Rozprawy doktorskie: „Folk music”

1

Tichai, Thomas. "Towards a digital folk music". Thesis, Liverpool John Moores University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505934.

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Burns, Robert, i n/a. "Transforming folk : innovation and tradition in English folk-rock music". University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.

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Zhang, Yiming. "The Underlying Folk Music in Wang Lisan's Music". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/296184.

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Music Performance
D.M.A.
A prominent yet under-researched composer, Wang Lisan contributed many significant works to the Chinese piano music repertoire. The monograph is a subjective analysis of Wang's selective works and their origins based on the author's own understanding.
Temple University--Theses

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Ogier, Jarod M. "“Foundations of Folk: The Federal Music Project, The Joint Committee on Folk Arts, and the Archive of American Folk-Song”". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354588034.

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Keegan-Phipps, Simon. "Teaching folk : the educational institutionalization of folk music in contemporary England". Thesis, University of Newcastle Upon Tyne, 2008. http://hdl.handle.net/10443/263.

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This thesis offers an ethnomusicological account of a contemporary movement toward the formalization of education in England's folk music culture. The report considers, in particular, two case studies: Folkworks and the associated degree course in folk and traditional music at Newcastle University; and the folk festival subcontractor organization, Shooting Roots. These are located first within the socio-historical context of the English folk revivals, and then within the - largely disparate - contemporary musical-cultural contexts of the North East of England, and (southern) `England' respectively. Methodologies for the research draw predominantly on ethnographic techniques of participant-observation and interview, but these are combined with the less orthodox methods of internet and media-based fieldwork to offer the widest sociocultural contextualization of the movement. The discourses surrounding these cases are analysed in terms of pedagogy, education markets and a folk music industry, whilst the musical texts with which they deal are shown simultaneously to assert and repudiate regional and national identities. The thesis also offers key examples of the influences of such institutionalization beyond the boundaries of organizations themselves. It concludes that it is possible to regard the movement as a manifestation of an individualistconsumerist culture and goes on to propose some critical theories of the movement in relation to processes such as elitism, standardization and recontextualization.

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Aldred, Sarah. "Cultural identity and Galician folk music". Thesis, University of Strathclyde, 2005. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=23489.

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Bearman, Christopher James. "English folk music movement 1898-1914". Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:5448.

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The folk music movement was an important influence on English cultural life in the years immediately before the First World War. From remote origins in the 1830s and 1840s and small beginnings in the 1880s and 1890s, it suddenly caught the public mood between 1904 and 1914 and for a brief moment it seemed as though a genuinely indigenous and unifying cultural force might have been found. This proved to be a false hope, but nevertheless the movement has survived and has a continuing place in English cultural historiography. This movement, however, has never been provided with a general history, still less one which has tried to analyse what actually happened. Instead, over the past thirty years since 1970 an interpretation has developed based on Marxist political thought and cultural theory. Coming as it does from a political position based on class conflict and hostility towards nationalism, this interpretation is profoundly antipathetic to the phenomenon it has sought to analyse and has been more concerned to condemn than to understand. It has seen folk song and dance in terms of material expropriated from the working class, misrepresented and transformed in order to reflect 'bourgeois' ideology, and then fed back to the working class via their children in the state education system. Its weakness is that it has never been able to prove these propositions. This thesis attempts to undermine the Marxist interpretation and to provide a firm foundation of research for future analysis. Chapter One is a historiographical survey of the literature showing how it has developed and exposing its lack of a research base. Chapter Two is a narrative intended to provide a connecting thread for the analytical material which follows. Chapter Three examines the folk music organisations. Chapters Four and Five challenge the central assumptions of the Marxist interpretation by showing that the material was not exclusively 'working class', that folk music collection and publication was careful and scrupulous, and that the movement never succeeded in penetrating the state education system to any significant extent before 1914.

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Ferlaino, Christian. "Confluences : folk wisdom in contemporary music". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33213.

