Dissertations / Theses: 'Music and folk-songs'

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Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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Baltagi, Ibrahim H. "Relationships among folk song preferences of grade five students." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.

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Diehl, Keila. "Echoes from Dharamsala : music in the lives of Tibetan refugees in north India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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Cheung, Kwok-hung Stephen. "Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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Ward, Marilyn. "The extent to which American children's folk songs are taught by general music teachers throughout the United States." [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000820.

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Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.

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Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2008.
Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).

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Smith, Stephanie Deborah Ladd. "A contextual study of singing in the Fisher family." Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/8230.

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This ethnographic study of a Scottish singing family, the Fishers of Glasgow, is based largely on fieldwork conducted over a period of three years. The Fishers were chosen because of their early involvement in, and their enormous influence on, the Scottish folk revival, which dates from the 1950s. Three members of the Fisher Family, Archie, Ray, and Cilia, sing professionally, and perform both traditional folksongs and contemporary material. This study focuses on them, although commentary about and from other family members is also included. In Chapter 2, I present a biography of the family, which is a patchwork of oral accounts by family members. Their biography leads us back to the islands of Vatersay and Barra, and the island traditions have obviously shaped the family ethos, even though they are an urban family. Chapter 3 is in part an oral history of the folk revival in Scotland, and the emergence of Archie and Ray Fisher as performers in the revival, as well as an analysis of important musical personalities and currents which had an impact on the revival, and particularly on Archie and Ray Fisher. Chapter 4 examines the professional careers of Archie, Ray, and Cilia, as well as the involvement of sisters Joyce, Cindy, and Audrey in the revival. The repertoire of the Fishers is examined in Chapter 5, with reference to the patterns of repertoire in the Scottish folk revival, and traditional sources. The way in which Archie, Ray, and Cilia categorize their songs is considered. Their categories, such as "heavy songs" and "light songs" tend to reflect the emotive impact of a song in performance, rather than structure. The problem of song "ownership" and repertoire within a family is also dealt with here. Chapter 6 focuses on the "aesthetic systems" of Archie, Ray, and Cilia, considering the following components: attraction to and selection of songs for learning; relative importance of tune and text; preferred song content; degree of emotional identification with songs; suitability of voice for a particular song; singing style; vocal range; the choice to accompany or not; the desired impact of the singer on the audience; the performing venue; and self-imposed expectations. The Fishers' aesthetic systems are also compared with those of other singers, both traditional and revival. In Chapter 7, I discuss the functions of songs in the Fishers' public performances, and analyse transcribed performance extracts of Archie, Ray, and Cilia (performing with her husband Artie). The spoken portion of the performances is seen as a significant and integral part of the performance as a communicative event. Analysis focuses on the structure of the performance, how the performance reflects the individual aesthetic system, and what levels of meaning may be derived from the performance. In Chapter 8, I conclude with a brief summary, and assess the place of the Fishers in the Scottish folk revival. Other data on the Fisher family, such as repertoire lists, a discography, and transcribed performance extracts may be found in the Appendices.

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Chyou, Shang-Fen, and Shang-Fen Chyou. "Music has more than charm: a historical and stylistic discussion of Chinese folk songs." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624795.

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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.

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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.

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Švalbe, Erika Lynn. "Andrejs Jurjāns as Symbol of Latvian Identity: Native Folk Songs in his Large-Scale Symphonic Works." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279409/.

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This thesis presents a study of Andrejs Jurjāns' significant symphonic works as informed by a native musicologist, Professor Jānis Torgāns, and illuminates Jurjāns' role within the cosmopolitan framework of nationalism in music.

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Garcia-Saavedra, Vivian. "The efficacy of folk songs versus songs composed for music education texts as determined by the primary grades music skills test scores of kindergarten and first grade students." FIU Digital Commons, 2002. https://digitalcommons.fiu.edu/etd/3927.

