Tesi: "Dance music"

1

Bidgood, Lee, e Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.

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2

Murali, Meera. "Conservatory of Music and Dance". Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/64379.

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Abstract (sommario):

Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people. Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing.
Master of Architecture

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3

Bidgood, Lee. "Music and Dance in Appalachia". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1088.

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4

Thiede, Jacob Ryan. ""Digital Tap Dance": Tap Dance as Medium for Composition". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703288/.

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Abstract (sommario):

This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

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5

Faulds, Katrina. ""Invitation pour la danse" : social dance, dance music and feminine identity in the English country house c.1770-1860". Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378156/.

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The engagement of landed elite women with dance music in the early nineteenth century and the contribution that such music made to the formation of female identity has received limited scholarly attention. While research on social dance has brought to life the cultural complexities of the ballroom, and investigations into the influence of dance on principally canonical repertoire have enriched our understanding of the intersections that occurred between music and dance, the actual collection and domestic performance of dance music itself has largely lain forgotten. The English country house provides a locus through which elite women’s participation in dance and domestic music-making can be conceptualised and reconstructed. Tatton Park, the Cheshire estate of the Egerton family, contains a significant body of music ranging across several generations of women. The dance music belonging to Elizabeth Egerton (1777-1853), her daughter-inlaw, Lady Charlotte Egerton (1811-1878), and Elizabeth’s daughter, Charlotte Egerton (1824-1845), provides the basis for a series of case studies that examine links between the music they collected and the social dance activities with which they were engaged. The conception of elite women’s participation in dance as expressed by contemporary authors, and the performance of dance in other country houses as documented in newspaper and archival sources, proffer a framework through which the case studies can be interpreted and thus how concepts of elite femininity were negotiated through dance music. This study forms part of a burgeoning scholarly interest in domestic music-making in the English country house and complements two recent theses on the Tatton Park collection. What emerges is a sense of the myriad ways in which early nineteenth-century dance music was embedded in the fabric of cultural life for elite women, and how it both affirmed and negated contemporary discourses on appropriate feminine comportment.

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6

Stanfield, Norman. "Rough music, rough dance, rough play : misrule and Morris dance". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1056.

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Abstract (sommario):

England is home to a distinctive vernacular dance called Morris dance. One of the reasons that it is unique is because it is a secular dance that is displayed rather than performed as a medium for socializing. Questions often arise from audiences when they try to decode its symbolism and the purpose of its presentation. Several interpretations have emerged since Morris dance was revived by successive waves of enthusiasts. After reviewing the study and culture of pre-modern and modern Morris dance and its cultural milieu and its principal venue, Whitsuntide(also known as May Day), a potential interpretation is proposed — misrule. The title of my dissertation recalls the famous essay on the theatrical display of misrule by E.P. Thompson titled "Rough Music" (1993). Using the research that has emerged from the study of carnival behaviour by Mikhail Bakhtin and liminality by Victor Turner, the basic conditions of misrule are reviewed and illuminated. Then the symbols and behaviour of modern and premodern Morris dance are subjected to comparison and contrast with the result that modern Morris dance will be shown to have departed significantly from the premodern template of misrule. This departure may help to explain the dilemma of the current popular criticisms leveled at Morris dance today. However, a complication is raised in which the new misrule interpretation may not prove usefu lafter all because it cannot be applied to the Morris dance culture as it currently exists.

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7

Jap, Lilian. "Mapping detected periodic dance movements to control tempo in the music playback of Electronic Dance Music". Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-251668.

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Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, a user-study was designed in order to investigate when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the induced dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 participants participated. A questionnaire was given containing various question statements to be rated through a Likert-scale regarding their subjective experience. Open-ended questions were also included to collect their own opinions. From the results, an enhanced engagement and enjoyment of the music could be identified when being able to manipulate the tempo.
Att engagera sig i ett musikset av ens favoritartist eller DJ leder ofta till resultatet av en kraftfull och euforisk känsloupplevelse, en känsla delvis framkallat av att man dansar i takt med musiken. I ett försök att simulera en liknande dansupplevelse undersöker denna användarstudie när en användare dansar i rytm till musik och dessutom är i kontroll av tempot genom de skapade dansrörelserna. En proof-of-concept prototyp konstruerades och testades i en första studie, följt av en huvudstudie där prototypen hade modifierats och 12 deltagare deltog. Ett frågeformulär gavs med olika frågor som skulle bedömas via en Likert-skala, med avseende på deras subjektiva erfarenhet. Öppna frågor ingick också för att samla deras egna åsikter. Från resultaten kunde ett ökat engagemang och en förhöjd njutning av musiken identifieras när man kunde manipulera tempot.

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8

Caddy, D. L. "Music and dance : Paris, 1900-1914". Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597208.