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This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative principles, the tuning system and processes of bagpipes, and soundscapes created by animal bells. These aspects guided both the ethnomusicological enquiry and the creative exploration. They are first described and analysed in their original context: folk music was studied in the field, amid and within the tradition bearers; research was conducted from a cultural and musicological perspective within the methodological and ethical framework of ethnomusicology. The data emerging from the ethnomusicological investigations informed the creative enquiry carried out through practice-led research. The outcomes of my investigation into Calabrian music became the core principles of my compositions of contemporary music. Generative principles were explored from the perspectives of both composition and improvisation They informed primarily a series of pieces for saxophone solo and a composition for chamber ensemble. The tuning system and processes of Calabrian bagpipes were investigated in compositions centred on pitch and extended harmonic spaces. They informed two compositions for string quartet and a piece for saxophone quartet. Soundscapes informed the composition of a piece of spatial music for goat bells that adopts indeterminacy methods for structuring the performance. The creative work, attached to this thesis as a portfolio of compositions, is analysed through self-reflective methods and in relation to the work of other contemporary music practitioners. My enquiry of the folk sources contributes to the field of ethnomusicology with new insight into Calabrian music. The creative processes and the techniques developed throughout this research also have implications for the broader field of contemporary music, as they offer a perspective on new ways of engaging creatively with folk materials.

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Gillan, Matthew Alexander. "Multiple identities in Yaeyaman folk music". Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573492.

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This thesis investigates the importance of local identity in the performance and transmission of traditional music in the Yaeyama archipelago, Okinawa prefecture, Japan. Several local repertories are considered, and the thesis examines their connection to different cultural and political units: individual villages, individual islands, Yaeyama as a region, Yaeyama as a part of Okinawa prefecture, Japan and the world. Chapter one introduces the issue of identity and regionalism in music and the concept of 'multiple identities' with specific reference to the case of Yaeyama. The use of the concept of 'tradition' is also examined, with reference to both Western and local cultural theories. Chapter two introduces historical and cultural aspects of the region in more detail, and gives an overview of Yaeyaman music, and a review of previous studies on this subject. Chapters three to six examine four different traditional music genres, examining historical elements of their formation, current cultural attitudes affecting their teaching and performance, and aspects of the music itself: chapter three deals with the kayo work song repertory with particular reference to local variant forms; chapter four looks at the fushiuta repertory and the move towards a pan-Yaeyaman singing style; chapter five outlines the role of village festivals in the preservation of local ritual repertories; chapter six examines one song, Tubarama, in depth, with reference to issues of preservation. Chapter seven describes the use of traditional musical elements and local identity in the context of Yaeyaman popular music styles which have blossomed since the early 1990s, and have found an audience both throughout Okinawa prefecture and mainland Japan. This musical genre is examined with reference to the commonly held image of Okinawa as a fundamental part of Japan, while also providing a link to both Asia and the rest of the world.

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Marjenin, Peter A. "The Metal Folk: The Impact of Music and Culture on Folk Metal and the Music of Korpiklaani". Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1412632625.

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Chamberlin, Phillip Mark. "Folk Wiki : the shared traditions of folk music and the Wiki way". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001822.

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Olson, Ted. "The Folk Box: A Forgotten, Yet Unforgettable Album from The Folk Era". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1213.

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In December 1999, a website popular among music fans, mudcat.org, featured a thread that encouraged speculation about “The Essential Folk Recordings.” Thread participants—including prominent promoters of folk music—agreed upon the lasting importance of three collections: Harry Smith’s Anthology of American Folk Music, Alan Lomax’s field recordings, and Ralph Peer’s 1927 Bristol Sessions. Also mentioned by some participants were a few recent compilations, as well as certain albums from major folk and blues musicians. Many participants lamented the dearth of reissued folk music on compact disc from the back-catalog of Elektra Records, a company renowned for its contributions to the genre during the urban folk music revival. And one Elektra release, The Folk Box, received particular praise from a number of people fortunate enough to have heard it.

