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Journal articles on the topic 'Songs of Scotland'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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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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3

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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4

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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5

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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6

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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8

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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9

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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10

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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11

Dunbar, Robert Douglas. "Elegies and Laments in the Nova Scotia Gaelic Song Tradition: Conservatism and Innovation." Genealogy 6, no. 1 (2021): 3. http://dx.doi.org/10.3390/genealogy6010003.

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Gaelic-speaking emigrants brought with them a massive body of oral tradition, including a rich and varied corpus of song–poetry, and many of the emigrants were themselves highly skilled song-makers. Elegies were a particularly prominent genre that formed a crucially important aspect of the sizeable amount of panegyric verse for members of the Gaelic aristocracy, which is a tradition dating back to the Middle Ages. This contribution will demonstrate that elegies retained a prominent place in the Gaelic tradition in the new world Gaelic communities established in many parts of Canada and in part

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12

Rusnali, Andi Nur Aisyah, and Mujammilatul Halimah. "Self Actualization of MOSMA Participants in Maintaining Cultural Identity in Scotland, United Kingdom." Palakka : Media and Islamic Communication 5, no. 1 (2024): 26–42. http://dx.doi.org/10.30863/palakka.v5i1.6174.

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The importance of preserving and maintaining cultural identity has become a major highlight amidst ever-growing globalizations. In the context of student exchange, an interesting initiative has emerged in the Mora Overseas Student Mobility Award (MOSMA) program. This research aims to abstract the contributions and experiences of MOSMA participants in efforts to maintain Indonesian cultural identity in Scotland, United Kingdom. This research uses qualitative research methods with participant observation. Data collection was carried out by conducting in-depth interviews with MOSMA participants f

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13

Edwards, Owen Dudley. "PATRICK MACGILL AND THE MAKING OF A HISTORICAL SOURCE: WITH A HANDLIST OF HIS WORKS." Innes Review 37, no. 2 (1986): 73–99. http://dx.doi.org/10.3366/inr.1986.37.2.73.

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Patrick MacGill was born at Glenties, a little village in one of the wildest districts of Donegal on the north coast of Ireland, twenty-one years ago. The eldest of a family of ten, he had to go out into the world at a very early age and begin his fight in the great battle of life. When twelve years old he was engaged as a farm hand in the Irish Midlands, where his day's work began at five o'clock in the morning and went on till eleven at night through summer and winter. It was a man's work with a boy's pay. At fourteen, seeking newer fields, he crossed from 'Derry to Scotland; and there for s

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14

Waiton, Stuart. "Criminalizing songs and symbols in Scottish Football: how anti-sectarian legislation has created a new ‘sectarian’ divide in Scotland." Soccer & Society 19, no. 2 (2016): 169–84. http://dx.doi.org/10.1080/14660970.2015.1133413.

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15

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. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258154.

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Abstract:

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 analysis is used to stud

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16

Mackenzie, Niall. "Review: The Jacobite Relics of Scotland: Being the Songs, Airs, and Legends of the Adherents of the House of Stuart (Second Series)." Review of English Studies 56, no. 226 (2005): 679–81. http://dx.doi.org/10.1093/res/hgi095.

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17

Heather Sparling. "1951 Edinburgh People’s Festival Ceilidh, and: Gaelic Songs of Scotland: Women at Work in the Western Isles (review)." Journal of American Folklore 122, no. 1 (2008): 83–85. http://dx.doi.org/10.1353/jaf.0.0066.

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18

Bratton, Jacky. "Scotland and the Music Hall, 1850–1914. By Paul Maloney. Studies in Popular Culture. Manchester and New York: Manchester University Press, 2003; pp. 240. $24.95 paper." Theatre Survey 46, no. 1 (2005): 147–49. http://dx.doi.org/10.1017/s004055740531009x.

