To see the other types of publications on this topic, follow the link: Folk music Australia History and criticism.
Dissertations / Theses on the topic 'Folk music Australia History and criticism'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 39 dissertations / theses for your research on the topic 'Folk music Australia History and criticism.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.
Full text
2
Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.
Full text
3
Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.
Full textAbstract:
From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process.
Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
4
Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.
Full text
5
Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.
Full textAbstract:
555 pagesThis study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
10000-01-01
6
Martin, Toby. "Yodelling boundary riders : country music in Australia, 1936-2010." Phd thesis, Department of History, 2011. http://hdl.handle.net/2123/8573.
Full text
7
Abeyaratne, Harsha. "Folk music of Sri Lanka : ten piano pieces." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213149.
Full textAbstract:
The purpose of the present research was to provide ideas for positive stress management in the orchestra world to help achieve high-level performances. The author developed the Orchestral Performance and Stress Survey and distributed it to 230 musicians of three orchestras that comprised full-time and part-time professional as well as community orchestra musicians. The survey sought to identify stress-causing and performance-enhancing factors in the orchestra environment. Questions on the musicians' background allowed for comparisons to identify groups with particular needs. Results show that musical training often does not include stress management training. Playing-related injuries are common. Two-thirds of full-time musicians who responded have suffered injuries that forced them to stop playing for more than one week. On average, musicians reported that stress neither detracts from, nor enhances performances. The most stressful concert types were classical concerts. Highly critical audiences are the most stressful.School of Music
8
Go, Kin-ming Joseph, and 吳建明. "Nostalgic musicians in North Point: a survey of Fujian Nanyin activities in Fujian Tiyuhui, from 1957 to thepresent." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227351.
Full text
9
Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.
Find full textAbstract:
She comes from Ireland, she's very beautiful
I come from Brisbane, and I'm quite plain Pig City
- The Go-Betweens, Lee Remick
If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of
London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town.
This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and
the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne.
Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of
Queensland's ruling Country Party (later the National Party).
The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s -
was overwhelmingly a reaction to the repression of the Bjelke-Petersen era.
This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed;
the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top
it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and
fought, got stoned, got married, or got out of town.'
But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and
international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened
without the nationalisation of the Triple J network.
Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored.
This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular
music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest
sense, Pig City is the story of how Brisbane grew up.
10
Cheung, Kwok-hung Stephen, and 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.
Full text
11
Ryan, Robin Ann 1946. ""A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s." Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.
Full text
12
Pham, Phuong Hoa. "Étude des rapports entre les musiques traditionnelles vietnamiennes et les techniques de composition occidentales dans les oeuvres de Dàm Linh." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33737.pdf.
Full text
13
Lee, Hee Seung. "The "Beethoven Folksong Project" in the Reception of Beethoven and His Music." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_hee_seung/index.htm.
Full text
14
Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.
Full textAbstract:
The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
15
Ryu, Hanpil. "A Conductor's Guide to Un-Yung La's Choral Music as Reflected in Easter Cantata." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862841/.
Full textAbstract:
Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.
16
Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.
Full text
17
O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.
Full textAbstract:
Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.
18
Jilek, Dwight. "Sven-David Sandström's Matthäuspassion: Examining J.S. Bach's Influence and Sandström's Compositional Language, Use of Symbolism, and Religious and Spiritual Motivations." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862768/.
Full textAbstract:
Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.
19
"香港地水南音初探." 1998. http://library.cuhk.edu.hk/record=b5896292.
Full textAbstract:
李潔嫦.論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998.
參考文獻: leaves 99-106.
Li Jiechang.
撮要 --- p.iii
Chapter 第一章 --- 地水南音源流槪說
Chapter 一´Ø --- 引言 --- p.一
Chapter 二´Ø --- 南音的起源和發展 --- p.二
Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四
Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代）
Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八
Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九
Chapter 三´Ø --- 七十年代 --- p.二五
Chapter 四´Ø --- 八十年代至今 --- p.二八
Chapter 第三章 --- 地水南音的音樂風格
Chapter 一´Ø --- 引言 --- p.四三
Chapter 二´Ø --- 唱詞結構 --- p.四四
Chapter 三´Ø --- 板面及過序的處理 --- p.四八
Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四
Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八
Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣
Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八
Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三
Chapter 三´Ø --- 結論 --- p.九十
Chapter 第五章 --- 結論 --- p.九四
參考書目 --- p.九九
附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七
附錄二 《霸王別姬》的唱腔分析 --- p.一一七
附錄三《客途秋恨》的唱腔分析 --- p.一三一
表目
表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五
表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七
表2-3 八十至九十年代南音演出和講座資料 --- p.三九
表3-1 --- p.五五
表3-2 --- p.五七
表3-3 --- p.六五
表3-4 --- p.六九
表3-5 --- p.七二
表4-1杜煥生平年表 --- p.八二
表4-2唐健垣生平年表 --- p.八八
20
"貴州省從江縣高增鄉侗族多聲部民歌: 大歌的探索." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895582.