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Nyce, Zachary David Robert. "Heartening Folk: Frederic Rzewski's North American Ballads as an Extension of Folk Culture". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558449012996443.

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Lopez, Edwin Gerardo Aybar. "American Folk Traditions in Piano Concert Music". Diss., North Dakota State University, 2013. https://hdl.handle.net/10365/27102.

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This paper describes concert music for the piano that is heavily influenced by or entirely based on folk music traditions from the Americas. First, the term folk music and problems arising from its use are explained. The three main groups of people from which most of the folk music of the Americas originated are also briefly described. The main music covered will be by the composers Samuel Barber (United States), Juan Morel Campos (Puerto Rico), Heitor Villa-Lobos (Brazil), and Louis Moreau Gottschalk (United States). Each composer is represented by one or two pieces. Each piece is analyzed in terms of form and the folk tradition that influenced it. The histories and characteristics of blues, boogie-woogie, cowboy ballads, plena, and banjo music are all considered and related to the pieces discussed.

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Genet, Coline. "Dialogues between a violin and a body : How to be a dancing musician on stage ?" Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4217.

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The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.

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Ijas, Kaapo. "Finding the inner fiddler : Folk music influences in Sibelius’ 7th Symphony". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2489.

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McHenry, Patrick J. "With music strong I come : Whitman's cultural influence through folk music". Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/287.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
English Literature

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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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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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Kirilov, Kalin. "Harmony in Bulgarian music /". Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2007. http://hdl.handle.net/1794/6275.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Accompanied by 3 compact discs with preliminary examples and village music, Bulgarian wedding music, and choral and instrumental obrabotki. Includes bibliographical references (leaves 527-529) and discography (leaves 529-531). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

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Rouse, Marilyn Ann. "Jamaican folk music : a synthesis of many cultures?" Thesis, Kingston University, 1992. http://eprints.kingston.ac.uk/20565/.

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The aim of this dissertation was that by detailed study and critical analysis an assessment of the elements that constitute the Jamaican ethnic style could be made, enabling the execution of a comparative study with the music of Western Europe and West Africa. From the results of these studies an appraisal of the acculturation process as it has affected the development of Jamaican folk music was possible. A collection of a large number of musical examples both in print and on field recordings was made. These were classified according to usage, into the categories of play, work and religion. A detailed musical analysis of the rhythm, melody and form of the collected music was undertaken. From this the main characteristics of the music contained within each category were formulated enabling the aforementioned comparative studies to be undertaken. Several previously accepted prognoses have been disagreed with as the result of the study of a large number of examples. Previous studies of Jamaican folk music have been limited to individual genres, with conclusions being based on small samples. No comparison of the music in the categories of play, work, and religion, or comparative study with the musics of the races which inhabited Jamaica, has previously been undertaken owing to there being no detailed analytical study covering the entire range of music.

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Nunn, Erich Thomas. "Country music and the souls of white folk". [Gainesville, Fla.] : University of Florida, 2002. http://purl.fcla.edu/fcla/etd/UFE1000149.

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McLaughlin, Sean Robert. "Locating authenticities : a study of the ideological construction of professionalised folk music in Scotland". Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7947.

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In the last forty years, there has been a steady increase in research on Scottish traditions of music and song. Growing from its roots in ‘collection’, the field (in Scotland) has been dominated by rather limiting methodological approaches. The study of Scottish folk music has seriously neglected post-‐1960s cultural practices and the influences of hybridisation, professionalisation and commercialisation. These and related areas of the field are largely uncharted in departments of Music and Scottish Studies. One result, stemming from this problem, is a continuing confusion in the use of descriptive and ideological terms. ‘Folk music’ is the most widely used concept and its problematic and elusive meaning, its function for and understanding by industry professionals, is the focal point of this thesis. The aims of this thesis are to position current understandings of ‘folk’ as a term and a practice in the wider social and historical contexts of British folk music and to investigate the ways in which the discursive history of folk music informs contemporary cultural practices. My objective was to uncover, in particular, what, according to today’s performers and other industry participants, gives Scottish folk music its contemporary meaning. My thesis is designed to shed new light on the ideological and aesthetic constructions of folk music in Scotland.

