Dissertationen zum Thema „Folk concepts“

The Harp Concerto, Op. 25 by Alberto Ginastera holds an important place in the harp repertoire, as it is one of the longest and most virtuosic concerti, and yet even the most prominent Ginastera scholars have not included it in their analyses. This study examines Ginastera's musical styles and how they are combined in the Harp Concerto to create a piece that both portrays Ginastera’s Argentine heritage and appeals to an international music audience through the use of contemporary compositional techniques. The overarching styles used in the Harp Concerto are Argentine Nationalism and Neo-Expressionism. Argentine Nationalism is seen in Ginastera's use of the malambo rhythm, special effects that mimic guitar writing, the guitar chord, and specific melodic figures and orchestral textures. Aspects of Neo-Expressionism include the replacement of traditional harmony with large clusters, the prominence of the (0167) tetrachord, the presence of a twelve-tone row, an overall increase in chromaticism, and the use of extended harp techniques. Argentine traits are present throughout several of Ginastera's Neo-Expressionistic compositions; however, the Harp Concerto stands out because of the clarity with which each style is incorporated, as well as in the unique way in which they are combined.

L’objectif de cette recherche est de cerner le concept du VAGUE dans le discours quotidien à travers l’emploi des adjectifs vague en français et vage en allemand tels qu’ils sont utilisés par des locuteurs ordinaires lors de l’appréciation d’un terme ou d’un énoncé auxquels ils ont été confrontés. Le corpus est constitué d’extraits d’articles de presse francophone et germanophone contenant les jugements de valeur « c’est vague », « réponse vague », « expression vague », etc. À l’aide d’une méthode qualitative et inductive, partant de jugements singuliers, ce travail laisse la parole au locuteur ordinaire et essaie de relever les différents sens ainsi que les diverses fonctions que peuvent avoir les termes vague/vage dans le langage courant. Ainsi, on montre que l’emploi des mots vague/vage peut non seulement signaler entre autres un manque d’informations, un degré élevé d’abstraction ou un problème de multi-référentialité de l’expression jugée mais également servir à disqualifier l’adversaire, fonction qui semble récurrente en situation de débat politique. Cette recherche se démarque par sa méthode, inspirée de travaux relevant de la Folk Linguistics (linguistique populaire), d’approches logico-philosophiques et de certaines études pragmatiques sur le VAGUE, mais elle vise également à compléter les catégories et les définitions existantes dans cette littérature à propos de ce phénomène. Il s’agit d’un travail conceptuel qui tient à apporter de nouvelles connaissances dans le champ des études menées sur le concept du VAGUE
The aim of this research is to outline the concept of VAGUENESS in ordinary discourse by analyzing the uses of the adjectives vague in French and vage in German employed by speakers encountering an expression or an utterance they judge vague. The data consist of newspaper articles containing value judgments like “c’est vague” (it’s vague), “réponse vague” (vague answer), “expression vague” (vague expression), etc. By means of a qualitative and inductive method, this study acknowledges a special interest in ordinary speakers’ metalinguistic evaluative statements and attempts to determine the different meanings and functions attached to those evaluating terms. It will be shown that the use of the words vague/vage may point out a lack of information, a high degree of abstractness or a problem of multi-referentiality of the expression being judged; it is also possible to make assumptions about the pragmatic functions those judgments are fulfilling, such as, for instance, disqualifying one’s opponent, a common strategy in political debate situations. Inspired by Folk Linguistic studies, this thesis distinguishes itself from logical- and philosophical approaches as well as from the methodology of some pragmatic researches about vagueness and, in so doing, endeavors to contribute to a larger definition of the concept

Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 9, 1998, Nov. 15, 1999, Jan. 27, 2003, and Nov. 6, 2006. Includes bibliographical references (p. 29-31).