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Abstract (sommario):

This thesis offers three case studies of theatrical and recreational dance in early twentieth-century Paris: operatic, balletic and music-hall variations on Salome’s Dance of the Seven Veils; the reception of the cake walk as concert music, circus entertainment and on film; and the conception and realisation of La Fête chez Thérèse, a ballet staged at the Opéra during the years of the Ballets Russes. My critique, which draws on theories of post-colonialism, feminism and subjectivity (to name a few), offers a ‘thick description’ of these dance spectacles, tracing a peculiar line through the cultural and aesthetic determinants of early twentieth-century art and entertainment whilst exploring an encounter between French modernism, elite and popular culture. More important, though, is the fact that my thesis considers the role or function of music in dance performance. Such an approach inevitably invokes audio-visual theory, as well as recent musicological concerns with the moving body and its complex if ephemeral signification: how music helps dance to move beyond gymnastics and begin to ‘speak’ is becoming well-covered terrain. In my case studies the question extends in new and unfamiliar directions. As well as considering the relation between music, narrative and balletic ‘voice’ (an interpretative reading), I engage in a more acutely historical study, exploring the reception of dance in the Parisian press: what this might reveal about ways of watching, listening, thinking and writing about dance and its accompanying music. The different works and genres offered up for consideration by my case studies, as well as the variety of aesthetic levels that they mark out, enable me to expose new perspectives on the contemporary dance scene and its cultural motivations.

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9

Nederberg, Annelie. "Corporeality in music for contemporary dance". Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/9879.

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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music; the immaterial movement of music can serve as a foundation for a deep bodily-sensed understanding of complex concepts. By reversing this process of understanding, or rather by engaging in the action-perception loop of conceptual understanding, this understanding can help encapsulating abstract and complex concepts artistically in music. For this purpose the Feedback Instrument has been created, representing a direct way of engaging the sensorimotor system of the composer, where the intuitive body resonances are engaged in close connection with the sounding music.

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10

Jeong, Yae Ram. "Dance With Me Tonight". Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1447964124.

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11

Bidgood, Lee, Trae McMaken e Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.

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12

Hillion, Toulcanon Marie-Muriel. "Maloya dance and music: Réunionese Créole togetherness". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2532.

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Abstract (sommario):

La Réunion is a former French colony where the coffee, vanilla — and later the sugarcane industry — brought together the mostly enslaved and indentured people from Madagascar, Africa, India, China and France. A quintessential part of this hybrid culture has been the development of maloya, an improvised music-and-dance form that so alienated French colonial authorities and landowners that it was unofficially banned until 1981. While maloya music has been taught since 1987 at Conservatoire de La Réunion and has reached international stages, maloya dance itself has rarely been explored academically, often relegated to the rank of superficial entertainment. The aim of the present research is to interrogate maloya: what it means to me as a practitioner of maloya and what it means as a culturally embodied art form. Using the principles of practice-led research methodology and the research methods of a/r/tography (including qualitative interview methods, as well as studio practice, performance creation, teaching activities and narrative writing familiar with autoethnography), the research interrogates my subjective experience as a maloya artist, researcher and teacher in Australia. As an art form, the research identifies the improvised technique of maloya dance. The research argues that maloya is comprised of elements of La Réunion’s history: dislocation, slavery, ‘third space’, hybridization and freedom. Thus, analysing the teaching of maloya in Australia is the teaching of Réunionese identity. The different spaces, the different audiences and the different intentions of the dancer all play into how the dancer moves. When performed at an International Arts Festival, maloya is different to its presence at a backyard neighbourhood party or in a sacred ritual honouring the ancestors. The research is neither definitive nor interested in providing a generalisable formula for a transnational theory on adapting dance for different audiences or for different purposes (such as for performance or for teaching), rather the motivation behind the research is to fully interrogate an underexplored dance form and to better understand the origins and composition of a dance form that I carry in every step of my feet. Maloya is the conceptualisation and representation of who I am and how key Réunionese artists see themselves through maloya. The research argues that maloya contributes to identity formation, maintenance and evolution and that the history of surviving dispossession and oppression informs a certain type of cultural, linguistic and artistic identity, similar to the powerful idea of batarsité. As a teacher of maloya in Australia, it became clear that the dance as an artistic representation informs the negotiation of intersecting identities and that this perspective — in conjunction with the participant observation, field trips and interviews with maloya artists and experts — sits comfortably alongside my subjective experience of teaching and performing maloya. The research is an important critical yet subjective interrogation of a dance form that is embraced by its people as not only a powerful symbol of freedom from oppression, but also emblematic of everyday life on a post-colonial island.

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13

Borges, Pedro José. "Café of Dance". Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/35842.

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Abstract (sommario):

A beginning of questions about architecture and humanity and searching for those answers that begin to initiate the process of design and improving the quality of life. This is an investigation and an understanding of those values which make a place unique. Once those attributes have been found then we can begin to embrace them within architecture. Inside the small town of Veron, on the eastern shore of the Dominican Republic, unique economic and social conditions are apparent there that are mirrored throughout this small island nation and throughout many parts of Latin America. There are powerful forces at work, along with nature, that are affecting local communities and degrading the social status. This is only a small microcosm of the social, economic and environmental effects of the tourism industry in this paradise nation. How do we sustain those qualities that are embedded within the fabric of a nation's culture, heritage, and begin to give the nation a voice within design. How do you provide a sustainable solution between private tourism industries and local governments and communities within the setting and conditions of the eastern shore of the Dominican Republic?
Master of Architecture

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14

Herndon, Julie. "Composing music in the silent body". Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589453.

