose, and pictures from the Hebrides of Scotland. Polygon, 1996.

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1840-1926, Tolmie Frances, ed. One hundred and five songs of occupation from the Western Isles of Scotland. Llanerch, 1998.

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7

Songs of Scotland. Warner Bros Pubns, 1996.

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8

Songs of Scotland. Dalkeith, 1988.

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9

Anonyma. Songs of Scotland. Creative Media Partners, LLC, 2023.

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10

Gillies, Anne Lorne. Songs of Gaelic Scotland. Origin, 2019.

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Book chapters on the topic "Songs of Scotland"

1

Collinson, Francis. "The Gaelic Labour Songs." In The Traditional and National Music of Scotland. Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-4.

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"THE SONGS." In Travellers' Songs from England and Scotland. Routledge, 2015. http://dx.doi.org/10.4324/9781315645520-12.

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"Diddling Songs." In Travellers' Songs from England and Scotland. Routledge, 2015. http://dx.doi.org/10.4324/9781315645520-138.

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4

Fox, Adam. "Ballads and Songs." In The Press and the People. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198791294.003.0009.

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Chapter 8 deals with the broadside ballads and printed songs issued in Scotland between the sixteenth and the eighteenth centuries. It traces both the import of English texts and the production of domestic presses. The manner in which lyrics and tunes from south of the border influenced the development of single-sheet songs in Scotland is assessed. At the same time an independent repertoire of Scottish ballads in print is recovered and analysed. The discussion illustrates the ways in which political events and social change in early modern Scotland are reflected in the texts of these cheap and
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"The Flowers of Scotland." In Songs by the Ettrick Shepherd. Edinburgh University Press, 2014. http://dx.doi.org/10.1515/9781474433037-056.

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Eichner, Barbara. "Singing the Songs of Scotland." In Nineteenth-Century British Music Studies. Routledge, 2017. http://dx.doi.org/10.4324/9781315090511-9.

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Eichner, Barbara. "Singing the Songs of Scotland." In Nineteenth-Century British Music Studies Volume 3. Routledge, 2019. http://dx.doi.org/10.4324/9780429032424-9.

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"The Forty-Second’s Welcome to Scotland." In Songs by the Ettrick Shepherd. Edinburgh University Press, 2014. http://dx.doi.org/10.1515/9781474433037-079.

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"Scots Songs in the 18th and 19th Centuries." In The Poetry of Scotland. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473439-042.

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Campbell, Katherine. "Enactments and Representations of the National Bard: Burns and the Folk Context." In Performing Robert Burns. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474457149.003.0011.

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The chapter examines the performance of Burns's songs in folk tradition drawing on two major sources of evidence: 'The Greig-Duncan Folk Song Collection' from Northeast Scotland and the Tobar an Dualchais/Kist o Riches website of archival audio recordings. It finds that Burns's songs could vary substantially from their original form as a result of the reworkings of folk tradition. In particular, the tune Burns desired was quite often not used once the song entered the tradition, with singers instead sometimes turning to something with which they were already familiar.
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