En el transcurs del programa de doctorat “Les figures de la Identitat” de Universitat de Barcelona em vaig adonar de la importància d’investigar la possibilitat de que els individus construeixin una identitat a partir de l’expressió musical. És un fet observable que la música és quelcom molt important en la vida d’algunes persones, i hom pot constatar com algunes actituds que estan relacionades amb la música sovint van més enllà de l’àmbit estrictament musical. Aquestes qüestions em van portar a formular la següent hipòtesi: La música és un mecanisme per a la construcció d’identitat. Per tal d’investigar aquesta hipòtesi vaig considerar que el flamenc (gènere musical originat en l’àmbit de la cultura popular, el qual fou originat a Andalusia el segle XVIII sota la influència de les idees romàntiques) podia ser un bon camp d’estudi. El treball està estructurat en tres apartats. El primer amb la introducció i la metodologia. El segon és un marc teòric on les reflexions giren entorn d’alguns conceptes relacionats amb la identitat i la cultura, fent referència a autors com Marvin Harris, Paul Ricoeur, Mijail Bajtin, Antonio Gramsci, Simon Frith, Gerhard Steingress, Joan-Elias Adell i Jaume Mascaró, entre d’altres, els quals han estat de molta utilitat per les qüestions identitàries, estètiques i musicals. En el tercer apartat investiguem el cas concret del flamenc, des del moment del seu naixement a finals del XVIII fins al que actualment s’anomena metaflamenc (o flamenc alliberat de les seves formes tradicionals), analitzant les característiques musicals, textuals, socials, ètniques i culturals, tot acabant amb una classificació de les diverses narratives de la identitat elaborades des del flamenc. La nostra investigació ens porta a considerar la possibilitat de que el flamenc, o altres gèneres musicals, siguin susceptibles d’una apropiació per part d’alguns individus que converteixi la vivència d’aquestes músiques en un “estil de vida”. Es tracta d’una decisió individual, però que es comparteix i s’alimenta amb actes col•lectius. Conclusions: 1. L’apropiació musical és una qüestió contemporània: Si la problemàtica de la identitat arriba amb la modernitat, la fonamentació d’identitats en la pertinença a un gènere musical és una qüestió contemporània. 2. L’element musical com a símbol definitori d’identitat: Considerem que això succeeix en el flamenc, però fonamentalment en l’àmbit contemporani. La música és susceptible de ser apropiada pels subjectes, i aquesta apropiació esdevé en el sentit més simbòlic, representatiu i identitari. Això és possible perquè la música, i en concret alguns gèneres musicals com el flamenc, tenen significació. La música, en tant que portadora d’ideologia i de valors pot contribuir a satisfer la construcció de la identitat dels subjectes, perquè en definitiva la identitat és un procés narratiu que ofereix amb intensitat una percepció del jo, del nosaltres i com dels altres. 3.Qüestions obertes sobre la continuïtat de l’element musical com a definitori d’identitat després de la societat contemporània. Avui la identificació generacional amb un gènere musical ha canviat i són molts els adolescents que escolten diversos gèneres musicals sense identificar-se amb cap gènere en concret. Entrant el segle XXI la música sembla tenir menys contingut i menys ideologia.
It’s a fact that music is something very important for some people’s life, and also that some attitudes which are related to the music very often go beyond the strict musical field. Based on this idea, and along the PHD program called “The figures of Identity” at Universitat de Barcelona, it seemed obvious the importance to investigate the possibility that persons could build an identity based in the music expression. These questions took to formulate the following adaptive: Music is a mechanism for the identity construction. In order to investigate this hypothesis, and coinciding with a moment of great projection of flamenco music (which came in Andalusia during the XVIII century under the influence of romantic ideas and in relation with what we call “popular music”), this seemed to be a good field to study. After the introduction, and based in some concepts taken from authors like Harris, Ricoeur, Bajtin, Gramsci, Frith, Steingress, Adell and Mascaró, among others, the second section tries to set the theoretical framework for concepts like identity, aesthetics and music matters. Along the third section there is an analysis and an interpretation of the flamenco itself, from its beginnings to the actual metaflamenco, explaining also the several identity narratives built from flamenco emic point of view. Our investigation takes us to considerate the possibility of appropriation that some people make with flamenco and with other music styles, converting the music experience in a “way of life”. The conclusions takes us to set that the music appropriation is a contemporary issue, and also that music element as a definitely symbol of identity for flamenco. Finally, the investigation takes us to raise open questions about continuity of music as a definitely symbol of identity after contemporary age.
La tesis aborda la posibilidad de considerar la música como un mecanismo para la construcción de identidad. Para esta investigación se ha tomado como campo de estudio el género musical originado en Andalucía en el siglo XVIII llamado “flamenco”. El marco teórico se fundamenta en la reflexión alrededor de los conceptos de identidad, cultura, expresión musical y cultura popular, con especial mención a algunos autores como Marvin Harris, Paul Ricoeur, Mijail Bajtin, Antonio Gramsci, Simon Frith, Gerhard Steingress, Joan-Elias Adell y Jaume Mascaró, entre otros. La metodología empleada comprende tanto el análisis textual y musical del “flamenco” como técnicas habituales de trabajo de campo. El análisis del “flamenco” se realiza con una revisión histórica desde sus inicios hasta la actualidad. Posteriormente se procede a interpretar las diversas narrativas de la identidad elaboradas desde el “flamenco”. Todo ello nos permite considerar la posibilidad de que el “flamenco”, y por extensión quizás otros géneros musicales, sean susceptibles de un proceso de apropiación por parte de algunos individuos que convierten la experiencia de estas músicas en un “estilo de vida”. CONCLUSIONES: 1. La apropiación musical es una cuestión contemporánea. 2. El elemento musical como símbolo definitorio de identidad: sucede en el “flamenco” en tanto que el ámbito contemporáneo posibilita la apropiación de la música por parte de algunos sujetos en el sentido más simbólico, representativo e identitario. 3. Cuestiones abiertas sobre la continuidad del elemento musical como definitorio de identidad después de la sociedad contemporánea.