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This thesis explores holistic approaches to the performing body. Beginning with the inner world of sensation, I discuss Anna Halprin’s use of emotional geography and associative scoring in her community rituals. In Lawrence “Butch” Morris’ Conductions, I consider the body as score. And in an analysis of Sophia Gubaidulina’s symphony Stimmen… Verstummen…, I describe the use of gesture as it is functions to frame the body as a symbol of transformation. I then describe the affect of these representative methods of composing for the performing body as they manifest in own work, using specific examples from (de)attachment for saxophone quartet.

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15

Marckx, Leslie Hirt. "French Baroque influences on Johann Sebastian Bach's Six suites for violoncello solo : with an emphasis on French court dance and Suite V /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11220.

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16

Hardwick, Kathryn Gay. "Slovenian music and dance in Adelaide : the preservation of urban-ethnic music /". Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arh267.pdf.

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17

Picknett, Michael David. "Devising music : applying creative approaches from dance and theatre to music composition". Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17348/.

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My principal research question is: How can the directed devising techniques and principles of practice found in contemporary dance and theatre be adapted to the composition of music? The relationship between fixed material and improvisation within devised projects is often a grey area (see Etchells: 2013b). Some performances are tightly scored with little room for the performers to steer the performances - whereas other performances could be almost seen as free improvisation. The difference between improvisation and devising is always found in the performer’s relationship to the material. Devising processes can generate material whose definition is so elusive that its realisations vary wildly from night to night. But however inexpressible, devising material always has a definite meaning for the performers to which they return in every performance - seeking to generate new interactions and new connections. In every performance we search to find the ephemeral moments that might become a lasting memory. During my research, I have become increasingly interested in developing a performance practice that uses performer freedom to discover and stimulate unique experiences within performances. Although I feel I have made progress in moving towards this, I know that there is much more to explore in this practice.

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18

Fick, Jason. "Transfantasies for Flauto Traverso, Computer Music, and Dance". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271813/.

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TransFantasies is an interdisciplinary composition for Baroque flute (flauto traverso), computer music, and dance. A crucial component of the work is an interactive hardware and software environment that provides the opportunity for the players to shape aspects of the work during the performance. This essay discusses the influences that inspired the work and presents an in-depth analysis of notable elements of the composition. Primary issues include compositional models for gesture-based composition, historical performance practices, interactivity, and relationships between music and dance. The final component of the essay details the software component designed to create the composition. It also discusses music technology in current practice and its role in this particular work. At its core, TransFantasies is concerned with those moments where computer-influenced decisions and human behaviors collide.

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19

Cookney, D. "Masked : depictions of anonymity in electronic dance music". Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36101/.

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This thesis explores anonymity as an aspect of identity construction within electronic dance music (EDM). Its specific focus is on the production and control of image within genres that have arisen since the development and expansion of the club scene in the UK from the latter part of the 20th century and, then situated in visual culture and performance research, its examination of anonymity represents an area that, to date, has been overlooked in EDM. As part of this investigation, the thesis’ chapters notably analyse elements that are external to music recordings including record sleeve design and press interviews: components that are essential elements in the development and distribution of these performative identities. Following Thornton (1995), Rietveld (1998), Hesmondhalgh (1998a) and Gilbert and Pearson (1999), the research critically reviews a range of issues that are determined as associated with these representations – including the influence of technologies, a resistance to mainstream assimilation and the impact of collective ‘scene’ – while explaining some of EDM’s distinctions and hierarchies within a post-subcultural setting. To do this it uses case studies focusing on the approaches of Daft Punk, Burial, Zomby and SBTRKT: examples that are presented as unique demonstrations of image construction within the field. It also places the role of identity within a more expansive history of electronic music by aligning contemporary practice with the earlier presented image of Kraftwerk. Ultimately, and while observing this lineage of often counterintuitive practices, the thesis argues that the EDM producer’s separation from the high visibility ‘star system’ model favoured by pop and rock performers reflects commitment to a marginal status: a commitment also communicated through its visual aesthetics that reinforce an underground cultural context to celebrate the peripheral whilst, simultaneously, highlighting the EDM producer’s perceived condition as that which is inferior to his or her rock counterpart.

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20

League, Panayotis F. "Kalymnian music and dance in Tarpon Springs, Florida". Thesis, Boston University, 2012. https://hdl.handle.net/2144/12468.

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Abstract (sommario):

Thesis (M.A.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
Greek immigrants from the Dodecanese island of Kalyrnnos have dominated the social, political, and economic life of Tarpon Springs, Florida since their arrival in the first decades of the twentieth century. Remarkably unlike the typical urban immigrant experience, this dynamic has allowed the Kalyrnnian-American community of Tarpon Springs to negotiate its relationship with American society from a position of relative power, without the immediate need to compromise linguistic, social, or occupational identity for the sake of survival. The cultural and artistic traditions of Kalymnos-foremost among them music and dancing-have played a central role in the construction of Kalyrnnian-American identity in Tarpon Springs, and have enabled a creative negotiation on the community's own terms ofthe states of"hyphenated being" that characterize immigrant communities. In this thesis, I examine the ways in which Kalymnian Tarponites use embodied musical movement as a resonant bridge between competing cultural allegiances, a means of imaginative travel in search of emotional fulfillment, and a venue to perform notions of distinction and belonging. For Kalymnian residents of Tarpon Springs, the embodied music and dance traditions of Kalyrnnos function as mobile sites of tension and transcendence, are imbued with a new set of self-sufficient meanings, and serve as a passport to cross the blurry borders of transnational being.

