Auld Scots Ballants
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View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
Folk Song in Cumbria: a Distinctive Regional
FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE? A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy by Susan Margaret Allan, MA (Lancaster), BEd (London) University of Lancaster, November 2016 ABSTRACT One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge for one region through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. -
The Minstrelsy of the Scottish Border
*> THE MINSTRELSY OF THE SCOTTISH BORDER — A' for the sake of their true loves : I ot them they'll see nae mair. See />. 4. The ^Minstrelsy of the Scottish "Border COLLECTED BY SIR WALTER SCOTT EDITED AND ARRANGED WITH INTRODUCTION AND NOTES BY ALFRED NOYES AND SIX ILLUSTRATIONS BY JOHN MACFARLANE NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS • • * « * TO MARGARET AND KATHARINE BRUCE THIS EDITION OF A FAMOUS BOOK OF THEIR COUNTRY IS DEDICATED WITH THE BEST WISHES OF ITS EDITOR :593:3£>3 CONTENTS l'AGE Sir Patrick Spens I 6 The Wife of Usher's Well Clerk Saunders . 9 The Tvva Corbies 15 Barthram's Dirge 16 The Broom of Cowdenknows iS The Flowers of the Forest 23 25 The Laird of Muirhead . Hobbie Noble 26 Graeme and Bewick 32 The Douglas Tragedy . 39 The Lament of the Border Widow 43 Fair Helen 45 Fause Foodrage . 47 The Gay Goss-Hawk 53 60 The Silly Blind Harper . 64 Kinmont Willie . Lord Maxwell's Good-night 72 The Battle of Otterbourne 75 O Tell Me how to Woo Thee 81 The Queen's Marie 83 A Lyke-Wake Dirge 88 90 The Lass of Lochroyan . The Young Tamlane 97 vii CONTENTS PACE 1 The Cruel Sister . 08 Thomas the Rhymer "3 Armstrong's Good-night 128 APPENDIX Jellon Grame 129 Rose the Red and White Lilly 133 O Gin My Love were Yon Red Rose 142 Annan Water 143 The Dowie Dens of Yarrow .46 Archie of Ca'field 149 Jock o' the Side . 154 The Battle of Bothwell Bridge 160 The Daemon-Lover 163 Johnie of Breadislee 166 Vlll LIST OF ILLUSTRATIONS "A' for the sake of their true loves ;") ^ „, .,,/". -
Oral Tradition 29.1
Oral Tradition, 29/1 (2014):47-68 Voices from Kilbarchan: Two versions of “The Cruel Mother” from South-West Scotland, 1825 Flemming G. Andersen Introduction It was not until the early decades of the nineteenth century that a concern for preserving variants of the same ballad was really taken seriously by collectors. Prior to this ballad editors had been content with documenting single illustrations of ballad types in their collections; that is, they gave only one version (and often a “conflated” or “amended” one at that), such as for instance Thomas Percy’s Reliques of Ancient English Poetry from 1765 and Walter Scott’s Minstrelsy of the Scottish Border from 1802. But with “the antiquarian’s quest for authenticity” (McAulay 2013:5) came the growing appreciation of the living ballad tradition and an interest in the singers themselves and their individual interpretations of the traditional material. From this point on attention was also given to different variations of the same ballad story, including documentation (however slight) of the ballads in their natural environment. William Motherwell (1797-1835) was one of the earliest ballad collectors to pursue this line of collecting, and he was very conscious of what this new approach would mean for a better understanding of the nature of an oral tradition. And as has been demonstrated elsewhere, Motherwell’s approach to ballad collecting had an immense impact on later collectors and editors (see also, Andersen 1994 and Brown 1997). In what follows I shall first give an outline of the earliest extensively documented singing community in the Anglo-Scottish ballad tradition, and then present a detailed analysis of two versions of the same ballad story (“The Cruel Mother”) taken down on the same day in 1825 from two singers from the same Scottish village. -
A Collection of Ballads
A COLLECTION OF BALLADS INTRODUCTION When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with European Märchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis— “I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks. -
The Flowering Thorn: International Ballad Studies