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The purpose of this research was to determine whether folk songs versus songs composed for music education texts would improve the music memory and performance skills of kindergarten and first grade students in a Miami Dade County Public School as measured by “The Primary Grades Music Skills Test” (PGMST). The folk songs selected for this study are multi-ethnic. A sample of 80 students, 40 from kindergarten and 40 from first grade was drawn from the Lincoln-Marti School, an affiliate private school of the Miami Dade County Public School System. Within each grade level, 20 students composed the Experimental group and 20 the Control group (N=80). Before attempting this project, a Primary Grades Music Skills Test designed and piloted by myself was administered to determine reliability. Results were positive, students understood and were able to perform all tasks in the pilot test. Both, Experimental and Control groups for kindergarten and first grade were then administered the PGMST to determine baseline skills. An instruction period consisting of 20 consecutive daily music lessons of 20 minutes duration each, followed the Pretest. All lessons included 10 minutes of rudimentary music drills and 10 minutes of teaching four folk songs to the Experimental group and four songs composed for music education texts to the Control group. Upon completion of the instruction period, both the Experimental and Control groups were administered the PGMST as a Posttest in order to measure acquired musical achievement. Posttest findings showed positive gains in the mean scores for correct responses in both groups. On the Posttest, the kindergarten Experimental group exceeded the kindergarten Control group by a margin of 20.31%. The first grade Experimental group exceeded the first grade Control group by a margin of 18.43%.

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Abeyaratne, Harsha. "Folk music of Sri Lanka : ten piano pieces." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213149.

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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

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Tang, Kai. "Musical Culture of Chinese Floaters." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13094351.

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"Floaters" are a large population of internal migrants in China. Led by a series of urban-based economic policies and the consequent income gap between rural and urban regions, these former peasants left their hometowns, floating temporarily and illegally in the cities for economic opportunities. Without legal immigration status, they are marginalized by local urbanites and are considered by the government as disobedient citizens with the potential to jeopardize the socialist society. This dissertation, drawing on two years' ethnographic and archival research in China, examines the basic characteristics of floaters' musical world and focuses on three representative musical components. The first is a repertory called Sour Songs, which originates from floaters' rural hometowns and serves as an outlet for release of nostalgia and spiritual pain. The second, Red Songs, is a genre invented by the communist government that has become an effective propaganda tool and is characterized as "a powerful bolt of the revolutionary machine" in the floaters' world. Finally, Rock 'n' Roll, the only musical form in China that signifies both urbanity and revolt, is used by floaters to display their special identity and to express themselves when they are silenced in the broader society. This dissertation reveals hidden meanings in floaters' music-making and suggests that the study of this overlooked musical community could provide new perspectives on Chinese music at large.
Music

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Li, Belinda. "Folk Songs and Popular Music in China: An Examination of Min’ge and Its Significance Within Nationalist Frameworks." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/162.

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This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many different ethnic groups in China. This transformation has established min’ge as an important extension of the Chinese Communist Party’s (CCP) cultural policy, and the manipulation of folk music has asserted the CCP’s cultural hegemony. Ultimately, this cultural hegemony has important implications on Han-minority relations and highlights certain dynamics within Chinese nationalism. Despite its limited and distorted representation of minorities, however, the popularization of min’ge has also inspired minority musicians to reclaim their identities through music. Therefore, this paper explores both the cooptation and contestation of state-promoted identities through the medium of popular folk music.

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Horn, Kipps 1949. "Rebetika music in Melbourne, 1950-2000 : old songs in a new land, new songlines in an old land." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/8015.

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Cox, Katherine L. "A biography and interpretation of Louis Moyse's Introduction, Theme, and Variations; Variations on Three Japanese Folk Songs; and "Hommage a Krishna"." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524187.

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This project report gives a biography of Louis Moyse's history as well as an interpretation on three of his compositions with Japanese influence: Introduction, Theme, and Variations, Variations on Three Japanese Folk Songs, and Hommage a Krishan. An informed performance of these works can be achieved by studying Louis' influences, compositional style, and a history of his childhood and background. These three pieces all have characteristics of "folk like" melodies along with elements of Japanese influence. This influence came from his travels throughout Japan with his father and wife Janet. Since the Japanese flute, the shakuhachi, is an important part of Japanese culture and music, it is important to understand the basic concept of sound production on the instrument and to incorporate the sounds and tone of the shakuhachi into these compositions.

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Mphaphuli, Murembiwa Julia. "Tsenguluso ya kubveledzele kwa ndeme ya nyimbo dza sialala dza Vhavenda." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1240.