Full textAbstract:
李允協.論文(碩士) -- 香港中文大學硏究院音樂學部, 1995.
參考文獻: leaves 129-143.
Li yunxie.
鳴謝 --- p.´þ
前言 --- p.(3)
Chapter 1 --- 侗族概況與音樂述略 --- p.1
Chapter 1.1 --- 侗族概況 --- p.1
Chapter 1.1.1 --- 地理環境及人口分佈 --- p.1
Chapter 1.1.2 --- 語言 --- p.3
Chapter 1.1.3 --- 簡史與族源 --- p.10
Chapter 1.1.4 --- 家庭和社會組織 --- p.17
Chapter 1.1.5 --- 信仰和崇拜 --- p.21
Chapter 1.1.6 --- 風俗習慣 --- p.28
Chapter 1.1.7 --- 節會要覽 --- p.32
Chapter 1.2 --- 音樂述略 --- p.37
Chapter 1.2.1 --- 民間歌曲 --- p.37
Chapter 1.2.2 --- 樂器與器樂 --- p.45
Chapter 1.2.3 --- 侗戲音樂 --- p.52
Chapter 1.2.4 --- 曲藝 --- p.56
Chapter 2 --- 侗族大歌概貌 --- p.58
Chapter 2.1 --- 分類 --- p.58
Chapter 2.2 --- 唱大歌的場合 --- p.60
Chapter 2.3 --- 大歌的结構 --- p.62
Chapter 2.4 --- 歌詞韵律结構 --- p.66
Chapter 3 --- 侗歌的傳承與社會功能 --- p.68
Chapter 3.1 --- 承傳 --- p.69
Chapter 3.2 --- 社會功能 --- p.73
Chapter 4 --- 多聲部民歌曲目研究分析 --- p.78
Chapter 4.1 --- 田野工作簡況 --- p.78
Chapter 4.2 --- 多聲部民歌曲目分析 --- p.84
Chapter 4.2.1 --- 曲目介紹 --- p.84
Chapter 4.2.2 --- 曲目綜合分析 --- p.89
Chapter 4.2.3 --- 譜例個案分析 --- p.112
Chapter 5 --- 總结 --- p.123
附錄
Chapter 1 --- 參考書目 --- p.129
Chapter 1.1 --- 外文參考書目 --- p.129
Chapter 1.2 --- 中文參考書目及論文目錄 --- p.130
Chapter 2 --- 附圖
附圖一中國民族分佈概圖 --- p.144
附圖二 侗族的分佈 --- p.145
附圖三 侗語方言區域圖 --- p.146
附圖四 侗族蘆笙 --- p.147
附圖五 侗族蘆笙筒 --- p.147
21
"泉州南音: 一個福建民間音樂傳統與文化認同的研究 = Nanyin in Quanzhou : a study of a folk musical tradition and cultural identity in Fujian." 2002. http://library.cuhk.edu.hk/record=b5891409.
Full textAbstract:
吳瑞珠."2002年7月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 152-156).
附中英文摘要.
"2002 nian 7 yue".
Wu Ruizhu.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 152-156).
Fu Zhong Ying wen zhai yao.
致謝 --- p.iv
摘要（中文） --- p.v
摘要（英文） --- p.vi
Chapter 第一章 --- 導論 --- p.1
人類學與民族音樂學 --- p.6
音樂傳統與文化認同 --- p.12
研究問題與理論架構 --- p.18
研究地點和研究方法 --- p.22
本文章節安排 --- p.25
Chapter 第二章 --- 福建泉州南音 --- p.27
何謂南音? --- p.27
歷史沿革 --- p.30
曲譜類別、樂器及音樂特色 --- p.39
南音和閩南風俗及其音樂功能
從名稱上看南音的發展 --- p.46
南音裡的男女現象 --- p.48
南音面對的困難 --- p.49
Chapter 第三章 --- 地方組織與表演 --- p.53
泉州市工人文化宮南樂社 --- p.54
泉州南音樂團 --- p.61
浮橋仙景南音學校 --- p.67
南音表演裡的男女角色 --- p.74
地方組織和南音的保存 --- p.75
Chapter 第四章 --- 傳統與改革 --- p.81
南音的演變 --- p.82
傳統南音的局限和新南曲的特點 --- p.88
動態的傳統 --- p.91
新南音的弱點 --- p.95
傳統文化與文化認同 --- p.101
Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106
閩南移民和跨國網絡的建立 --- p.106
境外華人和泉州的南音組織 --- p.110
境內外南音團體的聯繫 --- p.111
傳統的被利用 --- p.114
音樂傳統和懷舊情懷、文化認同 --- p.122
Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127
國際組織和世界文化遺產的保護 --- p.128
泉州南音申報世遺的背景 --- p.129
各界的表現 --- p.132
世遺的價值 --- p.137
世遺和文化認同 --- p.139
Chapter 第七章 --- 結語 --- p.144
附錄（新南曲唱詞） --- p.149
參考書目 --- p.152
22
"香港西貢及其鄰近地區歌謡硏究." 1989. http://library.cuhk.edu.hk/record=b5887244.