Utah State University DigitalCommons@USU All USU Press Publications USU Press 1-1-2003 The loF wering Thorn Thomas A. McKean Follow this and additional works at: http://digitalcommons.usu.edu/usupress_pubs Part of the Folklore Commons Recommended Citation McKean, T. A. (2003). The flowering thorn: International ballad studies. Logan, Utah: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. The Flowering Thorn International Ballad Studies INTRO Flowering Thorn.p65 1 9/25/03, 02:16 INTRO Flowering Thorn.p65 2 9/25/03, 02:16 The Flowering Thorn International Ballad Studies edited by Thomas A. McKean A project of the Kommission für Volksdichtung and the Elphinstone Institute Utah State University Press Logan, Utah INTRO Flowering Thorn.p65 3 9/25/03, 02:16 Copyright © 2003 Utah State University Press All rights reserved Utah State University Press Logan Utah 84322–7800 Cover and book design and typesetting by Thomas A. McKean. Cover photograph: Hawthorn (Cratægus monogyna ), Schivas, Aberdeenshire, Scotland, June 2003, Thomas A. McKean. Library of Congress Cataloging-in-Publication Data The flowering thorn : international ballad studies / edited by Thomas A. McKean. p. cm. “A project of the Kommission für Volksdichtung and the Elphinstone Institute.” Includes bibliographical references (p. ) and index. ISBN 0-87421-568-4 (alk. paper) 1. Ballads—History and criticism. 2. Folk literature—History and criticism. I. -
The Sin of Pride in Dressing Bodies in Spanish and Anglo-American Ballads
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 19 (2017) Issue 3 Article 4 The Sin of Pride in Dressing Bodies in Spanish and Anglo-American Ballads Ana Belén Martínez García University of Navarra Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, Literature in English, North America Commons, and the Spanish Literature Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Martínez García, Ana Belén. "The Sin of Pride in Dressing Bodies in Spanish and Anglo-American Ballads." CLCWeb: Comparative Literature and Culture 19.3 (2017): <https://doi.org/10.7771/1481-4374.3017> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Notice of High-Water Marks on the Banks of the River Tweed and Some of Its Tributaries; and Also of Drift Deposits in the Valley of the Tweed
( 513 ) XXV.—Notice of High-Water Marks on the Banks of the River Tweed and some of its Tributaries; and also of Drift Deposits in the Valley of the Tweed. By DAVID MILNE HOME of Wedderburn, LL.D. (Plates XXXV.-XXXVIII.) (Read June 7, 1875.) A few years ago, a memoir on high-water marks on the banks of the Rivers Earn and Teith, in Perthshire, by the Rev. THOMAS BROWN, was read in our Society, and published in our Transactions. The only other Scotch geologist, so far as I know, who has alluded to the existence of river terraces, much above the level of existing floods, is the late Dr ROBERT CHAMBERS. In his work, entitled " Ancient Sea Margins," Dr CHAMBERS specifies many Scotch rivers, in the valleys occupied by which, he had seen terraces, at considerable heights above the rivers and above the sea. The explanations of these high river terraces given by the Rev. Mr BROWN and by Dr CHAMBERS respectively, are different. I venture to entertain doubts respecting the soundness of both explanations; and as the subject is of some interest, it appears to me that farther inquiry is desirable. Dr CHAMBERS was under the belief that almost all the high-level terraces examined by him on the Tweed, Tay, Clyde, and Spey, were horizontal, and therefore not formed by rivers. He did not suggest, that they had been formed by lakes. He considered them sea beaches. The Rev. Mr BROWN, on the other hand, states that all the high-level terraces which he examined on the Rivers Earn, Teith, and their tributaries the Turrit, Keltie, and Ruchil, slope with the streams; and he ascribes their formation to river action. -
Annual Report 2018
The Tweed Foundation 2018 Annual Report Contents Foreword 3 Fish Populations The present situation for Tweed Salmon 4-6 Monitoring Juvenile Salmon 2018 Electro-fishing Results 7-9 Counting Ettrick Fish Counter 10 Whiteadder Fish Counter 11 Gala Fish Counter 11 Smolt Monitoring 12-13 Environment Water Temperatures in the Summer of 2018 14-15 Bird Predation 16 Brown Trout 2018 Brown Trout Catches 17-18 Trout Traps 19-20 Brown Trout Tracking 21-22 Brown Trout Spot Pattern Recognition 23-24 Fish Easements 25-26 Other Species 2018 Grayling Catches 27 Scale Reading 28 Pink Salmon 28 Education and Events - Snapshot 2018 29-32 Find Us on Social Media 33 Our Services 33 Accounts 34 Trustees & Staff 35 Acknowledgements 35 2018 Objectives & Achievements 36-38 Support: Friends of The Tweed Foundation 39 Support: Donations & Gift Aid 40 Map of the Tweed Catchment 41 Published June 2019 © The Tweed Foundation Front cover: A Salmon Smolt, Gala Water Smolt Trap www.tweedfoundation.org.uk 1 Processing fish at the new Gala Smolt trap 2 www.tweedfoundation.org.uk Foreword Against a continuing backdrop of declining Salmon catches - both here and on most other Scottish rivers - The Tweed Foundation is focusing its energies in addressing those factors that can potentially be managed, or influenced, in the catchment. Whilst many of the difficulties currently faced by our Salmon are happening in the marine environment which is largely out of our control, we are developing ways in which we can increase our support for the most crucial, and fragile, part of the Tweed Salmon’s life cycle namely Smolt migration. -