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Encarnacao, John. "Punk aesthetics in independent "new folk", 1990-2008". Electronic version, 2009. http://hdl.handle.net/2100/981.

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Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.

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Ng, Chun-Hoi Daniel School of Music &amp Music Education UNSW. "The impact of exposure to Chaozhou Xianshi music on pre-service teachers??? development as music educators". Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/24249.

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Recent music educational reforms in Hong Kong stress the need to cultivate students??? understanding toward Chinese music. However, research indicates that Hong Kong music teachers lack sufficient confidence and valuing to teach Chinese music. Based on this background, the purpose of this study was to address the need to train teachers with the confidence and skills to teach Chinese music. An indigenous genre, Chaozhou xianshi music was introduced as a focus of study because the genre is considered to be a useful mediator for teachers and their students to understand and appreciate Chinese music. The study comprised two inter-related parts. Part I included fieldwork in xianshi music, semi-structured interviews with xianshi musicians and literature review that investigated the theory, teaching and learning of xianshi and Chinese music. Based on the findings of Part I, Part II involved a Pilot and Main Study that were designed to trial a pre-service teacher education programme at the Hong Kong Institute of Education that would prepare trainees to undertake the teaching of xianshi and Chinese music. A xianshi music ensemble was formed to expose the trainees to practical experiences of the genre. During their final teaching practice session, the trainees were asked to design and teach xianshi and Chinese music in schools. Qualitative data were collected from interviews and an analysis of video-recordings of their teaching. Findings revealed that a sequenced exposure in xianshi music was advantageous for the trainees to develop their potential and competence to teach Chinese music, as was evident in these trainees??? teaching approaches and implementation. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study. Importantly, music teachers should demonstrate their role as transmitters of musical heritage and be capable to design and implement effective lessons, to involve their students to practical experiences in traditional Chinese music, and to develop their students intellectually and artistically so that they become informed consumers of their own and other musical traditions. In the long run, these approaches may help to increase the valuing of Chinese music and culture among students and citizens in the society more generally.

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Palmer-Quay, Dianne M. "Developing indigenous hymnody an annotated bibliography for cross-cultural workers /". Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Lorenz, Stephen Fox. "Cosmopolitan Folk| The Cultural Politics of the North American Folk Music Revival in Washington, D.C". Thesis, The George Washington University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3615789.

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This dissertation looks at the popular American folksong revival in the Washington, D.C., metropolitan region during the Cold War and Civil Rights era. Examination of folk revival scholarship, local media reports and cultural geography, and the collected interviews and oral histories of Washington area participants, reveals the folk and blues revival was a mass mediated phenomenon with contentious factions. The D.C. revival shows how restorative cultural projects and issues of authenticity are central to modernity, and how the function of folksong transformed from the populist, labor oriented Old Left to the personalized politics of the New Left. This study also significantly disrupts often romantic scholarship and political narratives about the folk revival and redirects the intellectual attention on New York, Chicago, and San Francisco towards the nation's capital as an overlooked site of cultural production. Washington's "folk world" of music clubs, coffeehouses, record collectors, disc jockeys, performers, folklorists, and folk music aficionados drove folk music studies towards context and cultural democracy, but the local insistence on apolitical, traditional, and rural forms of folksong as the most genuine reinscribed racial and class hierarchies even as they enhanced Washington's status. Washington, D.C., shifted the loose folk revival "movement" into permanent cultural institutions and organizations, and the city gained a cosmopolitan reputation for authentic folk music that intermingled with its regional culture and identity as the nation's capital and site of public protest.

