America the beautiful : four-part song for mixed voices /

Caption title.

Songs and hymns of the Gael : with translations and music and an introduction /

Unacc. melodies in staff and tonic sol-fa notations.

The uncommon commoner, and similar songs of democracy,

Reprinted in part from various periodicals.

The glen path, and other songs,

Reprinted in part from various sources.

Songs for a little house,

Reprinted in part from various periodicals.

Sailor town; sea songs and ballads,

Reprinted in part from various periodicals.

Soldier poets : songs of the fighting men.

"First edition, September 1916 ... Reprinted August 1917."

Songs.

Forms part of Student life, v. 9, no. 9.

A compendious book of godly and spiritual songs, commonly known as 'The gude and godie ballatis', reprinted from the edition of 1567;

With facsim. of the t.-p. of the editions of 1576, 1600, and 1621, and of 2 pages of the edition of 1567.

French songs /

Mostly unaccompanied melodies; some songs have piano accompaniment.

The new Yale song-book : a collection of songs in use by the Glee Club and students of Yale University /

Includes photographs of the Yale campus.

Negro folk-songs.

Forewords by Natalie Curtis Burlin.

Songs and satires,

Blue cloth

Columbia University songs /

English, Latin or German words, in part printed as text.

Let The People Sing? Irish Rebel Songs, Sectarianism, and Scotland’s Offensive Behaviour Act

Irish 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 Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context, and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.