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Paul Maloney's study of Victorian and Edwardian Glasgow's entertainment is part of the series Studies in Popular Culture, under the general editorship of Jeffrey Richards, and it benefits from the protocols of its social-history methodology. His approach to the halls has a welcome freedom from the constraints that dog theatre scholars whose disciplines have equipped them with subliminally insistent literary and musical criteria. Maloney is able to acknowledge the stereotypical, misogynistic, jingoist materials used by music-hall performers but still understand them as functional expressions of

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19

Davis, Leith. "“A Piece of History the Most Remarkable & Interesting That Ever Happened in Any Age or Country”: “The Lyon in Mourning” Manuscript of Robert Forbes." Eighteenth-Century Life 48, no. 1 (2024): 159–82. http://dx.doi.org/10.1215/00982601-10951374.

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This chapter presents a book-history analysis of a 2,148-page manuscript book known as “The Lyon in Mourning.” Compiled after the defeat of the Jacobites at the Battle of Culloden (1746), the work consists of pro-Jacobite materials copied out by Episcopalian minister Robert Forbes into ten blank octavo books. The items collected include scaffold speeches by executed Jacobite prisoners, eyewitness narratives of those who helped the Stuart cause, letters, songs, poems, and even a list of goods the Jacobites purchased in the last few months of the conflict. Although “The Lyon in Mourning” remaine

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20

Munro, Robert. "Adapting Sunset Song: Authorial, Industrial, and National Discourses in the 2015 Film Adaptation of Sunset Song." International Review of Scottish Studies 49, no. 1 (2024): 18–39. http://dx.doi.org/10.3366/irss.2024.0027.

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This article traces the discourses shaping the 2015 film adaptation of Sunset Song, directed by Terence Davies. In doing so, it shows how both the film and Lewis Grassic Gibbon's original novel are involved in complex negotiations of ideas about Scottishness. In the case of the film, this is evident in its sophisticated and poetic visual engagement with some aspects of the novel's characterization of Chris Guthrie, its use of language, and its representation of landscapes. The same negotiations are apparent in paratextual materials that demonstrate the route taken by the producers and director

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21

Cetrà, Daniel, and Malcolm Harvey. "‘The Song Remains The Same?’ Constitutional Developments in Catalonia and Scotland in 2015." European Yearbook of Minority Issues Online 14, no. 1 (2017): 155–70. http://dx.doi.org/10.1163/22116117_01401007.

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Scotland and Catalonia have long been seen as comparative cases: distinctive minority national identities with autonomist movements that have seen a measure of electoral or constitutional success. In 2014, both cases reached a critical juncture, with an official referendum in Scotland and a non-binding ‘participation process’ in Catalonia. Those events have been studied in detail elsewhere, but the focus of this article is on the aftermath – specifically, the political and constitutional developments in each case in the 12 months following their respective votes. In particular, we look at the

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22

Shoupe, Catherine A. "Music and Song Traditions in Scotland: Springthyme Records." Journal of American Folklore 104, no. 412 (1991): 182. http://dx.doi.org/10.2307/541228.

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23

McCulloch, Margery. "Women, poetry and song in eighteenth-century lowland scotland." Women's Writing 10, no. 3 (2003): 453–68. http://dx.doi.org/10.1080/09699080300200280.

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24

Moodie, Crawford. "Student gambling, erroneous cognitions, and awareness of treatment in Scotland." Journal of Gambling Issues, no. 21 (June 1, 2008): 30. http://dx.doi.org/10.4309/jgi.2008.21.5.

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Rates of probable pathological gambling in colleges and universities across Scotland were investigated with a nationally distributed sample consisting of students (n = 1,483) and members of staff (n = 492). Gambling-related erroneous cognitions (Gambling Beliefs Questionnaire [GBQ]) and gambling severity (South Oaks Gambling Screen [SOGS]) were measured, with additional questions enquiring about awareness of treatments available for gambling problems. Rates of past-year problem and probable pathological gambling for students were 4.0% and 3.9%, respectively. An exploratory factor analysis of t

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25

Davis, Leith. "From Fingal's Harp to Flora's Song: Scotland, Music and Romanticism." Wordsworth Circle 31, no. 2 (2000): 93–97. http://dx.doi.org/10.1086/twc24044184.