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Midgren, Sven. "Folk as Art : my development as an artist". Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1501.

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The present paper discusses the two concepts 'music as art' and 'music as function', put in a historical context but also based on my own experiences and development throughout the Nordic Master in Folk Music. Special regard is given to how my changing relationship to these two concepts have affected my own development. The paper also describes several different methods for artistic development as well as some ideas about what (folk) music can be and how we can think about it.

Bilaga: 1 DVD

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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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Chanunkha, Robert Amos Bauleni James. "Music education in Malawi the crisis and the way forward /". Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-09262005-084834/.

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Mahony, Marinela. "An investigation of the polyphonic folk music of Albania". Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/27337.

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Geographically Albania is divided into two main regions: northern Ghegeria and southern Toskeria. The southern part (Toskeria) consists of two sub-regions, Toske and Laberia. These share many commonalities yet the musical styles of each are distinctly different. The Shkumbini River serves as a boundary between the two main regions, as well as a cultural divide distinguishing the varying musical performances and styles. Monodic music is practiced mainly in the north whilst polyphonic music is most commonly performed in the south. These two diverse systems impact on the folk songs of the two regions making them sound significantly different. In addition, different folk instruments are used in both regions. The instrumental and vocal monodic music of the north (Ghegeria) is based on the modal system, with Dorian, Aeolian, Mixolydian, Phrygian, Lydian, Ionian and Hypolydian modes being used. The songs of the north typically portray important historical events or heroic deeds, while the southern songs are not as nationalistic and cover various social themes. They are in general a lot softer and more melodic in character. The folk music of the south (Toskeria) is based on the pentatonic scale, with significant differences which are noticed within the two sub-regions (Toske and Laberia). The vocal music of the south consists of two, three or four vocal parts singing a capella, although sometimes instrumental accompaniment is added. The polyphonic music of the sub-region of Toske is characterized by imitative elements utilized in both the melodies and rhythms of the songs, providing a sense of thematic unity, whereas in Laberia contrasting elements are more dominant throughout the songs. Despite these differences, iso (or drone) is performed similarly in both sub-regions, and is another important element in the polyphonic music of the south. A notable form of instrumental polyphonic music of Toskeria is that of Kaba, performed by Saze folk ensembles. What distinguishes Albanian polyphonic folk music from its counterparts in other areas of the world is that it has not only survived but is flourishing in modern times. Unlike many other cultures that have excluded polyphonic music from mainstream society, Albanian polyphonic music is known by most Albanians and is well practiced and enjoyed by all age groups, and rural as well as urban Albanians, regardless of their degree of formal musical training
Dissertation (MMus)--University of Pretoria, 2011.
Music
unrestricted

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Gurczak, Adam Stanley, i Adam Stanley Gurczak. "An Anthropological Perspective on Eastern and Western Folk Music". Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625002.

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As a performing artist, I felt that the study of world music was incomplete without an active understanding of the music through first-hand performance. As such, this paper was accompanied by a recital in which I, as a double-bassist, performed works from around the globe. In parallel to this thesis, the pieces originated from Argentina, Korea, and China—as well as others—while also including an original composition that incorporated influences of modern American bluegrass with contemporary classical music. The study of and preparation of these works consisted of research and practice of regional stylistic characteristics and their application to double bass performance.

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Brocken, Michael. "The British folk revival : an analysis of folk/popular dichotomies from a popular music studies perspective". Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266140.

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Murphy, Judith A. "Folk on Tyne : Tyneside culture and the second folk revival, 1950-1975". Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/1731/.

