I’ve been a lecturer, examiner & supervisor in Scottish Music since 2008. It’s a lively, friendly and creative community to be part of.
Since 2008, I have designed and delivered the content for contextual modules such as Scottish Music in History, Society and Tradition 3 (Contemporary Studies), which includes themes such as revival, authenticity, globalisation and innovation, and the Honours Projects module for fourth year artistic/research projects with a focus on contemporary research methods.
I have also led the Language and Song Studies 1 & 2 Scots song strands and worked with the Principle Study Singers on vocal anatomy and mechanics.
I examine across all instrument performances, contextual work and composition. I currently sit on the panel of exam convenors and the programme committee and coordinate the Scottish Music short course.
I was on the design team for the Scottish Music programme review resulting in the new BMus Traditional Scottish Music programme beginning in September 2015.
Intellectually engaging and motivating.
I feel I have learned a lot from the topics discussed and presented as they focussed on the tradition on a deeper level as opposed to a history class. I feel I now have a greater understanding of cultural awareness, which in turn will help my personal musical development.
Very innovative, introduces you to new experiences, events, ideas and opens up opportunities to meet and play tunes with other people. Masterclasses on the history and culture of music from various areas, advice on composition, various systems in music writing and how to arrange songs were very interesting and will be very useful in the future. Experiencing the setting up and organisation to make recordings in a studio was enlightening. Individual advice given in the one to one on how to develop playing skills was superb, enabling future independent development. An amazing experience!
Summer school participant
Lori Watson is a renowned fiddler and researcher… Her research interests and outputs and her insightful knowledge of contemporary theory of music sociology and ethnomusicology make her highly effective in guiding Level Three and Four students in developing their own emerging voices as autonomous researcher-performers.
Head of Scottish Music, RCS
Students cited BASM III Contemporary Studies in Traditional Music as an example of good practice, in which their lecturer, Dr Lori Watson, has the students prepare drafts and proposals in Term 1 for essays and presentations due in Term 2.
Scottish Music Review