Full textAbstract:
葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ...稿本(據電腦打印本複印)
Thesis (M.A.)--香港中文大學, 1989.
Gao ben (ju dian nao da yin ben fu yin)
Includes bibliographical references (leaves 253-262).
Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ...
Thesis (M.A.)--Xianggang Zhong wen da xue, 1989.
嗚謝 --- p.i
序 --- p.iii
地圖索引 --- p.v
歌謠譜例索引 --- p.vi
歌詞例子索引 --- p.viii
圖表索引 --- p.x
音樂例子索引 --- p.xiii
照片索引 --- p.xiv
Chapter 第一部分： --- 論文
Chapter 第一章 --- 前言
Chapter 第一節 --- 研究地區之讓擇 --- p.1
Chapter 第二節 --- 過去及目前之研究 --- p.2
Chapter 第三節 --- 研究目標 --- p.5
Chapter 第四節 --- 資料來源 --- p.6
Chapter 第二章 --- 歌謠之概念及分類
Chapter 第一節 --- 歌謠之定義及概念 --- p.10
Chapter I --- 過往學者對「民歌」所下之定義 --- p.11
Chapter II --- 筆者對西貢地區歌謠所作之定義 --- p.14
Chapter III --- 粤省與西貢地區歌謠之稱謂問題 --- p.16
Chapter 甲 --- 「粤謳」 --- p.16
Chapter 乙 --- 「粤風」 --- p.17
Chapter 丙 --- 「粤歌」 --- p.18
Chapter 第二節 --- 歌謠分類之概念及分類方法 --- p.22
Chapter I --- 歌謠分類的一些概念 --- p.22
Chapter II --- 台灣歌謠之一般分類方法 --- p.24
Chapter III --- 過往國內歌謠之「三分法」 --- p.25
Chapter IV --- 近期國內歌謠「色彩區」之劃分 --- p.26
Chapter V --- 廣東省（粤）歌謠的分類 --- p.29
Chapter VI --- 本港歌謠之分類 --- p.30
Chapter VII --- 筆者對西貢歌謠之分類方法 --- p.32
Chapter 甲 --- 歌謠劃分之層次 --- p.32
第一級分類： 體系 --- p.33
第二級分類： 歌謠方言色彩區 --- p.33
第三級分類： 體裁 --- p.34
第四級及五級分類歌類及歌目 --- p.35
第六級分類： 歌名 --- p.37
Chapter 第三章 --- 西貢歌謠尋根
Chapter 第一節 --- 西貢地區人口組成的一些資料 --- p.42
Chapter 第二節 --- 本地人與蛇歌 --- p.45
Chapter I --- 「輋」字，「畬」字及類似字之字義 --- p.46
Chapter II --- 目前國內及廣東省畬族的狀況 --- p.47
Chapter III --- 西貢地區蛇歌之特色 --- p.49
Chapter IV --- 福建畬歌之特色 --- p.54
Chapter V --- 浙江畬歌之特色 --- p.56
Chapter VI --- 西貢「九龍蛇話山歌」命名之推想 --- p.59
Chapter 甲 --- 源出於浙江九龍山龍泉縣？ --- p.60
Chapter 乙 --- 源出於粤北九連（龍）山一帶地區？ --- p.60
Chapter 丙 --- 源出於粤北九峰山以南之瑤區？ --- p.61
Chapter 丁 --- 源出於本港九龍城附近一帶地區？ --- p.62
Chapter 第三節 --- 客家人與客家歌謠 --- p.65
Chapter I --- 客籍人士之遷徙過程 --- p.66
Chapter II --- 西貢客家山歌的特色 --- p.68
Chapter III --- 梅縣地區客家山歌之特色 --- p.71
Chapter 第四節 --- 蛋家與蛋家歌謠 --- p.77
Chapter I --- 西貢地區漁民之狀況 --- p.77
Chapter II --- 「蛋家」與「蛋名」沿革 --- p.79
Chapter III --- 「蜑」乃「龍蛇」之後？ --- p.81
Chapter IV --- 廣東蛋民的分佈 --- p.82
Chapter V --- 西貢漁民所採用之方言 --- p.83
Chapter VI --- 西貢蛋歌之特色 --- p.84
Chapter VII --- 客家及鶴佬漁民漁歌之特色 --- p.89
Chapter 第四章 --- 歌唱場合
Chapter 第一節 --- 歌唱場合之概念 --- p.94
Chapter 第二節 --- 本地及客家山歌之歌唱場合 --- p.98
Chapter I --- 戶外及田間之山歌 --- p.99
Chapter II --- 攔路歌 --- p.100
Chapter III --- 情歌及艷情歌 --- p.102
Chapter IV --- 老人山歌 --- p.106
Chapter V --- 鬥歌 --- p.107
Chapter 第三節 --- 圍頭歌之歌唱場合 --- p.110
Chapter I --- 月令歌 --- p.111