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Thesis (MA. (African Languages)) --University of Limpopo, 2013
Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.

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Hsu, Cheng-Jen. "Pedagogical vignettes of Chinese and Taiwanese folk songs suitable for late-elementary-upper intermediate level piano students." Kansas State University, 2014. http://hdl.handle.net/2097/17647.

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Master of Music
Department of Music, Theater, and Dance
Virginia Houser
Folk songs are songs of unknown authorship passed down orally generation to generation, and often found in variants of words and tunes in different parts of a country or in different countries. They often represent the culture, the tradition, the life style and the music style in their era. Although there are many folk songs are still popular, they are rarely played during the piano lessons in Taiwan. In today’s piano lessons, the teaching mainly focuses on Western music and theory, like the major-minor system. The student begins to learn piano by the methods such as John Thompson or Nancy & Faber Piano Adventures. These methods build the foundation of their playing technique and the music theory. As their level goes up, they might have some opportunities to play the folk songs that are sung in different countries, such as the Hungarian folk music arranged by Bela Bartok. In the meantime, the piano teacher in Taiwan should not forget that they may have the responsibility to help the next generation to preserve the folk songs which present their culture. My research consists of an examination and performance of sixteen Chinese and Taiwanese folk songs in two collections: Piano Pieces on Chinese Folk Tunes for Children by Shui-Long Ma and Piano Pieces on Taiwanese Folk Tunes by Ching-Yi Lin. Each piece will be carefully graded into five levels: Elementary; Late Elementary/Early Intermediate; Intermediate; Upper-Intermediate; and Advanced. The features of each level will be discussed as well as the historical background and pedagogical aspects in particular piece of each level.

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Oyola, Rebaza Zoraida Alfonsina. "A collection of Peruvian and other South American folk songs adapted for teaching violoncello." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/2254.

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This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students. The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.

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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.

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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.

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Roux, Mignon. "Bemagtigingsopleiding vir kuns en kultuur-opvoeders : implementering van tradisionele Kaapse liedere." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/21906.

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Thesis (M. Mus.)--University of Stellenbosch, 2006.
ENGLISH ABSTRACT: The research for this thesis was conducted because many educators in the South African education system are not equipped to teach Arts and Culture to primary and secondary learners because of a lack of resources and skills. The researcher tries to determine whether traditional songs of the Cape could lay the foundation to understand the origin, functions and dynamics of a culture, as well as the capacity to use creative arts- and cultural processes to develop one's self-image and promote spiritual well-being. The main aim of this study was to determine whether educators can be empowered by providing them with the necessary skills to teach Arts and Culture by means of the integration and implementation of traditional songs of the Cape in the classroom as resource materials when planning a curriculum. Arts and Culture educators were empowered to equip themselves to be able to teach learners to understand, acknowledge and promote the arts and unknowncultural practices such as traditional songs of the Cape. The researcher based the component of the Empowerment Training she was responsible for on the requirements for Participatory Action Research: Awareness, Emancipation, A learning strategy for participants and the development of independence. The results of this thesis are based on two projects the researcher participated in. The main aim of the first project, "Mother's Milk, Mother's Muse" that was initiated by Professor Meki Nzewi of the University of Pretoria, was to collect traditional songs, games, legends and stories of the Cape. These materials are available on CD and DVD and included in this thesis. These were then used in the second project as resources to equip Arts and Culture educators with a variety of skills, which include the teaching of songs, during the Advanced Certificate in Education (Arts and Culture) at the University of Stellenbosch, offered since 2005. This thesis is a compiliation of how Arts and Culture educators were empowered to use and implement these materials in the learning area by the component in the ACE course for which the researcher was responsible.
AFRIKAANSE OPSOMMING: Die feit dat baie opvoeders weens ongebrek aan hulpbronne en vaardighede nie volledig toegerus is om die leerarea Kuns en Kultuur aan leerders op primere- en sekondere vlak aan te bied nie, het aanleiding gegee tot die navorsing vir hierdie tesis. Die navorser stel ondersoek in om te bepaal of tradisionele Kaapseliedere as basis sou kon dien vir on begrip van die oorsprong, funksies en dinamiese aard van kultuur, asook van die vermoe om kreatiewe kuns en kulturele prosesse te benut om 'n selfbeeld te ontwikkel en geestelike gesondheid te bevorder. Die doel van hierdie ondersoek was om vas te stel of opvoeders bemagtig kon word deur hulle toe te rus met basiese onderrigtegnieke om die leerarea Kuns en Kultuur te kan aanbied, deur die integrasie en implementering van tradisionele KaapseIiedere in die klaskamer en die insameling van liedere as hulpbronne wat tot opvoeders se beskikking is tydens kurrikulumbeplanning. Bemagtigingsopleiding is aan Kuns en Kultuur-opvoeders gebied ten einde hulself toe te rus om leerders te kan touwys maak hoe om die kunste asook kulturele vorms en gebruike wat histories nie erkenning kry nie, in hierdie geval tradisionele Kaapseliedere, te erken, verstaan en bevorder. Riglyne vir Deelnemende Aksie Navorsing, naamlik bewusmaking, emansipasie, 'n leerstrategie vir deelnemers en die ontwikkeling van selfstandigheid is as basis gebruik vir die bemagtigingsopleiding. Die navorser was betrokke by twee projekte waarop die resultate van hierdie tesis gebaseer is. Die hoof doeI van die eerste projek, "Mother's Milk Mother's Muse", was om tradisionele Kaapse liedere, speletjies, legendes en stories in te samel. Tydens die tweede projek, die Gevorderde Onderwyssertifikaat (Kuns en Kultuur) wat vanaf 2005 by die Universiteit Stellenboseh aangebied word, is die ingesamelde materiaal onder andere gebruik om verskillende tegnieke, waaronder die aanleer van liedere, aan opvoeders te demonstreer. Die materiaal wat ingesamel is, is op CD en DVD by hierdie tesis ingesluit. Hierdie tesis is onsamevatting van die maniere waarop Kuns en Kultuur-opvoeders deur middel van die komponent waarvoor die navorser in die GOS-program verantwoordelik was bemagtig is om hierdie materiaal te ontgin en in die leerarea te implementeer.