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This thesis explores the nature of the second folk revival in the North East of England. While there have been several major studies of the various national folk revivals during the 1950s, '60s and '70s, there is a paucity of scholarly accounts viewed through a regional lens. This study therefore builds on a common perception of North Eastern regional particularity to establish the ways in which the folk revival as experienced by its members within the region was distinct from that detailed in the literature on the wider (inter-)national folk scene. Using comparative examples drawn from the regional and international folk movements, the thesis contextualizes and differentiates the general trends within the second revival as a whole and its North Eastern manifestation. There are some evident discrepancies relating, for example, to levels of political involvement in the respective folk scenes but also broad similarities in chronological developments. These trends are explored through a number of themes, beginning with the weaving of a constructed regional folk-cultural identity out of a diversity of ethnic, local and occupational strands. Secondly, the common assumption that the North East is a region with a rare continuity of traditions is interrogated, alongside an acknowledgement that this was a time of rapid social change, mobility and dislocation from older cultural practices. The basic dichotomy of 'mediator' and `mediated' is questioned and found wanting, particularly in a region where young revivalists were rarely far — temporally, geographically or socially - from the source of their tradition. The ways in which the media represented and altered folk traditions, and how these representations were used to build regional consciousness is considered, as are the 1960s developments in heritage and tourism which saw vernacular culture taking on a much greater significance in the region's economy. Further, celebratory imagery is shown to have a long history in musical representations of the region, but with a contemporary focus on stoicism in the face of decline. Finally, the reasons behind the folklorists' imperative to locate the `authentic' are sought in relative degrees of alienation from contemporary society, resulting in a dissolution of the barriers between 'genuine' and 'invented' tradition.

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Poe, Preston. "American folk". [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000590.

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Fält, Anna. "How To Sell A Product : Solo Folk Singing, Personal Branding and Spiritual Journey". Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2431.

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In this thesis I ́m trying to to find out whether we need to make our art into a product and I am using myself and my career as an example of a product. I wanted to use the word “product” in a positive way and inspire people to think about music management and personal branding as something they could use as a tool when working with something creative. I ́m writing about my own journey as a folk musician and solo artist and wish to turn something personal into something common and shared. ! I approached my research question “How much of a product would you have to be in order to be a successful artist at the Nordic folk music scene?” from three angels. Firstly, I ́ve gathered information that I have from my years as a freelance musician. Secondly, I interviewed a few professionals, and finally I read a lot of material and wrote about the basics of music business and working life of a folk musician in the Nordic countries. My theory is that we ́re all selling a product when selling our music and playing for money, that is why we need to know this product, love and respect it and have a need to share it. I believe that finding your artistic me is a spiritual journey and when you start searching for your “core” you ́ll become a better musician since you ́re getting better in recognising and handling your own emotions. I ́m trying to diminish the polarisation between music business and being a genuine artist. I believe that knowing your core gives you power to work better in the field which is continually changing and demands a lot. This spiritual journey into yourself is also an artistic journey and I see personal branding as a fun and inspirational tool for anyone who wants to get to know oneself and build a personal brand which is true, likeable and also selling.

Master konsert: ILMOI; medverkande Anna Fält, Joonas Ojajärvi, Jenni Venäläinen

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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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Smith, Kristen Lia. "THE INFLUENCE OF FOLK AND POPULAR MUSIC ON TWENTIETH-CENTURY FLUTE MUSIC OF BRAZIL". University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin976030455.

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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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Henderson, David Randolph. "Collected voices : echoes of harmony and discontent in the music of the Kathmandu Valley /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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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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Aiken, Katie J. "Navigating hybrid identities performing "Irishness" in an urban soundscape /". Diss., Access online, 2008.

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Haymans, Brian. "STEVE BLACKWELL: A FLORIDA FOLK MUSICIAN". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3514.