Chapter 甲 --- 唱古人 --- p.113
Chapter 乙 --- 唱節氣 --- p.117
Chapter 丙 --- 唱花木、茶菓及字眼 --- p.120
Chapter 丁 --- 唱魚名鳥名及十二生肖 --- p.123
Chapter 戊 --- 唱過番 --- p.124
Chapter II --- 猜謎歌 --- p.125
Chapter 甲 --- 猜字眼 --- p.126
Chapter 乙 --- 猜古人 --- p.127
Chapter III --- 圍名歌 --- p.127
Chapter IV --- 節日吉慶 --- p.129
Chapter 甲 --- 祝壽 --- p.129
Chapter 乙 --- 中秋 --- p.130
Chapter 丙 --- 過年 --- p.132
Chapter 第四節 --- 本地及客家「歌堂歌」及「靈堂歌」之歌唱場合 --- p.135
Chapter I --- 哭嫁與坐歌堂 --- p.136
Chapter 甲 --- 開口喊天喊地 --- p.138
Chapter 乙 --- 第一次哭辭 --- p.139
Chapter 丙 --- 坐凳頭 --- p.141
Chapter 丁 --- 上頭 --- p.143
Chapter 戊 --- 第二次哭辭 --- p.144
Chapter 己 --- 出閣 --- p.146
Chapter II --- 「靈堂歌」之歌唱場合 --- p.150
Chapter 第五節 --- 蛋家之歌唱場合 --- p.153
Chapter I --- 捕魚及行船歌 --- p.153
Chapter II --- 蛋家風俗歌謠及其歌唱場合 --- p.158
Chapter 甲 --- 哭嫁 --- p.159
Chapter 乙 --- 迎娶 --- p.161
Chapter 丙 --- 耍歌堂 --- p.164
Chapter III --- 咸水歌 --- p.166
Chapter 甲 --- 咸水字眼歌 --- p.167
Chapter 乙 --- 歎姑妹 --- p.169
Chapter 丙 --- 艇仔歌 --- p.170
Chapter 第五章 --- 西貢歌謠音樂及歌詞結構的固定因素與非固定因素
Chapter 第一節 --- 歌謠中「歌詞」之「固定」與「非固定」因素 --- p.175
Chapter I --- 歌謠「歌詞」中的「固定」因素、格式、條數規限 --- p.176
Chapter II --- 有「固定格式歌謠」中的「非固定」因素 --- p.182
Chapter 甲 --- 七言四句、三句半及五句板的例子 --- p.182
Chapter 乙 --- 七言四句變五言四句的例子 --- p.186
Chapter 丙 --- 月令歌的例子 --- p.188
Chapter 丁 --- 長篇歌謠的例子 --- p.188
Chapter III --- 「沒有固定格式歌謠歌詞」中之「固定」與「非固定」因素 --- p.198
Chapter 甲 --- 漁民歌謠的例子 --- p.198
Chapter 乙 --- 風俗歌謠的例子 --- p.202
Chapter IV --- 歌謠固定與非固定「襯字」、「襯詞」、及「襯句」 --- p.205
Chapter 甲 --- 客家歌謠例子 --- p.205
Chapter 乙 --- 本地歌謠例子 --- p.209
Chapter 丙 --- 蛋家歌謠例子 --- p.212
Chapter 第二節 --- 歌謠在「音樂」上的「固定」與「非固定」因素 --- p.215
Chapter I --- 有固定曲調歌謠的固定與非固定因素 --- p.215
Chapter 甲 --- 單句式的歌謠例子 --- p.215
Chapter 乙 --- 雙句式的歌謠例子 --- p.218
Chapter 丙 --- 三句半、四句式及五句板例子 --- p.222
Chapter 丁 --- 歌詞次序調換的例子 --- p.225
Chapter 戊 --- 詩詞句法與音樂句法的配合情況 --- p.228
Chapter II --- 「沒有基本曲調」中的固定與非固定因素 --- p.234
Chapter III --- 「襯字」 、「襯詞」、「襯句」與「音樂」之配合 --- p.239
Chapter 甲 --- 歌謠中「不重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 乙 --- 歌謠中「重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 第三節 --- 固定與非固定因素於歌謠中之作用及意義 --- p.243
Chapter I --- 「基本曲調」對歌謠流傳之重要性 --- p.243
Chapter II --- 「襯字」的功能 --- p.245
Chapter III --- 歌謠的「版本」問題 --- p.246
Chapter 第六章 --- 結語 --- p.248
中文參考書目 --- p.253
英文參考書目 --- p.261
第二部份：地圖及歌謠譜例 --- p.262-336
23
Gruning, Thomas Robert. "Crossroads of the ordinary contemporary singer/songwriters and the post-revival folk /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120297.