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21

Eckardt, Allison Lenore. "Kpatsa: An Examination of a Ghanaian Dance in the United States". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214242024.

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22

Burdick, Adam David. "The influence of French Baroque dance on the cantatas of Johann Sebastian Bach /". Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11389.

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23

Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /". [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.

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24

Ubom, Enobong Isaac. "The socio-economic values of traditional music and dance in Nigerian development /". Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11301715.

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Abstract (sommario):

Thesis (Ed.D.) -- Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: William Sayres. Dissertation Committee: Maryalice Mazzara. Includes bibliographical references (p. 173-183).

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25

Merkowitz, Jennifer Bernard. "The Cardiac Dance—The Spirals of Life". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1185978849.

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Abstract (sommario):

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: Dr. Mara Helmuth. Title from electronic thesis title page (viewed Nov. 29, 2007). Includes abstract. Keywords: cardiac dance spirals electronic music composition. Includes bibliographical references.

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26

Gómez, Marín Daniel. "Similarity and style in electronic dance music drum rhythms". Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/543841.

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Abstract (sommario):

This thesis presents original research carried out in the topic of electronic dance music (EDM) drum sequencing, a fundamental and yet underdeveloped subject in the music production literature. The work undertaken is focused in two main areas: similarity between drum patterns and modeling of drumming style. The study of pattern similarity is rooted in current knowledge on human processing of monophonic rhythms, and is expanded until a model capable of predicting similarity sensations of polyphonic drum rhythms is reached. With this model, RhythmSpace, a graphical system for the continuous real-time exploration of drum pattern collections, is developed. The second area of research, drumming style modeling, is approached from a statistical perspective, developing a generative model capable of learning styles from examples and creating original drum patterns in the learned styles. This model allows high-level musical flexibility, letting a musician combine and transform styles in real-time during the generative process. Taking advantage of this model, a style-based drum machine application, DrDrums, is implemented and evaluated in subject-based experiments.
Esta tesis presenta una investigación original llevada a cabo en el área de la secuenciación de baterías de música electrónica de baile (EDM), un tema fundamental y al mismo tiempo poco desarrollado en la literatura de producción musical. El trabajo realizado se enfoca en dos áreas: la similitud entre patrones de batería y los estilos en la composición de patrones percusivos. El estudio de la similitud entre patrones se fundamenta en el conocimiento actual del procesamiento humano de patrones monofónicos, y es expandido hasta alcanzar un modelo capaz de predecir sensaciones de similitud en ritmos polifónicos. Con este modelo se ha creadoRhythmSpace, un sistema gráfico para la exploración en tiempo real de colecciones de patrones de batería. La segunda área de investigación, el estilo de composición de baterías, es abordada desde una perspectiva estadística, desarrollando un modelo generativo capaz de aprender estilos desde ejemplos y luego crear patrones originales en los estilos aprendidos. Este modelo estadístico permite una flexibilidad musical de alto nivel, haciendo posible que un músico combine y transforme estilos en tiempo real durante el proceso generativo. Usando este modelo se implementa DrDrums, una máquina de ritmos con inteligencia de estilo, que es evaluada experimentalmente con sujetos.

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27

Liu, Cuilan. "Song, Dance, and Instrumental Music in Buddhist Canon Law". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11232.

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Abstract (sommario):

Maintaining a balanced approach to music is a shared challenge in all religions. Depending on the context in which music is used in religious activities, it is either praised as a powerful medium to please the divine or condemned as a sensual allurement that hinders spiritual advancement. This study discusses the treatment of vocal and instrumental music as well as the allied category of dance in Buddhism. Specifically, it analyzes the regulations of different forms of musical activities in Buddhist canon law and their subsequent interpretation in Tibet and China.

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28

Webb, Peter M. "Global cuts : an investigation into localised dance music production". Thesis, University of the West of England, Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431158.

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29

Leijel, Rosemarie Helena. "Quadcopter formation simulated in a choreographed dance to music". Thesis, KTH, Skolan för teknikvetenskap (SCI), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210823.

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Abstract (sommario):

The purpose of this project is to simulate a dance formation for a group of quadcopters, moving in rhythm to music. Focus has lied on getting the dance to move in synchronization to the music. A description of the quadcopter and its dynamics is made. After simplifications was made, the dance was designed by controlling the velocities of the quadcopters. A song was chosen for the music and a beat detection analysis was made to calculate the number of beats per minute (BPM) of the song. The BPM was used when creating the dance formation. Velocity restrictions and the composition of the music was the governing factors of how the dance was designed. A feedback control was implemented into the dance formation. The simulation was performed in MATLAB and a video was made of the resulting dance. The idea is that the simulation can be tested on real quadcopters, additions to the project can be made for future work to implement this.

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30

Friman, Jacob, e Rosmarie Helena Leijel. "Quadcopter formation simulated in a choreographed dance to music". Thesis, KTH, Skolan för teknikvetenskap (SCI), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210824.