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This study investigates the life of Steve Blackwell (1947-2006), a Florida folk singer/songwriter from Punta Gorda, FL, located where the Peace River meets the Gulf of Mexico. The study examines his biographical history, his performance career, musical output, and the impact he and his music had on the surrounding community. The first part of the study documents BlackwellÂ s history and the major events that shaped his life while, at the same time, describing what kind of person Steve Blackwell was. The second part of the study examines BlackwellÂ s career as a musical performer, the bands he played with, how those bands came to be or changed over time, what types of music they performed, and any albums he recorded. The third part of the paper looks at Blackwell as a songwriter. How Blackwell decided on his lyrical topics, his musical style, and compositional process are discussed. The final part of the study examines the impact of Blackwell and his music. Consideration is given to Steve BlackwellÂ s closest social networks, as well as to the social implications he, his music, and his networking had on his local community. Research for this study was done through immersion mixed with a close study of Steve Blackwell's personal documents. A number of personal interviews and correspondences were conducted with Steve BlackwellÂ s family, friends, former band members, and a number of other unrelated patrons. Primary sources for this study include a number of BlackwellÂ s own documents, such as his letters, journal entries, sketches, working copies of songs, and recording sessions, etc., which were made available with the gracious permission of the Blackwell family. Few secondary sources were found, save for a few magazine and newspaper articles. After these materials were gathered, a portrait of Steve Blackwell emerged. Evidence was found that supports the idea that Steve Blackwell's music was not stylistically unique, although competently made and enjoyed by a wide audience. Nevertheless, he was special for the community by what he was able to accomplish through his music and extroverted personality. This is not a definitive summation of Steve BlackwellÂ s life, but rather a starting point for any further research on Blackwell or any research in the significance of local musicians for social communities.
M.A.
Department of Music
Arts and Humanities
Music MA

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44

Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.

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Ferrari-Nunes, Rodrigo. "SPREE : Shetland's epistemological tradition of music making". Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230026.

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This thesis engages with the social worlds of Shetlanders through active personal participation in the local music scene. I explore how locals articulate personal and social perspectives on the distinctiveness of Shetland's music scene by reflecting on their own social experiences. The spree is explored ethnographically as the key local practice that manifests the principles of an epistemological tradition – a way of knowing and being that is shared across multiple generations. I explore the evidence for existing interconnected epistemological principles, including horizontality (supporting people of all ages, genders, socioeconomic classes, cultural backgrounds and musical skill level), interpersonal and intergenerational knowledge, resourcefulness and nuance of character appreciation. Individuals know, describe and manifest these principles in their own characteristic, personal and changing ways. The appreciation of individual idiosyncrasies, life stories and skills in Shetland is not necessarily aligned with a model of competitive individualism of neoliberal capitalism, but with a local principle of equality and horizontality, founded on spree practices. Based on open principles, this epistemological tradition supports engagement with past, current and novel forms of musical expression, remaining open to outside influences. As a fluid, living form, understanding it requires a leap beyond static models of tradition that seek the preservation of idealised authentic forms, canonical-aesthetic orthodoxies, and social boundaries. The spree remains stable and resilient as a principled way of being, providing a model for interactions with locals and outsiders, and affording the growth of a closely-knit social support network.

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Lombardi, David. "Communication and Creative Process Between Musicians From Different Cultures : A report of travels, experiences, exchanges and encounters". Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4221.

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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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Shagidullina, Adelya. "TATAR FOLK MUSIC AND ITS INFLUENCE ON THE FIRST NATIONAL BALLET". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/581968.

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Music Performance
D.M.A.
The purpose of this monograph is to introduce Tatar national music to the Western world by focusing on the influence of Tatar folklore on the first national ballet, quite possibly the most beloved and popular musical work of Tatars to this day. The monograph will include a brief discussion of the history of Tatars, as well as historical background of Tatar folk music and its importance to the development of concert music in Tatarstan. An analysis of characteristic elements of the folk music of Tatars and their influences on the music of the first Tatar national ballet will also be discussed. In my study, I rely on available sources, including books, articles, reviews, dissertations, recordings, and musical scores. I hope my monograph will help to promote Tatar national music and spark the interest of English-speaking scholars and musicians.
Temple University--Theses

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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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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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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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