Andrew Lang - Poems
Classic Poetry Series Andrew Lang - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Andrew Lang(31 March 1844 - 20 July 1912) LAndrew Lang was a Scots poet, novelist, literary critic, and contributor to the field of anthropology. He is best known as a collector of folk and fairy tales. The Andrew Lang lectures at the University of St Andrews are named after him. <b>Biography</b> Lang was born in Selkirk. He was the eldest of the eight children born to John Lang, the town clerk of Selkirk, and his wife Jane Plenderleath Sellar, who was the daughter of Patrick Sellar, factor to the first duke of Sutherland. On 17 April 1875 he married Leonora Blanche Alleyne, the youngest daughter of C. T. Alleyne of Clifton and Barbados. He was educated at Selkirk grammar school, Loretto, and at the Edinburgh Academy, St Andrews University and at Balliol College, Oxford, where he took a first class in the final classical schools in 1868, becoming a fellow and subsequently honorary fellow of Merton College. As a journalist, poet, critic and historian, he soon made a reputation as one of the most able and versatile writers of the day. He died of angina pectoris at the Tor-na-Coille Hotel in Banchory, Banchory, survived by his wife. He was buried in the cathedral precincts at St Andrews. <b>Professions</b> <b>Folklore and anthropology</b> Lang is now chiefly known for his publications on folklore, mythology, and religion. The interest in folklore was from early life; he read John McLennan before coming to Oxford, and then was influenced by E. -
Weddings at Thirlestane
WEDDINGS AT THIRLESTANE LAUDER ● SCOTTISH BORDERS A FAIRYTALE SETTING FOR YOUR WEDDING WEDDINGS AT THIRLESTANE Nestling in the gentle Scottish Borders hills, with its rose pink sandstone and majestic turrets, Thirlestane Castle is a fairytale setting for weddings. Surrounded by peaceful parkland with the River Leader flowing by, Thirlestane offers you privacy and seclusion, yet is conveniently just 35 minutes south of Edinburgh. This hidden gem is one of the oldest and finest inhabited castles in Scotland. For one of the most important days of your life, you need a truly spectacular venue. Driving through the Eagle Gates, you catch your first glimpse of Thirlestane Castle at the end of the pine tree-lined driveway. Royalty and distinguished guests have been entertained here since the 16th century by the Maitland family, and now you can have exclusive use of this castle to celebrate your future with the one you love. As you walk up the Grand Staircase to the State Rooms, you feel a sense of occasion. The backdrop is grand and dramatic, but the atmosphere is relaxed and welcoming in this ancient Scottish castle. Your castle for the day. WEDDINGS AT THIRLESTANE The sumptuously decorated State Drawing Room overlooking the Rose Garden is perfect for ceremonies or your wedding meal. As your guests are seated, the breath-taking ceilings will be a real talking point, with ornate garlands of fruit, flowers and musical instruments gilded in gold. DRAWING ROOM CaPACITIES: Ceremony 100 • Dinner 80 WEDDINGS AT THIRLESTANE The elegant State Dining Room is perfect for smaller weddings or dinners. -
Jock Duncan Archive
Ye Shine Whar Ye Stan! Jock uncan SCOTTISHD SONG: the north-east tradition 1 Contents OCK DUNCAN was brought up in the ballad-rich Introduction: 1 farming country around New Deer and Fyvie in Aber- deenshire. He has been singing traditional songs and 1 Gruel 3 Jbothy ballads as long as he can remember. 2 Rhynie 4 Jockʼs father had the farm of Gelliebrae beside New Deer 3 Lothian Hairst 5 and Jock was born there in 1925. Three years later Jockʼs father took over at South Faddenhill of Fyvie when Jockʼs Hairstersʼ Reel grandfather gave up the farm. Jock grew up to take his part 4 Cruel Mother 6 in the every day work of the farm and by the age of 10 he 5 Hash o Benagoak 7 was good enough to be driving a horse at the plough. 6 Bogieʼs Bonnie Belle 8 One of the major influences on Jockʼs music was his mother. Jock writes: My mother was what I would term 7 Glenlogie 9 ʻthe stang o the trumpʼ [the best of the bunch], a fine pian- 8 Bonnie Udny 11 ist and accompanist to the many fine fiddle players who 9 Bonnie Lass o Fyvie 11 graced the great splores [house ceilidhs] she organised in the ben the hoose end at Faddenhill. We could listen or 10 13 Sleepytoon participate – singing the ald Scots sangs and ballads, the 11 Mormond Braes 14 ald bothy ballads and the new cornkisters of Willie Kemp 12 The Hairst o Rettie 15 and George Morris. They were my pop idols made famous 13 Macfarlan o the Sprotts 16 with the advent of their ʻ78ʼ Beltona records in the early 1930s.