Thesis (M.A. (English Studies)) --University of Limpopo, 2012
The mini dissertation seeks to explore the positive and negative qualities of an indigenous African leader as presented in a variety of oral texts including folktales, proverbs and praise poems as well as in the African novels of Mhudi, Maru, Things Fall Apart and Petals of Blood in order to deduce an indigenous African concept of a leader. This research is motivated by the fact that although researchers and academics worldwide acknowledge that it is very difficult to objectively define and discuss the terms ‘leader’ and ‘indigenous leader’ yet many tend to dismiss offhand such indigenous concepts of leadership as ubuntu as primitive, barbaric and irrelevant to modern institutions without examining them in detail.

This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. This inquiry is pursued through a feminist analysis of interviews with six women ballad singers from Madison County, North Carolina. In evaluating the women’s choices of ballads and their commentary on the songs, this thesis draws upon narratological theories as well as concepts from Appalachian traditional music studies. This study finds that women’s repertoire preferences reveal contemporary female concerns for physical safety and political agency. The singers also extract hidden transcripts from ballad texts and use ballads to educate audiences about women’s historic oppression. However, some singers find other factors, such as a song’s tune, or its significance as a part of regional heritage, to be more significant than the narrative content of the songs. This work affirms the contemporary influences of gendered concerns in ballad singing communities.

During the 1920s and 1930s, the Swedish right-wing party Allmänna valmansförbundet (AVF) made citizen into a key concept within their political vocabulary and practice. This thesis examines the distribution, meaning and function of the concept of citizen within the AVF between 1915 and 1936. By using theoretical and methodological perspectives from both the English (Skinner) and German (Koselleck) side of conceptual history vis-à-vis Begriffsgeschischte, this study illuminates how a discursive framework took place within the AVF and expanded throughout the organisation. The constitutional reforms 1918/1921 and the organisational strength from opposite parties, stressed the importance for the AVF to assemble the citizens around conservative value laden concepts: responsibility, ansvar, and public participation, offentlighet. This new situation in political and social life, pushed the AVF towards a reorganisation. The aim was to educate the masses, women and youth into conservative citizens. Citizen became the sole tool in (i) upholding the traditional heritage between folk–state, and (ii) enabling the AVF citizen discourse to spread throughout the society. This study shows the multiple meaning and functions of the citizen concept within the AVF.  It provides a new understanding of how collective concepts became an important part of the struggle for power during the democratization process in Swedish political history and must in that respect be seen as an antithesis to the collective concepts of the Social Democratic Party during this period.