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Abstract (sommario):

The purpose of this project is to simulate a dance formation for a group of quadcopters, moving in rhythm to music. Focus has lied on getting the dance to move in synchronization to the music. A description of the quadcopter and its dynamics is made. After simplifications was made, the dance was designed by controlling the velocities of the quadcopters. A song was chosen for the music and a beat detection analysis was made to calculate the number of beats per minute (BPM) of the song. The BPM was used when creating the dance formation. Velocity restrictions and the composition of the music was the governing factors of how the dance was designed. A feedback control was implemented into the dance formation. The simulation was performed in MATLAB and a video was made of the resulting dance. The idea is that the simulation can be tested on real quadcopters, additions to the project can be made for future work to implement this.

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31

Hoehn, William Todd. "The ballet music of Constant Lambert : a study of collaboration in music and dance /". Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371221329.

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32

Carroll, Adrian Dominic. "Beat-mixing Rock music: Rock and electronic dance music merge to create the Manarays". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61231/13/61231.pdf.

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Abstract (sommario):

This research introduces the proposition that Electronic Dance Music’s beat-mixing function could be implemented to create immediacy in other musical genres. The inclusion of rhythmic sections at the beginning and end of each musical work created a ‘DJ friendly’ environment. The term used in this thesis to refer to the application of beat-mixing in Rock music is ‘ClubRock’. Collaboration between a number of DJs and Rock music professionals applied the process of beat-mixing to blend Rock tracks to produce a continuous ClubRock set. The DJ technique of beat-mixing Rock music transformed static renditions into a fluid creative work. The hybridisation of the two genres, EDM and Rock, resulted in a contribution to Rock music compositional approaches and the production of a unique Rock album; Manarays—Get Lucky.

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33

Grasso, Eliot John. "Melodic variation in the instrumental dance music tradition of Ireland". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11557.

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xxiii, 507 p.
This dissertation contextualizes melodic variation within a cultural, historical, and cognitive framework. This work discusses how traditional musicians learn how to vary melodies by observing norms of social and musical behavior exhibited by senior musicians. The core of this dissertation is the transcription and analysis of fifty source recordings of fifty different Irish musicians playing one tune each dating from between 1904 and 2007. Though the transcriptions of the recordings exhibited a high instance of melodic variation (48.2% of the measures), only a small percentage of variation fell on set accented tones (an average of 7.3%). The considerable invariance of set accented tones suggests that part of what constitutes the concept of a tune in an Irish musician's mind relates to the pitch of these key tones. I introduce the term aesthetic conservatism to designate a philosophical approach to performance practice that seeks to maintain both the dance genre and tune identity. I argue that aesthetic conservatism may be a by-product of archetypes and exemplars created through transcriptions and recording technology. This conservatism may also be a function of famine-induced fear of cultural dissolution or inferiority with respect to more prominent music-making supercultures. I call on the philosophy of aesthetic conservatism to explain why few set accented tones are varied. Of the measures that were varied, 74% of those variations involved the addition, subtraction, or redistribution of ornamentation. To catalogue the variety of variations within this sample, I propose a taxonomy that is designed to account for the number of notes in a measure and to assess intervallic differences over successive repetitions of a tune. Finally, I propose a theory to explain the cognitive processes that allow a musician to vary a melody. I suggest that in the mind of a traditional musician there is both a tune schema and a variation schema. These are flexible models that are distinct and separate but that interact within a short span of time because of the exceptionally efficient anatomy of a musician's brain.
Committee in charge: Anne Dhu McLucas, Chairperson; Lori Kruckenberg, Member; Stephen Rodgers, Member; Glen Waddell, Outside Member

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34

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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35

McDermott, Paul Francis. "From the dance floor to the concert hall: Creating a unique compositional voice fusing Electronic Dance Music traditions with experimental practice". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/27609.

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Abstract (sommario):

The aim of this practice-based research project is to investigate innovative techniques in the composition and presentation of electronic music that draw on the history of Electronic Dance Music (EDM) and seek to discover new modes of expressive listening experiences removed from the dance floor environment. This study will help illuminate the differing expectations of the dance floor and the concert hall as an investigation of ways to expand the creative potential of both perspectives. A review of electroacoustic and EDM music and the musicological literature will be undertaken to understand the existing schools of thought that separate these traditions. To develop an understanding of this composer’s current practice, a study of EDM and its roots will be undertaken, tracing the evolution of dance music, beginning with disco, and following it through to contemporary EDM. This discussion will situate my work within the Australian EDM scene as artist, producer, DJ/curator, and frame the wider aspirations of the creative portfolio which consists of three major works: Mesmerism, an audio album and live audio/visual dance party event; Miyagan, an electronic score for Bangarra Dance Theatre, and The Rise & Fall of St. George, an electronic music theatre work.

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36

Holmes, Douglas B. "Jn4.gesture an interactive composition for dance /". Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/holmes%5Fdouglas/index.htm.

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37

Needham-Beck, Sarah. "Cardiorespiratory fitness in contemporary dance training and performance". Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/18150/.

