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1
Yang, Yang. "The challenges inherent in promoting traditional folk song performance and pedagogy in Chinese higher education : a case study of Hua'er." Thesis, Institute of Education (University of London), 2011. http://eprints.ioe.ac.uk/7504/.
Повний текст джерелаАнотація:
The focus of this doctoral research is on understanding the challenges inherent in bringing authentic' folk singing into mainstream higher education music curricula in China. The research fieldwork adopted a multi-methods approach in three stages, with experienced folk musicians, music tutors and undergraduate students in local higher education colleges in Gansu, China. The initial observation was on identifying and quantifying distinctive musical features of videoed, case study folk song performances within the oral culture and to note their social context within this particular region of China. The chosen music was Hua'er, which is a musical art form that was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2009 by the Educational, Scientific and Cultural Organization, United Nations (UNESCO). Quantitative data from eighteen, field-based authentic folk song recordings from five contemporary folk practitioners were subjected to psychoacoustic analyses in order to search for common performance features. Subsequent qualitative analyses embraced interview and observational data from two follow-up interviews of the recorded case study performers. In the final fieldwork phase, teaching and learning approaches were observed in higher education based lessons by a folk song master and a music tutor with one music student in a college. Implications are drawn for the enrichment of music education in Chinese universities, which is dominated by non-indigenous musics at present, by providing research-based insights into indigenous folk song and performance as well as suggestions for related successful pedagogical strategies.
2
Hwang, Mirae. "The Blue Bird." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522319891865069.
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3
Nemapate, Mmbulaheni Alfred. "The structure and meaning in Tshivenda traditional songs." Thesis, University of the North, 1999. http://hdl.handle.net/10386/2152.
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4
Kim, Young-Youn. "Traditional Korean children's songs : collection, analysis, and application /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11288.
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5
Schimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.
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6
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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7
Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Повний текст джерелаАнотація:
Thesis (D.M.A.)--UCLA, 2008.Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).
8
Maliangkay, Roald Heber. "Handling the intangible : the protection of folk song traditions in Korea." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392108.
Повний текст джерелаАнотація:
This thesis is a study of how the South Korean government has tried to protect folksong traditions by designating them as Chungyo mUhyong munhwajae (Important Intangible Cultural Properties), a category of national treasures, and by regulating the transmission of these through the appointment of poyuja ("holders"). In 1962, the South Korean government promulgated the Munhwajae pohopop (Law for the Protection of Cultural Properties) on the basis of which a system was set up to protect and promote both so-called "tangible" (yuhyong) and "intangible" (muhyong) cultural properties. The law stipulated that in order to regulate the decision-making process, a committee was to be formed out of specialists of different fields of study, the Munhwajae wiwonhoe (Cultural Properties Committee; hereafter CPC). The CPC subsequently sent its members all over the country to survey and write reports on cultural items, and on the basis of these reports, it could decide to appoint cultural items as national treasures. In this thesis, I show how the system was set up, how the protection of these Intangible Cultural Properties is managed, and what factors have affected the decision-making process. Chapter 1 examines the state of folk arts in Korea after the Pacific War, and the social conditions at the time of the enactment of the Law. It also briefly looks into what its impact has been to date. I define the system's theoretical scope and highlight its limiting factors. Chapter 2 discusses the terminology for Korean folksongs and describes the songs' general characteristics. In chapter 3, I give a historical account of the protection of Korean cultural properties by law. I also examine the current law's main stipulations and explain how the system is institutionalised. Chapter 4 studies the government reports on which the appointments of intangible cultural properties are based and discusses their flaws. Besides the legal criteria, and those generally agreed upon by the CPC members, it looks into what other criteria may affect the appointment of folksong genres. Chapter 5 focuses on the appointed folksong genres, and their "holders," from the province surrounding the capital Seoul, the Kyonggi minyo (Folksongs from Kyonggi Province) and Sonsori sant'aryong (Standing Mountain Songs) respectively. Chapter 6 studies the appointed folksong genre from the now North Korean Hwanghae and P'yongan provinces, the Sodo sori (Folksongs from the Northwestern Provinces), as well as the "one-man opera" Paebaengi kut (Ritual for Paebaengi). Chapter 7 briefly considers the remaining four appointed folksong genres from other provinces in South Korea and highlights the main issues regarding their transmission. In the final chapter, I conclude that although the system has been successful in promoting many traditions, it has so far failed to fully preserve the appointed folksong traditions.