Full text
24
"上海南匯絲竹樂清音的傳承與變遷研究." Thesis, 2005. http://library.cuhk.edu.hk/record=b6074012.
Full textAbstract:
China in the twentieth century witnessed a series of revolutions that brought about political and economic changes. Traditional cultures also underwent various changes to survive the drastic impacts of these political revolutionary ideologies. This study takes the case of the Qingyin (locally referred to as the Sizhu), a silk and bamboo instrumental ensemble form that has survived these political impacts in China's recent history and is still thriving in the rural community of Nanhui, a district geographically neighbour to the cosmopolitan city Shanghai, with the aim to locate the reasons and ways of its transformation.Under the influence of various political, economic, and cultural factors, the Qingyin has lived through different musical groups over time. From 1850 to 1949, within the framework of Confucianism, it took the form of non-professional ritual musical bands. From 1949 to 1976, under the socialistic slogan of "art serves political ideologies", the Qingyin survived within the organizations of local opera bands and propaganda units to spread Maoism. From 1977 to 2004, under the government policy that "culture goes hand-in-hand with economy", the Qingyin lived among "art factories" (non-governmental corporations combining art with commercial production) and semi-professional ritual-musical bands. This study discusses how this traditional form of musical ensemble underwent the three stages of ritual-musical culture, popular culture, and consumption culture, with their corresponding changes in music repertory, performance style, and social activities. The author sees those changes as ways to continue cultural traditions employed by musicians to adapt to the alienated cultural ecology, which the author describes as "mechanism of internal reaction" and gives its analysis and interpretation.
齊琨.
簡譜記譜.
論文(哲學博士)--香港中文大學, 2005.
參考文獻(p. 314-330).
Jian pu ji pu.
Adviser: Tsao Pou Yee.
Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2389.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in English.
School code: 1307.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (p. 314-330).
Qi Kun.
25
Scully, Michael F. "American folk music revivalism, 1965-2005." Thesis, 2005. http://hdl.handle.net/2152/3522.
Full text
26
Caleta, Josko. "Social and musical structure of the klapa singing style, Dalmatia and Vancouver." Thesis, 1994. http://hdl.handle.net/2429/5244.
Full textAbstract:
This study examines both the social and musical
characteristics of klapa singing. Comparative analysis of the
klapa in Dalmatia, its place of origin, and the klapa in Vancouver
is the focus. The field work for this project took place on two
occasions: during the regular practices of klapa "Zvonimir", and
in a series of individual interviews. The interviews were with
the oldest member and one of the organisers of the klapa
"Zvonimir", Jozo Cvitanovic.
A traditional folk klapa was, and to an extent still is, an
informal group of friends, usually brought together by similar
interests, age group or occupations. Festival klapa, on the other
hand, is a formally organized group with regular rehearsals and
performances, whose members, as a rule, are people of various
occupations and diverse musical tastes.
Socially and musically, klapa singing has always been progressive
for its time, which is surely the reason why this folk tradition
has remained successful for such a long period.
27
Buck, Allison. "An investigation of the influence of central Italian folk music on composers' use of bassoon in select symphonic and large chamber works of the nineteenth century." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738074.
Full textAbstract:
This study has investigated the influence of Central Italian folk music in select
compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean
Sibelius. Through the titles of these pieces, one can infer that they were influenced by the
composer living in Italy, or visiting, on holiday. This study also includes a brief history of
the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of
the more modern 19th-century genre. A review of the evolution of the state of
ethnomusicology in Italy, including discussion of art and folk-music instruments, poetry,
carnevale, and processions within the region of Italy is included. Further, I provide
information on tonal and instrumental characteristics and specific folk dances to aid in
the investigation of the treatment of folk melodies within 19th-century pieces. The result
of this research not only provides a more accurate interpretation of stylistic issues when
19th-century works containing Italian folk-music attributes are performed, but also the
knowledge that the title of a piece does not necessarily indicate a musical significance.
Some works exhibit a direct musical influence while others are “Italian” in name only.School of Music
28
"A portfolio of music compositions." Thesis, 2012. http://library.cuhk.edu.hk/record=b5549034.