This is a study of standardization in complexity. The context is innovation policy. Why do standardization and innovation go hand in hand and what does the interaction of interests between public and private actors look like in the “profile” of the standardization process? The nature of technical specifications, Lead Market Initiatives in Europe, social innovations, eco-innovations and psychological services for recruitment are the target areas of this study done in the style of Science, Technology and Society. We decrypt the codes of the expected behavior veiled in standards, the strategically selective sectoral integration of the European Internal Market, the emergence of innovation in standardized areas, the nature of the European innovation policy and the mission of each particular innovative sector. This research contains answers on how the European Union will move toward a more state-like organization bypassing the sovereignty of its member states. Standardization is a bouquet of strategic activities where each has its purpose, destination and time-framework. By studying standardization, we are able to look into the European future.

Através de uma percepção interdisciplinar, a pesquisa apresenta um quadro de contribuição para a teoria da arquitetura contemporânea que analisa relações entre conceitos, processos e representações. O trabalho investiga processos de projeto presentes na arquitetura contemporânea a partir da assimilação de três conceitos-chave: 1) diagrama, 2) dobra e 3) parâmetro; e as correspondentes traduções na arquitetura, através dos discursos e práticas de arquitetos. A pesquisa insere-se no âmbito da teoria e crítica do projeto de arquitetura e o recorte histórico está situado entre a década de 1970 até o momento, examinando as expressões projetuais e teorias de arquitetos como Peter Eisenman, Greg Lynn, Patrik Schumacher (Zaha Hadid and partners), entre outros. O problema da pesquisa é identificar de que modo o caráter conceitual experimentado pelos processos de projeto no primeiro período do recorte diagrama -, passou a intermediar uma base teórica paralela ao avanço do uso digital dobra e se modificou, no terceiro período, para enfatizar discursivamente os processos e a manipulação formal permitida pelas técnicas e tecnologias digitais avançadas parâmetro. Os objetivos são compreender os elementos dessa transição, traçar paralelismos e diferenças entre os processos, compreendendo que a história desses entrelaçamentos não é linear e cumulativa, mas atravessada por recorrências e reapropriações. Os autores foram escolhidos devido a sua produção teórica e inserção no debate internacional para os temas escolhidos, por compartilharem a absorção de teorias advindas do pós-estruturalismo de base filosófica - principalmente de Gilles Deleuze -, além de estabelecerem uma atividade projetual de caráter experimental, que permitiu à pesquisa a análise de diversos estudos de caso.
Through an interdisciplinary perception, the research presents a contribution framework for the theory of contemporary architecture that examines some relations between concepts, processes and representations. The work investigates design processes present in contemporary architecture from the assimilation of three key concepts: 1) diagram 2) fold and 3) parameter; and corresponding translations in architecture through the discourses and practices of architects. The research falls within the sphere of the theory and criticism of architecture design and the historical period is set between the 1970s up to now, examining the projective expressions and theories of architects such as Peter Eisenman, Greg Lynn, Patrik Schumacher (Zaha Hadid and partners), among others. The problem of research is to identify how the conceptual nature experienced by design processes in the first period of study - diagram - began to intermediate a parallel theoretical basis for the advancement of digital use - fold - and changed in a third period to emphasize discursively processes and formal manipulation allowed by the technical and advanced digital technologies - parameter. The objectives are understand the elements of this transition, draw parallels and differences between the processes, understanding that the history of these entanglements is not linear and cumulative, but crossed by recurrences and reappropriations. The authors were chosen due to their theoretical production and insertion in the international debate on the topics chosen, for sharing the assimilation of theories stemming from the philosophical basis of post-structuralism - especially from Gilles Deleuze - as well as established a design activity of experimental features, which allowed the analysis of several case studies.