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Abstract (sommario):

This PhD thesis presents a thorough investigation of the relevance and importance of cardiorespiratory fitness in contemporary dance training and performance. Through an initial introduction and literature review, gaps in the current understanding of, and challenges presented by, dance training and performance practices are highlighted, as are five commonly presented conclusions of previous research. Firstly, it is often stated that dance activity predominantly consists of intermittent work periods of varying intensities, secondly that significant differences exist in the cardiorespiratory demands of class, rehearsal, and performance, thirdly that class and rehearsal intensity is insufficient to elicit an aerobic training response, fourth that the aerobic capacity of dancers is relatively low, and, lastly that high injury rates in dancers are often attributed to fatigue and overwork. However methodological limitations of previous research put into question the accuracy and validity of these statements. In order to develop understanding and overcome some of these limitations, five research studies were designed as extensions and enhancements of previous studies in this area. Three aims of the PhD were stated: 1) to investigate cardiorespiratory demands of contemporary dance performance repertoire, 2) to investigate cardiorespiratory adaptation to contemporary dance training and performance, and 3) to critically appraise methods commonly used in physiological investigation into dance and propose recommendations for future research. The main findings are that cardiorespiratory adaptation in relation to dance training and performance is highly specific and only detected through relative change in the demand of dance activity itself. Findings suggest that measures of cardiorespiratory fitness related to aerobic capacity (VO2peak) and anaerobic threshold do not change over time and are not correlated to dance performance competence. It is emphasised throughout that current methodological limitations restrict our ability to accurately document the relative cardiorespiratory demands of dance performance and change in these across a period of extended training and/or performance. The highly varied nature of contemporary dance performance is discussed throughout, including fluctuations in demand experienced by individuals, and it is emphasised that this needs to be taken into consideration in future research. Potential implications of findings from the perspective of both the researcher and the dance educator are postulated as are the contributions made to the knowledge base.

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38

Leaman, Kara Yoo. "Analyzing Music and Dance| Balanchine's Choreography to Tchaikovsky and the Choreomusical Score". Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10584953.

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George Balanchine was one of the most prolific and influential choreographers of the twentieth century. He was also a skilled musician, trained at the St. Petersburg Conservatory. His ballets have been celebrated for their musicality by prominent dancers and musicians alike. However, the concept of choreographic musicality, and the means by which it is achieved in his ballets, has remained largely elusive. This dissertation analyzes two works that Balanchine set to music by Pyotr I. Tchaikovsky: Tschaikovsky Pas de Deux (1960), set to an interpolation in Swan Lake (1877), and Theme and Variations (1947), set to the fourth movement of the Third Orchestral Suite (1884). The analyses combine perspectives from traditional music analysis, dance transcription, and digital video annotation. The methodology takes advantage of Balanchine's strong musical literacy to examine, first, the musical scores, as he did, and then his choreographies in relation to the scores. The analyses connect elements of his choreography directly to their probable sources in the music, and they show that Balanchine was guided by discernible priorities in setting dance to music: that dance and music reflect a partnership rather than dominance by one party; that dancers move with unreserved energy, reflected in steps that cross musical boundaries or anticipate musical ideas; and that dance establish a strong relationship with its music before it is free to conflict with it. Balanchine's choreomusical style encompasses many different types of relationships between music and dance, and he achieved what may be described as musical artistry by a variety of choreographic techniques. The analyses in this study offer a detailed view of important aspects of Balanchine's multifaceted choreomusical style.

To examine Balanchine's choreography, this dissertation presents a method for transcribing dance in a music-based notation system that prioritizes the representation of pitch with rhythm. It introduces a new "choreomusical notation" that maps "choreographic pitch" (or, spatial height) onto the vertical axis and "choreographic rhythm" onto the horizontal axis of a musical staff. Using this notation, visual representations of dance and music are aligned in a "choreomusical score," and analytic paradigms developed in music theory are applied to works of dance with music. Unlike most other systems of dance notation, this choreomusical notation is not intended to capture choreography in a comprehensive way; rather, it is designed to distill some of the most musically salient elements of a dance into notation for the purpose of intermedia analysis. Compared with other choreomusical analyses that use dance notations, this dissertation brings Balanchine's ballets and their musical scores into closer visual and cognitive proximity. This choreomusical notation can also be adapted to reflect musically salient aspects of other dance styles. Sample analyses showing extended applications, with excerpts from minuet, Bulgarian folk dancing, cartoon, and rave dancing, are included in the final chapter.

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39

Wahl, Robert J. "Fleeing Franco's Spain| Carlos Surinach and Leonardo Balada in the United States (1950-75)". Thesis, University of California, Riverside, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10181472.

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Abstract (sommario):

As a result of Francisco Franco overthrowing the young republican government during the Spanish Civil War (1936–39), countless citizens fled their home country in search of personal security and economic prosperity. Significantly, many of these expatriates were artists and musicians who eventually made their way to the United States, where they achieved celebrity status as dancers, singers, instrumentalists, and composers. This dissertation examines the lives and works of two such composers.

In the 1950s, Carlos Surinach (1915–97) and Leonardo Balada (b. 1933) came to the United States by way of New York City. Although both men were from Barcelona, their music and careers followed different trajectories. Surinach is often best remembered for his collaborations with choreographers of modern dance, such as Martha Graham, Doris Humphrey, Pearl Lang, and Alvin Ailey; however, his contributions to dance constitute only a portion of his creative output and were often adapted from his concert works, as choreographers found the rhythm and drama of his music appealing. Surinach’s style often exhibits a deliberate use of flamenco idioms and is examined in three of his most important flamenco-inspired works: Ritmo Jondo (1952), Sinfonietta Flamenca (1954), and Flamenco Cyclothymia (1966). This dissertation also presents new biographical details regarding Surinach’s education and conducting career in Europe, the impact of his lover Ramón Puigcerve Bel on his career, and his work in the film and television industries.