Full textAbstract:
這份作品集包括三首我在修讀碩士課程時的作品。這三首作品代表了我思索及尋找如何表達中國元素的過程。創作過程中，我特意集中於三方面：中國樂器的獨特音色、小型樂隊中樂手之間的親暱、及樂手自發的創造力。而在探索這三方面的同時，我嘗試保留在中國文學常見的表現力，從而創作出一個充分表達中國元素的作品。在第一首樂曲《亂了殘紅》中，我嘗試探索胡琴的獨特音色，在單一的音色組合當中（四部胡琴）尋找音色上的細微變化。另外，我亦嘗試運用有較大自由的記譜法，在給予樂手空間的同時，令他們有緊密的合作，令團隊中有一種緊密而又自然的合作。
在《風刀霜劍》中，我將這記譜法更廣泛地運用，而透過這記譜法，我希望可以解放樂手的創造力，同時有效地運用在中國傳統音樂中常見的即興元素。另外，中國樂器有不少先天的限制，我在尊重這些限制的前提下，嘗試在正常以外的演奏技巧，以加強表現力。
此後，我將《風刀霜劍》的成果運用於《殘月葬花》，希望從而可以在西方樂器的組合上體現中國文化的影響。在前作的基礎上，顧及到西方音樂訓練中沒有即興演奏的習慣，在記譜上作出了調整，但仍然保留對音色轉變的敏感以及演奏者的自由與緊密合作。而在這些的技巧上，我希望仍然能夠表達一個屬於中國文化的境象，以此作為我對中國文化的回應。
The works included in this portfolio represent my continual effort to develop a solution for my search for an expression of my Chinese influences. I focus mainly on three aspects: the unique timbre of Chinese instruments, the intimacy of a small traditional Chinese music ensemble, and the spontaneity of individual performers. I attempt to include these three elements into my work while retaining an expressive quality that I find to be common in Chinese literature. The three works presented in this portfolio are my continual attempts to develop these ideas into a way of expression.
The first work in the portfolio, "Rummage through the Crimson", explores the unique timbre of huqin. The instrumentation (three erhus and one zhonghu) allows me to search for difference within a homogenous texture and thus to discover the timbral nuance available. I also experiment with a notation that at the same time allows freedom and requires cooperation among performers to create a cohesive and natural ensembleship.
The second work, "Slashes of Frost and Wind", extends the experimentation of notation to a greater scale. While using an ensemble of Chinese instruments, I try to utilize the freedom allowed by the notation to unleash the innate creativity of the performers and to evoke the improvisatory nature of their traditional playing. On the other hand, I explore the use of extended techniques while respecting the instrument's natural capabilities.
In "Flower Burial under a Pallid Moon", I attempt to transfer the findings from "Slashes of Frost and Wind" to a purely Western context, in the hopes of creating a piece of music that express Chinese elements while using Western instruments, so as to expand the expressive possibilities of such an ensemble. Many technical elements have been brought over, namely sensitivity to timbral nuance, improvisatory nature of the notation, and close cooperation while in a state of performance freedom. More suggestive descriptions are added to guide the performers in improvisatory passages. Most importantly, I retain a Chinese imagery that runs through the veins of all these three works. In essence, the technical attempts here merely try to approach a succinct expression of my Chinese influence.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Ting, Chung Wai.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2012.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese; includes Chinese.
Abstract --- p.i
Acknowledgement --- p.iii
Rummage through the Crimson --- p.1
Slashes of Frost and Wind --- p.16
Flower Burial under a Pallid Moon --- p.27
29
Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.
Full textAbstract:
Text in EnglishThis case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.
30
Phibion, Otukile Sindiso. "Bakalanga music and dance in Botswana and Zimbabwe." Thesis, 2003. http://hdl.handle.net/2263/26707.
Full textAbstract:
Botswana, formerly known as the Bechuanaland Protectorate, is a country with diverse tribal and religious cultures. Bakalanga are one of the tribes found in Botswana and also in Westrn Zimbabwe. The Western part of the Zimbabwean Bukalanga region was included in the then Bechuanaland Protectorate when its border with Zimbabwe was fixed. To date, Botswana's traditional music has been passed from generation to generation, entirely orally. The main contribution of this study is collecting, documenting and preserving Bakalanga traditional music-making. After abolishing official usage of the Ikalanga language, at independence in 1966, in the early 1990's the Botswana government re-discovered that a nation without culture is a lost nation. Funds were then set aside to be used annually for the development of culture. In using these funds to revive their culture and traditional music, Bakalanga of North Eastern Botswana declared 21 May to be their annual cultural day. Photographs and video footage of these annual cultural festivals were taken by the researcher to help illustrate certain aspects of Ikalanga music and dance in this thesis. Several factors influencing Ikalanga traditional music were taken into consideration: the historical background of Bakalanga, their relationship with other tribes such as the Amandebele, their education, their language in relation to other languages and the missionary influence. Ikalanga traditional music instruments are described. The Mwali religion, which forms the basis of wosana music, linking Bakalanga of Botswana and those of Zimbabwe through the Njelele sacred place joint annual ceremonies, is discussed at length. Different Ikalanga traditional music types are addressed as follows: • Rain Making/Praying music; Wosana and Mayile • Traditional Music for Happy Occasions and Entertainment; Ndazula, Mukomoto, Woso, Iperu, Tshikitsha, Bhoro and Ncuzu./ Maskhukhu • Traditional Music for Healing Purposes; Mazenge (Shumba), Sangoma and Mantshomane. All the above music types are practised within Bukalanga communities publicly, with the exception of mazenge, which is regarded as sacred and private. Bhoro is also extinct in Zimbabwe. The notation of Ikalanga traditional basic musical themes is provided, except for mazenge and ncuzu. which were not found anywhere during this research.Thesis (DMus)--University of Pretoria, 2006.