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
This paper aims at studying UFRN Parafolcl?rico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do L?rio (Lily Flower), 2004, and Debaixo do Barro do Ch?o (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolcl?rico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolcl?rico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolcl?rico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations
Esta pesquisa tem como estudo de caso o Grupo Parafolcl?rico da UFRN, cuja conforma??o est?tica ? analisada, principalmente nas suas duas ?ltimas produ??es, intituladas Flor do L?rio (2004) e Debaixo do Barro do Ch?o (2008). Temos como objetivos: refletir sobre a concep??o est?tica que vem configurando as produ??es coreogr?ficas do Grupo Parafolcl?rico da UFRN; discutir como se estabelece o di?logo entre os elementos da cultura popular com diversas linguagens art?sticas no processo de composi??o das coreografias; identificar a conforma??o est?tica que atravessa o compor das core?grafas dos dois ?ltimos espet?culos produzidos, bem como as caracter?sticas dessas produ??es, as converg?ncias e idiossincrasias que marcaram esses trabalhos. A partir do recurso metodol?gico da An?lise de Conte?do (BARDIN, 2006), foram realizadas entrevistas com as core?grafas dos espet?culos mencionados e com o elenco participante dessas montagens, o que propiciou uma leitura flutuante das respostas e elabora??o de eixos tem?ticos que foram discutidos no texto. No primeiro cap?tulo, evidenciamos os trajetos motivacionais como a mem?ria, as experi?ncias pessoais, a pesquisa bibliogr?fica, a pesquisa in loco enquanto propulsores dos trabalhos de cria??o. Evidenciamos um posicionamento sobre cultura popular como um processo din?mico que consegue dialogar com os acontecimentos do tempo presente, promovendo, dessa forma, sua continuidade. No cap?tulo seguinte, adentramos na conforma??o est?tica e nos elementos c?nicos (figurino, ilumina??o, cen?rio, maquiagem) que integram os espet?culos estudados e comunicam a dan?a popular de maneiras diversas. Para embasar nossas pondera??es em rela??o aos discursos dos sujeitos entrevistados, nos fundamentamos em autores como Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), entre outros. Esses autores nos deram um aporte te?rico imprescind?vel que, juntamente com os depoimentos dos entrevistados, nos possibilitou identificar que a concep??o est?tica que vem se configurando no Grupo tende a estabelecer contatos com linguagens art?sticas e com t?cnicas diversas de movimento. Essa realidade nos mostra que os trajetos c?nicos realizados pelo Grupo Parafolcl?rico da UFRN apontam para uma concep??o est?tica que n?o se fixa apenas na cultura popular, sobretudo suas dan?as, mas que pode interagir com outros meios para comunicar sua arte. Tal situa??o nos apresentou duas constata??es interessantes em que, primeiramente, os interc?mbios realizados reafirmam o car?ter din?mico da cultura popular que, ao estabelecer contatos com outras realidades, absorve influ?ncias, possibilitando sua pr?pria continuidade. Outra constata??o ? que o contexto contempor?neo das artes tamb?m promove interc?mbios diversos, permitindo, dessa maneira, outras possibilidades de produ??es art?sticas. Nesse sentido, o Grupo Parafolcl?rico da UFRN se insere na cena contempor?nea por possibilitar novas leituras sobre as dan?as populares enquanto material criativo ao coloc?-las em contato com outras formata??es t?cnicas, est?ticas, art?sticas e culturais

