Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.513086
Title: 'Scotland the Real' : the representation of traditional music in Scottish tourism
Author: Stevenson, Lesley
Awarding Body: University of Glasgow
Current Institution: University of Glasgow
Date of Award: 2004
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Abstract:
This thesis explores how Scottish traditional music has been represented to tourist audiences, through systems of representation such as travel literature, recordings and traditional music events (including folk festivals, tourist shows and sessions). It argues that an explicit concern with the “real” has been a recurrent, although contested, discursive trope in such representations. In particular, the thesis demonstrates how paradigmatic shifts in conceptions of authenticity have wrought ideological changes on tourist-oriented depictions of Scottish folk music. The thesis identifies four generic categories of authenticity which have mediated touristic representations of Scottish traditional music, namely: authenticity of text; authenticity of performer; authenticity of context; and authenticity of locality. The first of these was of significance throughout the eighteenth, nineteenth and early twentieth century, as folksong collectors, travel writers and guidebooks authors based their judgements of musical authenticity upon the printed text. The folk revival of the 1950s resulted in a fundamental rupture in discursive formations of authenticity, leading to assessments of the “real” being based upon performers, their backgrounds and musical upbringings. As the folk revival developed, such assessments became predicated upon the context of the musical performance, and, in particular, the extent to which events succeeded in minimising the performer-audience stratification and facilitating communal participation. Finally, the geographical scope of the musical expression has recently become particularly significant in this regard: practitioners frequently regard localised musical identities as “real”, while deriding the homogeneity and commercial connotations of transnational musical identities such as “Celtic music".
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.513086  DOI: Not available
Keywords: GV Recreation Leisure ; M Music
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