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Holtz, Shawna Meggan. "Percy Grainger and Ralph Vaughan Williams a comparative study of English folk-song settings for wind band /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.

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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.

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Burns, Carolyn Diane. "The relevance of African American singing games to Xhosa children in South Africa a qualitative study /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.

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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.

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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.

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Jackson-Houlston, Caroline Mary. "Ballads, songs and snatches : the appropriation of, and responses to, folk song and popular music culture in the nineteenth century." Thesis, Oxford Brookes University, 2010. http://radar.brookes.ac.uk/radar/items/9e1ec114-8faf-9eef-65eb-95772b5a8423/1.

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Ballads, Songs and Snatches demonstrates how allusion to folk song and some aspects of popular musical culture were absorbed into the polyphony of discourses in the realist prose of the nineteenth century, and explores the implications of the various transformations that occurred during this process, with an emphasis on the representation of the labouring classes. Wide and deep acquaintance with folk tradition is shown to account for richly dense literary textuaJity, especially in Scott and Hardy, even where they mediate their knowledge tactically. Lack of that knowledge is consonant with weakness in such representation. The sources used by each writer are identified as accurately as possible. The book is necessarily interdisciplinary, bringing together literary and folk song study and scholarship. It defines a new category for discourse analysis, the 'false intertext', i.e. supposed allusions to folk song or other texts actually composed by the prose writers themselves. It investigates the effects within the literary texts both of these false intertexts and of the inclusion of material so heavily mediated as substantially to misrepresent the original compositions. In the course of this discussion it outlines ways in which authors appealed to audiences often stratified along class and gender lines. The chapter and article extend the concerns of the book, especially Chapter 6, with the discourse of popular songs of the early nineteenth-century song-and-supper rooms. Both continue to address questions of readership, both contemporary and more recent. 'The Cheek of the Young Person: Sexualized Popular Discourse as Subtext in Dickens' overturns assumptions about the canonical respectability of Dickens's earlier work. "'With Mike Hunt I Have Travelled Over the Town": the Norms of "Deviance" in Sub-respectable Nineteenth-century Song' uses popular but critically outlawed material to problematize the position of the literary critic and to offer an alternative to Raymond Williams' model of ideological development.