碩士
台灣首府大學
幼兒教育學系碩士班
102
The aim of this research was to discover the process of constructing science concepts of children through play the children’s folk-toys, to analyze how they resolve problems during the progression, to understand how teachers guide children to construct the science concepts through the actions of children’s folk-toys play, and to design the teaching plans based on the actions. The research procedure of this study are, firstly, to proceed with literature review and pilot study about children’ s scientific concepts; secondly, in order to collect the related data, a designed action program also replied into teaching activities, from which to constitute an improving circulating approach to the experiences of the progression of children’s scientific concepts. And finally, revise the original action programs based on the approach and programs. However, the research conclusion can be shown as the following points: The process of constructing science concepts when children play children’s folk toys, were often started from imagination, and then continue to learn about the existing of air from sensory feelings. Furthermore, the learning trail of scientific inquiry of air then turn to physics experiences, social experiences and logical experience. At last, although the clear views also bring out the concept conflicts, a modulated thought could be gained after reorganization. The progresses of resolving problems during the construction of scientific concepts when playing the children’s folk toys were often started from finding problems, understanding problems, and then proceeding through test and verify methods, which finally becoming to useful concepts. This progress was also called a four-stage learning model, which can be identified into conscious stage, discovering stage, investigate stage and performing stage. The point of teaching with scaffolding theory by using children’s folk-toys was suggested that a teacher should pay more attention to infer or to conjecture children’s thoughts with empathy, also gave a clear direction when children construct concepts with sensory learning, and helped them to reorganize their learning thought, including guided children to self-examining their concepts by using icon-feedback form, and at last, assisted children to use the scientific language instead of daily language in advance. With the teaching plans, the children’s folk-toys that suggested using for the teaching activities in this study were balloon, paper windmill, paper-plane and parachute. However, according to the research result, the suggestions were made to be a foundation to the related studies, and also could be consulted as reference materials for the further research for the educators and researchers.

The main focus of this work explores the ideological concepts surrounding the early development of South African urban music. First, a brief description of the development of some of the major urban music styles of the continent of Africa is provided. This is followed by an overview of the early development of South African urban styles, and includes definitions of the styles as they occurred chronologically up to the development of African jazz in the 1940s. Kwela is discussed as the major commercial offshoot of African jazz in the 1950s. The concepts and beliefs, or 'thought worlds', which were transmitted from white South African liberals to elite black intellectuals in the 1930s and 1940s, in so far as they were presented in the press of these decades, are examined. Specifically, the effects of these liberal ideological concepts on the preference for western civilisation in general and western music in particular is discussed. The role of Black America as the flagship of black progress, achievement, and above all, success in the realms of music, is assessed in relation to its impetus for the black elite 'liberal' strategy which essentially appealed to white moral conscience. The concepts of Africanism and 'New Africanism' are investigated so as to determine their influence on the creation of unique, syncretic African forms, and in particular, on the birth of African jazz or mbaqanga of the 1940s. The viability of describing elite support for the Africanisation of jazz in this decade as expressing or emanating from political militancy as a manifestation of the 'philosophy' of 'New Africanism' is debated. The 1950s are presented as a decade which can be described in generalised terms as one of 'urban protest', in which a mélange of hedonism and political assertion provides the context for the creation of highly commercialised African urban styles. The use of the colloquial epithet 'msakazo' as an umbrella term for these styles is discussed, focussing on the ideological perspectives of the proponents and opponents of the genre. Reasons for the vehement opposition to African styles by some in the media who simultaneously sponsored American progressive jazz styles such as bebop, are analysed. Emphasis throughout the work is given to the interplay between Government policies and the development of the different styles. In particular, the role of the Nationalist Party policy of Apartheid, and its direct and indirect effects on the demise of African jazz, is examined.
Thesis (DPhil (Music))--University of Pretoria, 2007.
Music
unrestricted

