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Few published collections of Gaelic song place the songs or their singers and communities in context. Brìgh an Òrain - A Story in Every Song corrects this, showing how the inherited art of a fourth-generation Canadian Gael fits within biographical, social, and historical contexts. It is the first major study of its kind to be undertaken for a Scottish Gaelic singer. The forty-eight songs and nine folktales in the collection are transcribed from field recordings and presented as the singer performed them, with an English translation provided. All the songs are accompanied by musical transcriptions. The book also includes a brief autobiography in Lauchie MacLellan's entertaining narrative style. John Shaw has added extensive notes and references, as well as photos and maps. In an era of growing appreciation of Celtic cultures, Brìgh an Òrain - A Story in Every Song makes an important Gaelic tradition available to the general reader. The materials also serve as a unique, adaptable resource for those with more specialized research or teaching interests in ethnology/folklore, Canadian studies, Gaelic language, ethnomusicology, Celtic studies, anthropology, and social history.
The Brahan Seer is a legendary figure known throughout Scotland and the Scottish Diaspora and indeed anywhere there is an interest in looking into the future. This book traces the legend of the Seer between the sixteenth and twenty-first centuries. It considers the seer figure in relation to aspects of Scottish Highland culture and society that shaped its development during this period. These include the practice and prosecution of witchcraft, the reporting and scientific investigation of instances of second sight, and the perennial belief in and use of prophecy as a means of predicting events. In so doing the book provides a set of historicised contexts for understanding the genesis of the legend and how it changed over time through a synthesis of historical events, oral tradition, folklore and literary Romanticism. It makes a contribution to the debates not only about witchcraft, second sight and prophecy but also about the relationship between 'popular' and 'elite' culture in Scotland. By taking the Brahan Seer as a case study it argues that 'popular' culture is not antithetical to 'elite' culture but rather in constant (and complex) interaction with it.
An enlightening illustrated overview of Gaelic culture and history in Scotland. Words have always held great power in the Gaelic traditions of the Scottish Highlands: Bardic poems bought immortality for their subjects; satires threatened to ruin reputations and cause physical injury; clan sagas recounted family origins and struggles for power; incantations invoked blessings and curses. Even in the present, Gaels strive to counteract centuries of misrepresentation of the Highlands as a backwater of barbarism without a valid story of its own to tell. Warriors of the Word offers a broad overview of Scottish Highland culture and history, bringing together rare and previously untranslated primary texts from scattered and obscure sources. Poetry, songs, tales, and proverbs, supplemented by the accounts of insiders and travelers, illuminate traditional ways of life, exploring such topics as folklore, music, dance, literature, social organization, supernatural beliefs, human ecology, ethnic identity, and the role of language. This range of materials allows Scottish Gaeldom to be described on its own terms and to demonstrate its vitality and wealth of renewable cultural resources—making this an essential compendium for scholars, students, and all enthusiasts of Scottish culture.
Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present features the proceedings of the Fiftieth Annual Conference of the Canadian Society for Traditional Music / La Société Canadienne pour les Traditions Musicales (formerly the Canadian Folk Music Society / La Société canadienne de musique folklorique) that took place in November, 2006 in Ottawa at Carleton University and the Canadian Museum of Civilization. This publication showcases the diversity of music research currently being conducted by folk and traditional music specialists, ethnomusicologists, and practicing musicians in Canada. The papers are organized in five sections according to common themes in contemporary research in ethnomusicology and folk music studies, and each section is preceded by a short introduction which highlights the section’s theme(s) as well as the individual papers. Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present confirms the rich history of the Canadian Society for Traditional Music, a history that comprises enormous changes in scholarly research, musical practice, emergent technologies, changes in doing fieldwork, and shifting identity boundaries over the past fifty years. This volume is intended as a contribution to published literature on ethnomusicological and folklore research in Canada, creating a new resource of historical, contemporary, and scholarly relevance that will appeal to academics and music enthusiasts alike. "Canadian ethnomusicologists' expertise in the realm of First Nations musics, and Anglo, Celtic and French folksong repertories is already well established. This volume shows us the breadth of cultural territory with which 21st-century Canadian scholars of music and scholars of Canadian musics are now engaged, as well as their theoretical and methodological sophistication. " —Kati Szego, School of Music, Memorial University
Communicating Cultures explores contemporary and historical issues. The title may be read in various ways, including cultures as communicative systems; cultures communicating with one another; or, communication about cultures. The contributors to this volume represent different fields within or related to European ethnology, such as anthropology, geography, folklore, linguistics, or area studies. ** "The editors have assembled a rich collection of papers. The questions that they address - migration and diasporas; the invention of traditions; education and language; media and representation - are at the very heart of today's agenda in cultural analysis." - from the Foreword
Born in 1928 in a tent on the shore of Loch Fyne, Argyll, Duncan Williamson (d. 2007) eventually came to be recognized as one of the foremost storytellers in Scotland and the world. Webspinner: Songs, Stories, and Reflections of Duncan Williamson, Scottish Traveller is based on more than a hundred hours of tape-recorded interviews undertaken with him in the 1980s. Williamson tells of his birth and upbringing in the west of Scotland, his family background as one of Scotland’s seminomadic travelling people, his varied work experiences after setting out from home at about age fifteen, and the challenges he later faced while raising a family of his own, living on the road for half the year. The recordings on which the book is based were made by John D. Niles, who was then an associate professor at the University of California, Berkeley. Niles has transcribed selections from his field tapes with scrupulous accuracy, arranging them alongside commentary, photos, and other scholarly aids, making this priceless self-portrait of a brilliant storyteller available to the public. The result is a delight to read. It is also a mine of information concerning a vanished way of life and the place of singing and storytelling in Traveller culture. In chapters that feature many colorful anecdotes and that mirror the spontaneity of oral delivery, readers learn much about how Williamson and other members of his persecuted minority had the resourcefulness to make a living on the outskirts of society, owning very little in the way of material goods but sustained by a rich oral heritage.
Voicing Scotland takes the reader on a discovery tour through Scotland's traditional music and song culture, past and present. West unravels the strings that link many of our contemporary musicians, singers and poets with those of the past, offering up to our ears these voices which deserve to be more loudly heard. What do they say to us in the 21st Century? What is the role of tradition in the contemporary world? Can there be a folk culture in the digital age? What next for the traditional arts? REVIEWS Can folk stay true to tradition and still be genuinely contemporary? Can its pride in place counter globalisation- without collapsing into narrow nationalism? The answer for, Gary West, is a resounding Yes. SCOTSMAN Voicing Scotland...is an engrossing assessment of where Scottish Traditional Music standsl, at a time of resonant political developments in the nation's history but also of globalisation and the threat of cultural homogenisation in todays 'liquid society'. SCOTSMAN