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32

Olson, Ted. "Blind Alfred Reed: Appalachian Visionary." Digital Commons @ East Tennessee State University, 2015. https://amzn.com/B01AHK4WLU.

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Liner notes by Ted Olson, song lyrics, and discography; produced by Ted Olson. "In this collection, all of Reed’s songs, both faith-based and secular, recorded for the Victor Talking Machine Company over two sessions in 1927 in Bristol TN and Camden, NJ and two sessions in 1929 in New York City, are on one 22 track CD, complemented by well researched essays by Producer Ted Olson and LOTS of archival photos. Reed played fiddle and sang and on some sessions he was accompanied on guitar by his son Orville. ... Olson has included the younger Reed’s solo recordings." --Steve Ramm Review on Amazon
https://dc.etsu.edu/etsu_books/1117/thumbnail.jpg

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Middleton, Theodora Elizabeth. "Music and Compound Words." University of Toledo / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1333671995.

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Li, Mo. "Musical and Lyrical Multiplicity of Hua’er Flower Songs." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306777564.

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35

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.

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36

Rabothata, Thambatshira Tannie. "Women abuse as expressed in Tshivenda female songs." Thesis, University of Limpopo (Turfloop Campus), 2005. http://hdl.handle.net/10386/892.

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Thesis (Ph.D. (African Languages)) --University of Limpopo, 2005
This study investigates the expression of women abuse through female songs. Groups of singers from twenty-two communities were listened to during the study. A qualitative analysis was undertaken. Songs obtained from secondary sources, were compared and analysed in the same way in which those obtained from the singers themselves were analysed. In particular, the usefulness of these singing groups was examined. It was found that most of the women who are experiencing abuse of some kind, derive perceived social support from fellow singers. All the women in the different singing groups declared that they were not singing for the sake of singing but that they were sending messages to the perpetrators of abuse in the expectation that a change will be realized. Singing groups were found to be effectively providing assistance in dealing with emotional abuse. The study thus illuminates the subjective use of referential expressions in expressing abuse. This emphasizes the challenge for singers to check whether or not the manner in which they present their pleas is appropriate.

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Bright, Kimberly J. "The History and Importance of Welsh Art Song: The Soprano Repertoire of Dilys Elwyn Edwards." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237834773.

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38

Birdwell, John Cody. "The Utilization of Folk Song Elements in Selected Works by Ralph Vaughan Williams and Percy Grainger with Subsequent Treatment Exemplified in the Wind Band music of David Stanhope." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278028/.

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An examination of the utilization of folk song elements in the wind band music of Australian composer David Stanhope, represented in two movements ("Lovely Joan" and "Rufford Park Poachers") from his Folk Songs for Band. Sets 1 and 2. Included is an historical overview of English folk music, emphasizing the theoretical properties of the English folk song and the events surrounding the modern renaissance of British folk music. Background information related to the musical development of Vaughan Williams, Grainger, and Stanhope is provided, noting the influence of the folk idiom in their compositional styles and Grainger's influence on the music of David Stanhope. An historical account of the two folk songs examines the events and compositional procedures related to the inclusion of "Lovely Joan" in Vaughan Williams' Fantasia on Greensleeves. and Grainger's use of "Rufford Park Poachers" in Lincolnshire Posv. Emphasis is placed on the subsequent compositional treatment of the folk elements in Stanhope's wind band compositions. A detailed analysis of Stanhope's compositional style includes structural, harmonic, melodic, and historical considerations, while specifically illuminating his contemporary and innovative approaches to scoring and instrumentation.

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Hopkins, Kyle D. "An examination of major works for wind band : The Star-Spangled Banner by Jack Stamp, Tharsos by Jeff Jordan, Americans We by Henry Fillmore and Cajun Folk Songs by Frank Ticheli." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1637.

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40

Simmons, Jené. "A content analysis of folk songs used in fourth-grade music textbooks published by Silver Burdett and Ginn including their parent and subsidiary companies from 1898 through 2002 /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1560330651&sid=10&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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41

Gibbs, Levi Samuel. "Beyond the Western Pass: Emotions and Songs of Separation in Northern China." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248745393.