Music
unrestricted
31
Bracewell, Maureen. "Andean musicians in Vancouver : transcultural traditions and identity." Thesis, 2001. http://hdl.handle.net/2429/11642.
Full textAbstract:
Since the 1980s, "traditional" music of the Andes has become familiar to Vancouver
audiences, as well as to those in urban centres throughout North America, Europe, Australia and Japan. This thesis explores the performance and presentation of Andean music in Vancouver, as an example of music making in transcultural displacement. Profiles of three musicians are presented,
based on data compiled through formal interviews with musicians, observation of performance events, and research of promotional materials produced by Andean musical groups. All three are part
of the Latin American immigrant "community" of Vancouver, and all have many years experience performing what they identify as Andean folkloric music. Their backgrounds, however, are diverse, as are the styles of music they currently perform. There are differences, also, in how their music
relates to the construction and presentation of their ethnic identities in Canada.
Central to this study is the issue of how musicians in a transcultural setting consider the notion of authenticity in maintaining musical traditions. The relation of a musical tradition to musicians' sense of identity, and how it may change over time, is also examined. This study
demonstrates that in order to understand how and why a musical tradition changes through the process of globalization, we must examine the dynamics among musicians sharing that tradition, and the complex cultural and social networks in which each is embedded.
32
Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.
Full textAbstract:
In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
33
Musungu, Gabriel Joseph. "Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite." Thesis, 2010. http://hdl.handle.net/10500/3680.
Full textAbstract:
Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study.
The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories.
In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based.
The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite.
To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation.
Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns.Art History, Visual Arts & Musicology
D. Litt et Phil. (Musicology)
34
"排瑤"歌堂儀式"音聲研究." Thesis, 2008. http://library.cuhk.edu.hk/record=b6074472.
Full textAbstract:
Firstly, while the Yao people inhabit in wide geographic regions stretching across Southern China and South East Asia, even overseas, the Paiyao, a branch of the Yao who inhabits only in the Liannan district of the Guangdong province, is unique not only in their geographical inhabitancy but also cultural characteristics.Secondly, while Yao people's Getang ritual is a wide spread ritual practice with local variations, there has not been any in-depth study on the Getang ritual of the Paiyao people.
The significance of this study are Three-fold.
The thesis aims to study the soundscape of Paiyao ethnic nationality's "Getang Ritual" in Guangdong Province.
Thirdly, with a musicological concern, this thesis approaches its subject from the perspective of "soundscape of the ritual enactment", (Tsao Penyeh 2006: 81) and aspires to reach an understanding of the wider meaning of the Getang ritual among the Paiyao people and their society.
This study consists of the following three processes: (1) Fieldwork to investigate and compile ethnographic texts from both the researcher's observation and insiders' oral narrations and relating to actions in the makings of the ritual soundscape. (2) Analysis of the ritual "sounds", in terms of themselves and their extra-musical factors. (3) Interpretation of the meaning of ritual sounds and their soundscape of Paiyao's Getang ritual within the framework of the belief system that consists of a trinity of sounds and soundscape, ritual enactment and belief.
This thesis has seven chapters, with its theoretical and methodological reverences indebted to ritual studies by Tsao Penyeh (his research of ritual and ritual soundscape of China's belief systems) and Clifford Geertz (his many writings on anthropological theory and methodology, as well as his study of "reinterpretation to other's interpretation").
周凱模.
Adviser: Pen-Yeh (Poon-Yee) Tsao.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2945.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 289-317) and indexes.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Zhou Kaimo.
35
Rutstein, Esther. "Jewish folksongs in the Palestinian period : building a nation." Diss., 1997. http://hdl.handle.net/10500/17649.
Full textAbstract:
The psyche of an entire people underwent a paradigm shift during the Palestinian
Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the
'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest
of these pioneers was to rebuild their ancestral homeland. When the pioneering
Halutzim encountered the ancestral soil of their Motherland, deep impulses were
revealed. Their folksongs - an important component of folklore and mythology -
reflected this inner dimension of their being and of their experiences in Eretz Israel
by means of archetypal transformations. Initially, an idealistic devotion to
reconstruction and intimate reverence for the Land was reflected. However, in the
1930s and 1940s, opposition to Jewish settlement transformed folksongs so they
became increasingly militant, reflecting a movement towards extroversion in the
Jewish psyche which was consolidated in 1948.Music
Thesis (M.A.)--University of South Africa, 1997.