碩士
國立臺南大學
音樂學系碩士班
107
The main purpose of this study is to analyze the editorial ideas, teaching content, and curriculum sequence of folk guitar music book, New Concepts of Playing Guitar and Beginner’s Guide to Playing Guitar. This study selected New Concepts of Playing Guitar Innovative 8th edition and Beginner’s Guide to Playing Guitar 17th edition as the research objects. The methodology of this study is mainly conducted by content analysis and qualitative analysis to analyze the editorial ideas, teaching content, and curriculum sequence of teaching materials. In addition, this study also used quantitative analysis and proportion of pages to estimate teaching content and their proportion . After the literature, exploratory analysis, consultation with experts, and discussion with advising professor, the researcher developed the research tool. In terms of the control of reliability and validity, this study used score reliability, expert consultation, and triangulation. According to the analyzed results, the research conclusions are: 1. The main editorial ideas of editors of both New Concepts of Playing Guitar and Beginner’s Guide to Playing Guitar are to meet the needs of self-taught guitar learners. The primary objective is to enable users to learn to play and sing popular songs and provide instructions on skills and music theories, and also using video media to assist in learning. 2. The music teaching content of New Concepts of Playing Guitar folk guitar music book is comprehensive and diversified. The proportion of “skill”, which is instructed by visual-oriented strategy, is the highest, followed by “theory knowledge”, which partially introduced without practical music materials to build leaner’s inner music ability, and the portion of “others” is the third. The source of “music” is mainly “Taiwanese popular music”. As to the “accompaniment pattern” is mainly slow soul. 3. The music teaching content of Beginner’s Guide to Playing Guitar folk guitar Music Book is also comprehensive and diversified. The proportion of “skill teaching”, which is instructed by visual-oriented strategy, is the highest, followed by “theory knowledge”, which partially introduced without practical music materials to build leaner’s inner music ability, and the portion of “music content”, and “others” are the next. The source of “music” is mainly “Taiwanese popular music”. As to the “accompaniment pattern” is mainly slow soul. 4. After the comparison between the two teaching materials, although the proportions of teaching content of “skill” and “others” in Beginner’s Guide to Playing Guitar are higher than those of New Concepts of Playing Guitar, those of “others” were lower than those of New Concepts of Playing Guitar. But the accompaniment patterns are both mainly slow soul, also mostly use Taiwanese popular songs. 5. The music rhythmic, melodic, and harmonic content under theory domain of New Concepts of Playing Guitar are always introduced generally in on unit and then collaborated with a relative music to practice. The harmonic content sequence instruction is started from half and whole step, followed by other intervals, this result is different from classical music teaching sequence. The portion of “music symbol content” is low, while the “performing symbol content” is stringed together with right and left hand technique content. 6. The music rhythmic, melodic, and harmonic content under theory domain of Beginner’s Guide to Playing Guitar are always introduced generally in on unit and then collaborated with a relative music to practice. The content of key, tonality, and transposition are plentiful. The harmonic content sequence is also started from half and whole step, followed by other intervals, this result is different from classical music teaching sequence. The portion of “music symbol content” is low, while the “performing symbol content” is stringed together with right and left hand technique content. 7. The overall planning of teaching content of both New Concepts of Playing Guitar and Beginner’s Guide to Playing Guitar is diversity and some part of them is implemented through a spiral process. These two guitar music books are suitable for beginners as self-taught teaching materials. However, the tonality and harmonic content curriculum sequence are slightly different between them. The content and sequence of New Concepts of Playing Guitar is more advance and plentiful, while that of Beginner’s Guide to Playing Guitar is simple and comprehensible. Nevertheless, the skill and theory contents of both books are visual-oriented. Especially part of the theory content is simply introduced concept without connected with practical music materials, it weakens learner music basic ability. This result is also different from modern general music teaching or classical instrument teaching planning.

The thesis focuses on the irreducibility of the concept of a person to scientific view of the world. The main inspiration for thematising this specific aspect of folk dualism comes from Donald Davidson (two realms) and Wilfrid Sellars (two images). The theoretical sections are complemented by reflexion on results of empirical studies provided mostly by experimental philosophy in order to demonstrate how this approach benefits attempts to reach complex view of philosophical questions that have close connection to moral dimension of human life. The first chapter addresses a wider concept of self and introduces the idea of the necessity to bring the two conceptual realms on the scene: there is a specific conceptual realm (irreducible to physical realm or scientific image) enabling proper grasp of the concept of a person. The subsequent chapters address particular sub-concepts of the concept of self. The second chapter focuses on the concept of free will, and by referring to different views it points to the necessity to bring folk concepts into consideration. It concludes that the folk concept of free agent is transcendent with regard to scientific accounts and bears certain "supernatural" characteristics connected to the concept of conscious will. The third (and central) chapter brings focus on the...