9
Davey, Mervyn Rex. ""As is the manner and the custom" : folk tradition amd identity in Cornwall." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3377.
Повний текст джерелаАнотація:
The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an important place in contemporary Cornish studies. This study examines the evolution of folk tradition in Cornwall from the early nineteenth century through to the present day, the meanings ascribed to it and the relationship with Cornish identity. The subject matter is at once arcane and commonplace, for some it is full of mystery and symbolism for others it is just “party time”. It is about what people do and what they think about what they do in relation to the wide spectrum of activities associated with traditional music and dance. These activities range from informal singing sessions and barn dances to ritual customs that mark the turning of the year. In order to establish a research methodology this study draws upon the paradigms of memory, oral history and discursivity. These paradigms provide a range of insights into, and alternative views of, both folk tradition and identity. Action research provides a useful enquiry tool as it binds these elements together and offers a working ethos for this study. Using this model a complex and dynamic process is unveiled within folk tradition that offers a quite different perspective on its relationship with identity and brings into question popular stereotypes.
10
Favero, Ebel Armelle. "Bernard Lallement, diplomate et musicien : les chorales franco-allemandes et le traité de l'Élysée." Thesis, Littoral, 2022. https://documents.univ-littoral.fr/access/content/group/50b76a52-4e4b-4ade-a198-f84bc4e1bc3c/BULCO/Th%C3%A8ses/HLLI/119725_FAVERO_2022_archivage.pdf.
Повний текст джерелаАнотація:
Bernard Lallement, chef de choeur et diplomate français, passe toute sa carrière professionnelle au service du ministère des Affaires étrangères. Nommé en 1965 à Berlin dans le climat de la guerre froide et la dynamique du traité de l'Élysée signée deux années plus tôt, par Charles de Gaulle et Konrad Adenauer, il use de sa qualité de diplomate pour développer la coopération entre Allemands et Français autour du chant choral. En l'espace de quinze ans, il crée les quatre premières chorales franco-allemandes (CFAs) dans les villes où il exerce ses fonctions : Berlin, Munich, Paris et Bonn. En 1982, il fonde la Fédération des CFAs qui compte aujourd'hui dix chorales en Allemagne et sept en France. Sa ténacité fait de lui un des maillons incontournables de la société civile engagée dans les relations amicales et humaines. Convaincu, tout comme les signataires du traité, que la réconciliation et la coopération passent par la jeunesse, il occupe de 1979 à 1983 le poste de secrétaire général adjoint de l'Office Franco-Allemand pour la Jeunesse (OFAJ). La musique jalonne le parcours professionnel de Bernard Lallement, que compositions et direction accompagnent. Musique et Politique se croisent lors des concerts franco-allemands commémoratifs. Et depuis la signature du traité en 1963 jusqu'à sa plus récente actualisation à Aix-la Chapelle en 2019, le diplomate musicien oeuvre à la coopération, à l'approfondissement des relations et à l'intégration des peuples français, allemands et européens. Si l'OFAJ est une référence pour la jeunesse d'autres pays, le chant choral est devenu quant à lui, et grâce à Bernard Lallement, le vecteur d'une amitié franco-allemande durable dont les CFAs sont les ambassadricesBernard Lallement, French choir director and diplomat, spent his entire professional career in the service of the Ministry of Foreign Affairs. He was the first posted to Berlin in 1965 at the time of the Cold War. In the framework of the Élysée Treaty signed two years earlier by Charles de Gaulle and Konrad Adenauer, he used his diplomatic skills to develop cooperation between the Germans and the French around choral singing. In fifteen years, he created the first four Franco-German choirs (CFAs) in the cities where he was in office : Berlin, Munich, Paris and Bonn. In 1982, he founded the Federation of CFAs, which includes today ten choirs in Germany and seven choirs in France. His tenacity has made him a key player in civil society engaged in cultural