36
Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.
Full textAbstract:
Accompanying music files attached (mp3)The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group.
Arts History, Visual Arts & Musicology
D. Mus.
37
Bowan, Kate. "Musical mavericks : the work of Roy Agnew and Hooper Brewster-Jones as an Australian counterpart to European modern music 1906-1949." Phd thesis, 2007. http://hdl.handle.net/1885/109691.
Full textAbstract:
In 1920 the Lone Hand reported that Sydney composer Roy Agnew (1891-1944) had “after
much anxious consideration been forced to abandon the limitations of key and tonal
relationship.” For this transgression, he was branded, among other things, a musical
Bolshevik. Three years later in Adelaide, Hooper Brewster-Jones (1887-1949) wrote the first
of his “formula” pieces which are part of a larger body of works that experiment with various
aspects of musical language. In this thesis, I will argue that together certain works of these
two isolated composers constitute an instance of what is known in conventional music history
terms as “progressive” or “innovative” music. As such it can be seen as part of the wider
international scene concerned with developing new means of musical expression at this time.
This significant fact has been overlooked by musicologists and historians dealing with this
interwar period, long dismissed as stagnant, producing only second-rate work: a pale
imitation of British pastoralism and “light” salon music. This study seeks to revise that longaccepted
story and show that there was an Australian musical intelligentsia in the early
decades of last century.
Drawing from a wide array of primary sources, including contemporary newspapers,
journals, letters, memoirs, unpublished music manuscripts and other archival material, I will
first, through analysis of selected works, demonstrate how the music fits into a broader
international framework, then, using biography as a lens, reconstruct their worlds in Sydney,
Adelaide and London, describing networks and important relationships that provide a context
for this music, and finally examine aspects of the two composers’ public output such as
performance, radio broadcasts and newspaper criticism that strengthen the picture of these
two composers as individuals who enthusiastically engaged with international modernism.
Central themes that emerge to underpin the study of these two figures are: the relationship
between exoticism, occultism and modernism (demonstrating that exoticism and occultism
were driving forces behind the development of early modernism); exoticism as a process by
which that from the outside is brought into and reinterpreted for the local and particular; an
interpretation of the diverse meanings and uses of that much-contested term modernism; and
the broad informal network of dissemination, communication and bi-directional influence
offered by the transnational British world and direct engagement with America and Europe.
38
Ragnheiour, Olafsdottir. "Deep freeze : the social and musical impact of the I{u00F0}unn Society on the Icelandic r{u00ED}mur tradition." Phd thesis, 2011. http://hdl.handle.net/1885/150262.
Full textAbstract:
The Iounn Society of Intoners and Versifiers, Kvaeoamannafelagio Iounn, was founded in Reykjavik, Iceland in 1929. The founders had migrated from the rural areas at the beginning of the century, looking for work. This study analyses how the Iounn Society shaped the rimur tradition. Rimur are regarded as part of Iceland's literary heritage, documented in written manuscripts with the oldest one dating from around 1380. Historically, rimur were performed by one person using her, or his, own melodies. The melodies were orally transmitted and would change according to the prosody. The audience were the inhabitants of the Icelandic farmhouse, while they sat working (knitting, spinning, etc.) in the evening. These evening sessions were called kv{u00F6}ldvaka and the performance venue used to be the ba{u00F0}stofa, the main room in the old turf farmhouse, where most of the inhabitants would sleep, eat and spend their indoor-time. Moving from the rural to the urban areas meant a drastic change, not only for the members but also for the tradition itself, as it now became entertainment at a social gathering.
This study illuminates how the rimur tradition was shaped by the Iounn Society in the context of nation-building, class and power. At the same time this is a discussion about tradition and traditionalism. The Iounn Society took strong ownership of the rimur tradition, but was mainly concerned with the performance aspect. In order to preserve the melodies, they recorded 200 rimur melodies in 1935. The study analyses the melodies, compares them to another source of folk songs Islenzk pjodlog, and examines the conduct of Iounn. The expression 'Deep Freeze' contains the essential truth about the history of Iounn's dealings with the rimur tradition: freezing may preserve but it also immobilizes, while a thaw offers at least the chance of reincarnation into a renewed life.
39
Khosa, Hanyani Aubrey. "A descriptive analysis of indigenous Xitsonga music dance compound: A musicological approach." Thesis, 2018. http://hdl.handle.net/11602/1127.
Full textAbstract:
PhD (African Studies)Centre for African Studies
It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for others who enjoy indigenous Xitsonga music and dance. There exists, however gaps regarding documentation, preservation and notation of this music and dance practices. In this study, therefore, indigenous Xitsonga music and dance genres are analysed descriptively and documented (with notation of common songs) for posterity. A qualitative approach was used to conduct this musicological study. A study such as this one can also contribute towards African indigenous knowledge systems and be used by the Department of Education.
NRF