Whereas Surinach maintained a consistent style throughout his career, Balada recognized the advantages of experimenting with new techniques, which he has done with great success. This dissertation examines three of Balada’s works from his self-described second period, which began in the mid-1960s. For ten years, Balada moved away from tonality in order to explore new timbres, textures, rhythms, and avant-garde techniques that led to three of his most important works: Sinfonía en negro: Homenaje a Martin Luther King (1968), María Sabina (1969), and Steel Symphony (1972). All three pieces have been recorded and widely performed, and they mark the beginning of a decades-long career as both professor and composer.

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40

Searcy, Anne Ashby. "Soviet and American Cold War Ballet Exchange, 1959–1962". Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493533.

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Abstract (sommario):

The spring of 1959 marked the beginning of a hugely successful ballet exchange between the United States and the Soviet Union that lasted over three decades. In this dissertation, I examine the opening years of this exchange, when ballet suddenly became an important arena for political and aesthetic conflict between the world’s two superpowers. Ballet had a significant place in the cultural Cold War. Russians considered it a national art form, while Americans were proud of their young but innovative companies. Soviet and American ballet underwent surprisingly similar aesthetic shifts during the mid-twentieth-century, away from realistic narrative ballets and towards musically-focused ballets. Despite these similarities, critics and audiences often saw the touring works through their own domestic political and aesthetic lenses, interpreting them in very different light from their creators and creating a series of deep aesthetic misunderstandings. The exchange tours were enormously popular, and yet the curtain onstage could be just as iron as the one in the middle of Europe. I employ a transnational perspective, drawing on a combination of Russian and American sources to investigate both the conciliatory and the alienating effects of the exchanges. Using reception theory as a model for understanding cultural diplomacy, I show how ballet played a substantive role in developing the Soviet-American relationship, though not always for the better. In the short term, the goodwill generated by the successful tours helped normalize relations between the Soviet and American governments at a time when nuclear conflict was a real threat. However, the cultural misunderstandings raised by the ballet tours also formed part of a pattern of miscommunication and circular internal discourse that contributed to the inability of the two superpowers to resolve or mediate their opposing world views. At the same time I argue that the very misunderstandings generated by Cold War exchange continue to inform American attitudes towards ballet. Reexamining the ballets performed during the tours through the defamiliarizing process of exchange can suggest new ways of interpreting 20th-century ballet aesthetics.
Music

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41

Lombardino, Marc Rene. "Music of the imperial ballet in tsarist Russia| The collaboration of the composer and the balletmaster". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599185.

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Abstract (sommario):

Ballet music is an important genre of the canon of Western Classical Music. Composers and choreographers have collaborated on large-scale productions since the sixteenth century, but it was in the late nineteenth century that the art of ballet rose to unprecedented heights with the work of Marius Petipa. Petipa’s collaboration with specialist composers of ballet music had important consequences for the genre going into the twentieth century. As Petipa worked with these specialists, including Ludwig Minkus and Riccardo Drigo, the relationship of dance and music in ballet evolved from a hierarchical relationship (dance over music) to a more equal pairing. This evolution correlates to the changing cultural and political tides of St. Petersburg from the Great Reforms in the 1860s to the October Revolution in 1905. In the 1890s and early 1900s, Petipa collaborated with more established Russian composers, including Peter I. Tchaikovsky, Alexander K. Glazunov, and Arseny N. Koreshchenko. This project considers several ballets by these composers, analyzing various Adagio movements from these works to show how ballet composing was approached first by ballet specialists and subsequently by symphonic composers. These dances are examined within the context of the Grand Ballets they come from as well as from a cultural and historical perspective.

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42

Bond, Renee. "Reflections on the collaborative process in five contemporary works for flute and dance". Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279908.

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Abstract (sommario):

This lecture-recital document evaluates the collaborative process in five American works written for flute and dance. My perspective is that of a musician interpreting and performing music for choreography and dance. This project aims to elevate the significance of collaborative works in general, and in the flutist's repertoire specifically. The second and broader purpose of this study is to identify fundamental elements of the collaborative process. Using five works as a model, I have developed collaborative guidelines that assist musicians, dancers, and choreographers in the performance of these and other works. This study asserts that a shared vision is vital to a successful collaborative experience. An awareness of the differences between musical language and kinesthetic vocabulary is also necessary. In addition, the incorporation of theatrical parameters must be explored. Teamwork, trust, flexibility, and communication must be developed between the performers. Understanding fundamental elements of the collaborative process provides a foundation for bringing music and dance together in performance.

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43

Taylor, Bruce D. "Creative collaboration: Defining the collaborative process between a conductor, composer, and choreographer in creating and staging an original work for modern dance". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280338.