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26

Grant, Kevin. "Oran an Fheamnaidh – song of the seaweed gatherer: an archaeology of early 19th-century kelping." Scottish Archaeological Journal 41, no. 1 (2019): 63–85. http://dx.doi.org/10.3366/saj.2019.0107.

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At the very end of the 18th century, economic circumstance and the capricious consequences of warfare on the continent turned seaweed on the West Coast and Isles of Scotland into an important industrial resource. This resource was kelp: a glassy substance used in various industrial processes, particularly in the glass and soap industries. Chiefs and landowners in the west of Scotland were quick to take advantage of the economic opportunity it presented. The industry would have profound effects on the people who lived and worked in coastal communities. This paper seeks to outline a landscape ar

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27

McKean, Thomas A. "Willie Mathieson and the Primary Audience for Traditional Song." Tautosakos darbai 55 (June 25, 2018): 36–59. http://dx.doi.org/10.51554/td.2018.28498.

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Focusing on the song notebooks of William Mathieson (1879–1958), a farmworker in North-East Scotland, this essay examines the role of tradition in one man’s life, proposing that people learn, preserve, and perform folklore largely for themselves. Mathieson’s material is preserved as handwritten and typed texts, along with cylinder and tape recordings, made across more than half a century by three collectors: James Madison Carpenter, Hamish Henderson and, crucially, Mathieson himself. I suggest that this depth of evidence can be used in future to elucidate the essential nature of specific examp

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28

Lamb, William. "Reeling in the Strathspey: The Origins of Scotland’s National Music." Scottish Studies 36 (December 31, 2013): 66. http://dx.doi.org/10.2218/ss.v36.2706.

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According to the conventionally held view, the strathspey or 'strathspey reel' was an eighteenth century innovation instigated by fiddlers of the Speyside region, such as the Browns of Kincardine and the Cummings of Grantown. However, the basic rhythmic characteristics inherent to the strathspey – a series of long and short notes, organised within two or four strong beats per bar – are found in Gaelic songs thought to be much older. Using a range of data from early fiddle collections and transcriptions of twentieth century audio recordings, this paper explores the musical and semantic connecti

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29

Conway, H., and R. T. Hutcheson. "Two Sons of Paisley and the Birth of Academic Pathology in Scotland." Scottish Medical Journal 46, no. 3 (2001): 89–91. http://dx.doi.org/10.1177/003693300104600309.

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30

Toussaint, Benjamine. "“To exult and sing out” Stevenson’s Song and the Song of a Divergent Scotland: Ronald Frame’s The Lantern Bearers." Études écossaises, no. 15 (April 15, 2012): 11–28. http://dx.doi.org/10.4000/etudesecossaises.523.

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31

Bawcutt, P. "A Song from the Complaynt of Scotland: 'My Hart is Leiuit on the Land'." Notes and Queries 49, no. 2 (2002): 193–97. http://dx.doi.org/10.1093/nq/49.2.193.

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32

Bawcutt, Priscilla. "A Song from the Complaynt of Scotland : ‘My Hart is Leiuit on the Land’." Notes and Queries 49, no. 2 (2002): 193–97. http://dx.doi.org/10.1093/nq/490193.

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33

Groves, David. "‘Scotland's Guid Auld Channel Stane’: A Song by James Hogg." Notes and Queries 32, no. 3 (1985): 343. http://dx.doi.org/10.1093/notesj/32.3.343.

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34

Jenkins, D., and A. Watson. "Dates of first arrival and song of birds during 1974–99 in mid-Deeside, Scotland." Bird Study 47, no. 2 (2000): 249–51. http://dx.doi.org/10.1080/00063650009461183.

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35

Cooke, Peter. "Gaelic Songs of Scotland: Women at Work in the Western Isles. 2006. The Alan Lomax Collection. Rounder 11661-1785-2. Recorded by Alan Lomax. Annotated by Margaret Bennett. Collection produced by Anna Lomax Wood and Jeffrey A. Greenberg. 36 pp. of notes in English (including song texts in Gaelic with English translations). 9 b/w photographs. 11-item bibliography. 1 compact disc, 38 tracks (65:33). Original field recordings made in 1951." Yearbook for Traditional Music 39 (2007): 199–200. http://dx.doi.org/10.1017/s0740155800006998.