abstract: The Concerto for Oboe and String by Ralph Vaughan Williams is often described as a pastoral work without any consideration for what makes that an accurate description. This paper outlines the connections to English folk song that create what are considered the pastoral qualities in the work. Vaughan Williams' relationship with English folk song, as collector and arranger, is well-documented, as is his advocacy for their use in compositions. By the time he wrote the Oboe Concerto at the end of his career, folk song elements had completely infused his compositional style. The Oboe Concerto shares many stylistic traits with English folk song. These stylistic elements: mode, melodic structure, form, and rhythm and meter are first analyzed in terms of English folk song, then how these features are utilized in the Oboe Concerto. Another connection to English folk song is in the manner of accompanying the Concerto. Vaughan Williams had firm opinions on how to accompany folk songs and wrote many sample accompaniments, which bear a marked resemblance to the accompaniment for the Oboe Concerto. The same is true for the accompaniment he wrote for a specifically folk song-inspired work, the Six Studies in English Folk Song for Violoncello and Pianoforte. Specific examples from both works are compared to the Concerto accompaniment. Finally, several motives and melodic figures found in folk songs included in the Penguin Book of English Folk Songs, which was edited by Vaughan Williams, are also found in the Oboe Concerto. An understanding of the use of English folk song elements and specific quotes in the Oboe Concerto, as well as the folk song-style treatment in accompaniment provide concrete evidence of the pastoral quality prevalent in many works of Vaughan Williams. Not only can this support a well-informed and more rewarding performance of the Oboe Concerto, but the same analysis can be applied to many of his other works as well, in addition to the works of a generation of English composers whose style he influenced.
Dissertation/Thesis
D.M.A. Music 2013

博士
國立彰化師範大學
特殊教育學系
85
The main purpose of this study was to investigate the effective of folk dance on self-concept and personality adjustment in aboriginalstudents with mental retardation. This study design was usingquasi-experimental design diving subjects into experimental group andcontrol group. It took sixteen weeks experimental instruction for experimental group. On the same time, this study was also usingethnography to understood the effective of folk dance on self-concept and personality adjustment.The conclusions drawn from the study wereas follows： 1. The experimental group scored higher on the self satisfaction , capability self, personal self, social self, identity, moral- ethical self and totally self-concept in post-test than the control group. But there were no significant differences between groups. On the same time, the experimental group scored higher on the self satisfaction , capability self, identity, and moral- ethical self in follow-up test than the control group. But there were also no significant differences between groups. 2. The experimental group scored higher on the school relationship, family relationship, social standard, antisocial tendency, withdraw tendency, and social skills in post-test than the control group. But there were no significant differences between groups. On the same time, the experimental group scored higher on the school relationship and social relationship in follow-up test than the control group. But there were also no significant differences between groups. 3. Most of the experimental group students felt themselves'' self-concept and personality adjustment became positive and improvement much well through ethnography. 4. Allteachers of experiment group discovered experimental group students of self-concept and personality adjustment became positive and improvement much well through ethnography.

There exists a broad inclination among those who theorize about mental representation to assume that the meanings of linguistic units, like words, are going to be identical to, and work exactly like, mental representations, such as concepts. This has the effect of many theorists applying facts that seem to have been discovered about the meanings of linguistic units to mental representations. This is especially so for causal theories of content, which will be the primary exemplars here. It is the contention of this essay that this approach is mistaken. The influence of thinking about language and mental representation in this way has resulted in the adoption of certain positions by a broad swathe of theorists to the effect that the content of a concept is identical to the property in the world that the concept represents, and that because of this a concept only applies to an object in the world or it does not. The consequences of such commitments are what appear to be insoluble problems that arise when trying to account for, or explain, misrepresentation in cognitive systems. This essay presents the position that in order to actually account for misrepresentation, conceptual content must be understood as being very much like measurements, in that the application of a content to an object in the world is akin to measuring said object, and that conceptual content ought be understood as being graded in the same way that measurements are. On this view, then, concepts are the kinds of things that can be applied more, or less, accurately to particular objects in the world, and so are not identical to whatever it is that they represent.