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    Brigadoon: Lerner and Loewe’s Scotland

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    Author
    Oates, Jennifer
    Date of Issue
    2009
    Subject Keywords
    Music; American musical; Scotland in music; Scotland
    Citation
    Oates, Jennifer. “Brigadoon: Lerner and Loewe’s Scotland.” Studies in Musical Theatre, 3/1 (2009): 91-99. https://academicworks.cuny.edu/qc_pubs/8/
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    URI
    https://scholars.carroll.edu/handle/20.500.12647/10479
    Title
    Brigadoon: Lerner and Loewe’s Scotland
    Type
    Article
    Description
    Publisher URL: https://www.ingentaconnect.com/contentone/intellect/smt/2009/00000003/00000001/art00009
    Abstract
    Since the 1950s, Brigadoon has been accepted as a representation of Scotland. Brigadoon’s Scotland consists of a highland landscape with lochs, mists, castles populated by fair maidens, warlike yet sensitive kilted men and bagpipers. Much of this comes from the invented traditions of Scotland, particularly kilts and clan tartans; late nineteenth- and early twentieth-century Scottish literature; Scottish propaganda for tourism following WWII; and Scottish popular culture. In spite of Lerner’s well-written book, Loewe’s charming music, and Agnes De Mille’s exciting choreography, the Scottishness of the work received, and still receives, the most attention. Brigadoon’s inauthentic or dubious depiction of Scotland points to the complex relationship between popular culture, history, and art. But, is Brigadoon Scottish? While Scottish intellectuals would say no, the fact that Brigadoon draws upon Scottish literary traditions, whatScotland’s own popular culture produced as “Scottish,” and devices that are viewed as Scottish by the Western world, it is.
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