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36

Nelson, C. "Tea-table miscellanies. The development of Scotland's song culture, 1720-1800." Early Music 28, no. 4 (2000): 596–618. http://dx.doi.org/10.1093/em/28.4.596.

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37

Russell, Ian. "Scotland’s Traditional Music and Song as Cultural, Social, and Economic Assets." Journal of Irish and Scottish Studies 2, no. 2 (2009): 123–37. http://dx.doi.org/10.57132/jiss.154.

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38

Watling, Tony. "'Singing the Lord's Song in a Strange Land': A 'Bio-Ethnography' of Christianity and Genetic Engineering in Scotland." Journal for the Study of Religion, Nature and Culture 11, no. 1 (2007): 76–102. http://dx.doi.org/10.1558/ecotheology.v11i1.76.

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39

Watling, Tony. "?Singing the Lord's Song in a Strange Land?: A ?Bio-Ethnography? of Christianity and Genetic Engineering in Scotland." Ecotheology 11, no. 1 (2006): 76–102. http://dx.doi.org/10.1558/ecot.2006.11.1.76.

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40

McKay, James. "Robert Duncan, Sons of Vulcan: Ironworkers and Steelmen in Scotland, Edinburgh: Birlinn, 2010. Pp. viii + 232; illus. Paperback ISBN 9781841587691, £14.99." Journal of Scottish Historical Studies 30, no. 2 (2010): 201–3. http://dx.doi.org/10.3366/jshs.2010.0109.

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41

Bold, Valentina. "“An Irish Boy he may well be but he spak braid Scots when he coortit me”: Song Connections between Ireland and South West Scotland." Traditiones 38, no. 1 (2009): 131–40. http://dx.doi.org/10.3986/traditio2009380109.

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42

Bicket, Douglas. "A New Song or the Same Old Tune? Press Constructions of Scotland's Emerging Political Identity in Britain and Europe." Journalism & Communication Monographs 7, no. 4 (2006): 145–85. http://dx.doi.org/10.1177/152263790600700401.

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43

McCaffrey, John. "The Catholic Hierarchy of Scotland. A biographical list, 1653-1985. By James Darragh. Pp. xxvii + 132 incl. ill. Glasgow: John S. Burns & Sons, 1986. £12.50. 0946356 750." Journal of Ecclesiastical History 39, no. 2 (1988): 312–13. http://dx.doi.org/10.1017/s0022046900021278.

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44

Crockett Thomas, Phil, Jo Collinson Scott, Fergus McNeill, Oliver Escobar, Lucy Cathcart Frödén, and Alison Urie. "Mediating Punishment? Prisoners’ Songs as Relational ‘Problem-Solving’ Devices." Law Text Culture 24, no. 1 (2020). http://dx.doi.org/10.14453/ltc.712.

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In this article we share some findings from the Distant Voices – Coming Home project. It is a partnership between the Universities of Glasgow, Edinburgh and the West of Scotland, and the Glasgow-based arts charity Vox Liminis. Distant Voices aims to explore and practice re/integration after punishment through creative collaborations (primarily songwriting) and action-research. The project is complex and interdisciplinary, blurring boundaries between creative practices, community-building, research, knowledge exchange and public engagement. As such, this article does not present a synthesis of

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45

Esther Lezra and George Lipsitz. "The Poetics of Place and Expressions of Oppositional Memory." Kalfou 7, no. 1 (2020). http://dx.doi.org/10.15367/kf.v7i1.319.