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Abstract (sommario):

This document is a record of an observed creative experience, defining the collaborative process between conductor, composer, and choreographer in creating and staging an original work for modern dance. There are three areas of focus. First, an introduction to and rationale for the project is coupled with an historical examination of the collaboration between a composer and choreographer (Igor Stravinsky and George Balanchine), and a review of the documentation on the conductors' traditional role in dance as established by the ballet conductors Robert Irving and George Crum. Second, suggested methods will be proposed for the skill level, and technique that a conductor should acquire to use as a method for gathering the talents of collaborating artists (choreographers and composers). These methods are comprised of vision, knowledge and expertise, respect and mediation. Third, a collaborative framework comprised of three sections was created, based upon an objective review of the data collected from the project so that the collaborative process between members could be effectively and efficiently studied. The three sections of this framework are (1) the artistic desires of the creative team , (2) the role of each team member, and (3) the working methodology of the creative team members. It is against this framework that the collaborative process between conductor, composer, and choreographer is defined as it relates to creating and staging a work for modern dance. In addition to highlighting the non-traditional role of the conductor as an intermediary and facilitator in directing artists in collaboration. The framework developed is demonstrated by specific examples from this project that indemnify the findings, offering a clear and concise strategy that future conductors might use as a reference and guide.

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44

Perna, Vincenzo. "Timba the sound of the Cuban crisis : Black dance music in Havana during the Período Especial /". Online version, 2001. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.270932.

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45

Farrugia, Rebekah L. "Spin-sters women, new media technologies and electronic/dance music /". Diss., University of Iowa, 2004. http://ir.uiowa.edu/etd/112.

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46

Kavanaugh, Philip R. "Solidarity and drug use in the electronic dance music scene". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.39 Mb., 70 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435827.

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47

Coleridge, Robert. "Music and dance in the twentieth century : issues and analyses". Thesis, University of Southampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427714.

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48

Kiddy, Paul. "Social dance and wellbeing : an ethnographic study of two folk social dance settings". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2052839/.

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Abstract (sommario):

Sociable folk dancing in the UK is an organised group activity in which a significant number of people take part, often practising folk styles which have their origins in other countries. These groups are generally not run for profit, operate under the radar of media attention, and consequentially their activities remain largely hidden from view. This thesis addresses the fact that there have been no in-depth studies of these groups. It reports on the findings of a detailed ethnographic research project, to offer in-sights into the practices and motivations of participants in social dance. The thesis answers the key question: ‘What is the meaning and significance of participation in these folk music and social dance styles to those taking part?’. An interdisciplinary and ethnographic research approach was adopted to investigate two such folk styles: Cajun and Zydeco, and Scandinavian. This approach allowed research participants to make a significant contribution to the focus of the research, and to inform the subsidiary questions: ‘What are the concerns and interests of those involved in social folk dance?’, ‘What is it that makes involvement in these dance practices so appealing?’, and ‘What are the overall benefits of being involved?’ The research produced an interpretive account of these practices, through investigating sites of participation in these dance styles in the UK, which were explored by means of immersive involvement in their dance practices. This gave an insight into the way in which participation was organised and managed, and allowed for introductions to be made which were followed up with thirty in-depth interviews. The study revealed that despite the stylistic differences between the two dance styles and how they are practised, both nevertheless benefitted participants in similar ways. That dance events are organised on a not-for-profit basis was particularly important to participants, and encouraged loyalty and cooperation, promoting feelings of empowerment and ownership. An atmosphere of supportive inclusion was also built in to the loose organisation of events and activities, which allowed a consensus to develop where social attitudes and ideas could be negotiated, cultivated, and shared. This created a sense of belonging to an unboundaried, and fluid community or social network, a safe environment in which participants were able to experience dance as a communicative and expressive dialogue between individuals and within the group. This thesis argues that participants found their involvement in these dance styles socially and personally satisfying, and that this made a considerable contribution to their individual wellbeing. The research found that sociable folk dancing served as a vehicle for community, improving participants’ sense of self-worth, supporting creativity, and well-being. These findings complement clinical research that champions dance, and social dance in particular, as a healthy and worthwhile leisure activity. This thesis supports the results of such scientific studies into the benefits of dance by providing supporting evidence from within a social setting. This has implications for further research, and for policy and practice, whether dance activities are pursued formally or informally and whatever their aim.

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49

Rietveld, H. C. "House music : the politics of a musical aesthetic". Thesis, Manchester Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260993.

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50

Rodhe, Agnes. "Dansens relevans i folkmusikutbildningar". Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-581.

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Abstract (sommario):

The Relevance of Dance in Folk Music Education The aim of this study was to investigate why and how dance and dance teaching can be relevant in educational programmes in folk music in Sweden. Many of these programmes include dance within them and that fact, in combination with my observation that there is an underlying cultural assumption that dance and music belong together, inspired this research. I wished to look at the function of dance within folk music programmes, and music teachers’ observations of how dance affects their students’ playing. The study has been conducted through qualitative interviews with four music teachers from different institutions, covering three themes: the purpose(s) of including dance in this kind of education, if and how they can see that the students have use for the dance knowledge in their playing, and how they look at the connection between dance and music in this genre. The result shows that there are several reasons for teaching dance as a part of educational programmes in folk music and also that the music teachers themselves use references to dance in their music teaching. These reasons can give dance pedagogues information about how some music teachers think dance is relevant and can be used in the planning of dance teaching. In conclusion, there is a discussion of how this study can be a part of understanding and developing pedagogy within the folk music genre.

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