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42

Hubbard, Colton M. "Tea Songs." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.

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43

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.

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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.

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Burden, Matilda. "Die Afrikaanse volkslied onder die bruinmense." Thesis, Stellenbosch : Stellenbosch University, 1991. http://hdl.handle.net/10019.1/69145.

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Thesis (PhD)--Stellenbosch University, 1991.
ENGLISH ABSTRACT: A song has to be accepted by the community, must form part of the oral tradition and be handed over from one generation to the next, before it can be called a folk song. In the process of oral tradition, variants usually develop. A folk song is therefore never complete the moment it is created, but is formed gradually through a process of changes. The Afrikaans folk song sung by the coloured people has the same characteristics as the folk song in general. The fact that oral tradition is the major way of spreading songs, is evident from the many variants that occur and from the examples of transformation of words and melody ("Umsingen"and "Zersingen"). Simplicity, the use of the major key and the avoidance of modulation are prominent characteristics. Suggestiveness and coarse language are fairly common. Melismata are very rare and usually occur in songs which probably have their origin in old Afrikaans records. Most of the songs collected amongst coloured children are used to accompany games. The children seldom sing without playing or play without singing. Most variants are found amongst children's songs. Dancing songs are without a doubt the most popular amongst the songs of adults. The form of the stanzas is very simple and usually the songs consist of many stanzas. A small percentage of the songs collected, more or less 5%, presumably originate from old Afrikaans grammophone records. Most of these songs have been transformed by popular usage and even amongst them variants have been found. The main themes of this group of songs are love, parting, grief and death. Picnic songs, work songs, war songs and drinking songs have been found. Humoristic and mocking songs contribute to the entertainment value of the folk song and are also found amongst the coloured people. Because there is so much interaction between sacred songs and secular songs, especially where the melodies are concerned, the two groups cannot always be separated from each other. The sacred songs of the coloured people are mostly of the "refrain"-type. When a group of coloured people perform the sacred songs, they usually harmonise spontaneously and most beautifully. The fact that so much has been said and written on the subject of the folk song, and that even in recent years substantial research projects have been carried out, is proof enough that the folk song has not yet died out. The Afrikaans folk song features strongly amongst coloured people, though noticeably influenced by the English language, modern technology and urbanisation.
AFRIKAANSE OPSOMMING: 'n Volkslied is 'n lied wat deur die gemeenskap aanvaar is, mondelings versprei word en op dieselfde wyse van geslag tot geslag oorgelewer word en waarvan daar in die prosesse variante ontstaan. 'n Volkslied is dus nie voltooi die oomblik dat die eerste vorm geskep is nie, maar word deur 'n langsame proses geleidelik gevorm en omvorm. Die Afrikaanse volkslied wat deur die bruinmense gesing word, toon dieselfde kenmerke as die volkslied in die algemeen. Daar is tekens van mondelinge oorlewering wat veral weerspieel word deur die baie variante wat aangetref word, sowel as talle voorbeelde van verbrokkeling en ver~ vorming ("Umsingen" en "Zerzingen"). Eenvoud in woord en melodie is opvallend. Die majeurtoonaard, met vermyding van modulasie, kom feitlik deurgaans voor. Suggestiwiteit en growwe taal is redelik algemeen. Melismes kom selde voor en dan meestal by liedere wat waarskynlik van ou Afrikaanse plate kom. By die opnames onder bruin kinders is gevind dat die oorgrote meerderheid liedere wat hulle sing, een of ander vorm van spel begelei. Hulle sing selde sonder om te speel, en hulle speel selde sonder om te sing. Die meeste variante van liedere word ook by die kinders aangetref. By die liedere van volwassenes is die danslied ongetwyfeld die gewildste. Die meeste daarvan bestaan uit kort, eenvoudige strofes met baie strofes in een lied. 'n Klein persentasie van die liedere wat versamel is, ongeveer 5%, is vermoedelik van ou Afrikaanse grammofoonplate afkomstig. Die meeste daarvan het baie vervorm in die volksmond en selfs daarvan is variante aangetref. Die temas van hierdie groep liedere handel hoofsaaklik oor die liefde, afskeid, hartseer en die dood. Voorbeelde van piekniek-, arbeids- en oorlogsliedere, sowel as enkele drinkliedere en doprympies is aangetref. Die humoristiese lied en spotlied dra by tot die vermaaklikhiedsfunksie van die volkslied en kom ook by die bruinmense voor. Die gewyde of geestelike lied kan nie altyd streng van die wereldlike lied geskei word nie. Daar is te veel wisselwerking tussen die twee groepe, veral wat wysies betref. Die gewyde liedere wat by die bruinmense,aangetref is, is meestal van die sogenaamde "koortjie"-tipe. 'n Kenmerk van hulle gewyde sang is dat wanneer dit deur 'n groep gesing word, dit altyd meerstemmig is met pragtige harmoniee wat op natuurlike wyse gedoen word. Die feit dat daar al so baie oor die volkslied geskryf is en selfs onlangs nog omvatteride studies daaroor die lig gesien het, is bewys dat die volklied nog nie uitgesterf het nie. Daar is bewys dat die Afrikaanse volkslied onder die bruinmense baie sterk staan, hoewel Engelse invloed duidelik merkbaar is en tekens van moderne ontwikkeling en verstedeliking onmiskenbaar waargeneem kanword.