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The Black Atlantic creation of alternative archives illustrated in Parisa Urquhart’s 2019 documentary Strike for Freedom, which chronicles the unveiling of a historical plaque in Edinburgh to commemorate Frederick Douglass’s activism while he was in exile in Scotland, has a long and meaningful history. People without control over—or even access to—papers of state, conquerors’ memoirs, or officially commissioned histories have carried out the work of recovering, remembering, and reimagining the past through creative deployment of the meager tools at their disposal: stories, songs, and other for

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46

Linklater, Hannah, and Lewis Forbes. "Cross-Cultural Collaboration as Community Growth and Integration: Children’s Music Projects in Bosnia-Herzegovina and Scotland." Approaches: An Interdisciplinary Journal of Music Therapy 4, no. 2 (2012). http://dx.doi.org/10.56883/aijmt.2012.479.

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This paper constitutes a reflective account of inclusive approaches in two children’s music projects, both aiming to foster group creativity alongside cross-cultural awareness and understanding. The first of these projects involved sharing songs composed by children and young people from a special needs school in Mostar, Bosnia-Herzegovina, with a primary school choir in Edinburgh, Scotland. The second project, in Sarajevo, Bosnia-Herzegovina, focused on group song-writing and performance involving three groups of children from ethnically separated schools, alongside a choir from a school for

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47

Tonner, Philip, Oscar Odena, Joshua Dickson, Angela Jaap, Dougie Pincock, and Rosalyn Potter. "‘Wayfarers: Confronting the past through traditional music in schools’." International Journal of Music Education, October 31, 2023. http://dx.doi.org/10.1177/02557614231205307.

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This paper discusses an inquiry-based school-university partnership project conducted by history and music education specialists in Scotland. The project was music-led with history underpinning it, namely the musical migration of Scots and Irish to the Eastern United States. From the 18th century onwards thousands of Scots and Irish moved to Appalachia – ‘the wayfarers’ in our title. Their heritage now features in the Scottish school curriculum. However, the wayfarers encountered a range of challenging factors, including forced migration and segregation, which are not yet fully considered in s

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48

Tadevosyan, Tadevos, and Vera Arakelyan. "THE LEGEND OF THE SCOTTISH BARD THOMAS THE RHYMER AND THE FAIRY QUEEN IN MODERN RUSSIAN LITERATURE." VII International Scientific Conference, December 2024, 154–73. https://doi.org/10.58726/langlit-154-173.

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Key words: bard, Vladimir Lermontov, Henry Lyon Oldie, Fairy Queen, Mikhail Lermontov, prophet, fantasy novel, Russian literature, Sergei Lukyanenko, Thomas Learmont, Scotland, Elfland The article analyzes the paradigm of the Celtic legend about Thomas the Rhymer and the Fairy Queen, which is reflected in the works of modern Russian literature. The main topic of the article is the fantasy novels by Sergei Lukyanenko “The Last Watch” (2006) and Henry Lyon Oldie (pseudonym of Dmitry Gromov and Oleg Ladyzhensky) “Harpy” (2008), as well as the philosophical and esoteric treatise by Vladimir Lermon

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Quigley, Hannah, and Raymond MacDonald. "A qualitative investigation of a virtual community music and music therapy intervention: A Scottish–American collaboration." Musicae Scientiae, February 9, 2024. http://dx.doi.org/10.1177/10298649241227615.

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This study investigates the experiences of people involved in a virtual intervention involving community music and music therapy for individuals with autism. The intervention blends conventional music therapy and community music approaches. During the COVID-19 pandemic, many community music and music therapy projects shifted to an online format and there is a resultant need to understand more about how virtual music interventions may be of benefit for individuals with autism. We report on the design, implementation, and outcomes of one such intervention. Over an 8-week period, community musici

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Varney, Wendy. "Homeward Bound or Housebound?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2701.

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   If thinking about home necessitates thinking about “place, space, scale, identity and power,” as Alison Blunt and Robyn Dowling (2) suggest, then thinking about home themes in popular music makes no less a conceptual demand. Song lyrics and titles most often invoke dominant readings such as intimacy, privacy, nurture, refuge, connectedness and shared belonging, all issues found within Blunt and Dowling’s analysis. The spatial imaginary to which these authors refer takes vivid shape through repertoires of songs dealing with houses and other specific sites, vast and distant

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