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45

Winebrenner, Terrence Calvin. "My heroes have always been cowboys : the rhetorical vision of country-western popular songs, 1970-1979 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487264603218088.

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Gibbs, Levi Samuel. "Song King: Tradition, Social Change, and the Contemporary Art of a Northern Shaanxi Folksinger." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371429829.

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47

Davey, Mervyn Rex. ""As is the manner and the custom" : folk tradition amd identity in Cornwall." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3377.

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The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an important place in contemporary Cornish studies. This study examines the evolution of folk tradition in Cornwall from the early nineteenth century through to the present day, the meanings ascribed to it and the relationship with Cornish identity. The subject matter is at once arcane and commonplace, for some it is full of mystery and symbolism for others it is just “party time”. It is about what people do and what they think about what they do in relation to the wide spectrum of activities associated with traditional music and dance. These activities range from informal singing sessions and barn dances to ritual customs that mark the turning of the year. In order to establish a research methodology this study draws upon the paradigms of memory, oral history and discursivity. These paradigms provide a range of insights into, and alternative views of, both folk tradition and identity. Action research provides a useful enquiry tool as it binds these elements together and offers a working ethos for this study. Using this model a complex and dynamic process is unveiled within folk tradition that offers a quite different perspective on its relationship with identity and brings into question popular stereotypes.

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Saunders, Jessica Anne. "Songs of the Kalevala: art song inspired by the Finnish national epic." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5622.

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The Kalevala, first published in 1835 by Elias Lönnrot, is the Finnish national epic and was fundamental in formalizing the Finnish language. It is a collection of stories Lönnrot collected over many years, pieced together to create a coherent epic. The stories in the Kalevala stem from an oral tradition, in which singing and music was integral. The stories in the epic contain many different characters, with Väinämöinen and his quest in to find a wife at the forefront. Other major characters discussed include Kullervo, Lemminkäinen, and Luonnotar. Extensive research exists about the history of the Kalevala itself, as well as its impact on music in Finland in the areas of pop music, symphonic music, choral music, and opera. However, little scholarship exists, regarding how the texts from the Kalevala have been incorporated into 19th and 20th century art song. The lack of research about the Kalevala in art song is due partly to the fact that no catalogue of related songs exists. Also, works based on the Kalevala are hard to obtain, as many are only available in manuscript form, or are found only in the Finnish National Archives. This essay aims to bridge the research gap on art song inspired by the Kalevala, while evaluating the works available in the context of their incorporation of the folk singing tradition that would have been used in the early performance of these Kalevala texts. Songs analyzed include works by Gabriel Linsén, Emil Kauppi, Jean Sibelius, Otto Kotilainen, and Erkki Melartin.

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Owen, Ceri. "Vaughan Williams, song, and the idea of 'Englishness'." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.

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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.

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Nemapate, Mmbulaheni Alfred. "A study of structure, meaning and performance in Tshivenda traditional songs." Thesis, 2010. http://hdl.handle.net/10386/2190.

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Dissertations / Theses on the topic 'Music and folk-songs'

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