and human relations. Bernard Lallement has always been convinced, together with the signatories of the treaty that young people have a major to play in reconciliation and cooperation. He worked as Deputy Secretary General of the Franco-German Youth Office (OFAJ) from 1979 to 1983. Alongside his professional career, music has been an integral part of his life, both with his composing and direction of choirs. Music and Politics come together on the occasion of the Franco-German commemorative concerts. From the singing of the Treaty in 1963 until its most recent update in Aachen in 2019, the musician diplomat has promoted the cooperation and the deepening of integration between French, German and wider European citizens. OFAJ has become the reference for the youth of other countries. Thanks to Bernard Lallement, the choirshave become the best ambassadors from promoting lasting franco-german relationships
11
Cheung, Kwok-hung Stephen, and 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.
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12
Gibbs, Levi Samuel. "Song King: Tradition, Social Change, and the Contemporary Art of a Northern Shaanxi Folksinger." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371429829.
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13
Mphaphuli, Murembiwa Julia. "Tsenguluso ya kubveledzele kwa ndeme ya nyimbo dza sialala dza Vhavenda." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1240.
Повний текст джерелаАнотація:
Thesis (MA. (African Languages)) --University of Limpopo, 2013Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.
14
Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.
Повний текст джерелаАнотація:
The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
15
Lynch-Thomason, Sara. "“I’ve Always Identified with the Women:” How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3488.
Повний текст джерелаАнотація:
This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. This inquiry is pursued through a feminist analysis of interviews with six women ballad singers from Madison County, North Carolina. In evaluating the women’s choices of ballads and their commentary on the songs, this thesis draws upon narratological theories as well as concepts from Appalachian traditional music studies.
This study finds that women’s repertoire preferences reveal contemporary female concerns for physical safety and political agency. The singers also extract hidden transcripts from ballad texts and use ballads to educate audiences about women’s historic oppression. However, some singers find other factors, such as a song’s tune, or its significance as a part of regional heritage, to be more significant than the narrative content of the songs. This work affirms the contemporary influences of gendered concerns in ballad singing communities.
16
Wu, Si-Yao, and 吳思瑤. "The affection of” Zhudong traditional Hakka folk song competition”to the development of traditional Hakka folk songs in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/q4ak63.
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17
Coulter, William David. "Traditional Irish folk music, the Ó Domhnaill family, and contemporary song accompaniments." Diss., 1994. http://catalog.hathitrust.org/api/volumes/oclc/31274086.html.
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18
彭月媛. "Interpretation and analysis of《Rainy Day》, 《Ta-Pu tunes》, 《First Month Song》, 《Half-Mountain Folk Song》,《If You Ask Me I Will Song》 and dissertation on the image of traditional Hakka women as seen through Hakka Folk songs." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/14454769606518668082.
Повний текст джерелаАнотація:
碩士臺北市立教育大學
音樂藝術研究所
95
The term, folk songs, are commonly believed by the scholars are from the Essay of Bamboo-stem in Tang Dynasty as the origin of folk songs. An example is being alone on a boat without a choice in the sunset, hearing the bamboo-stem in mountains by Lee Yi. Because of such an origin, the main form of the folk songs is seven characters in four sentences with characteristics of seven characters in a sentence and four sentences luo ban with clear distinction between level and oblique tones. Singers sing randomly with dialects and common sayings in plain local flavor. Hakka folk songs minors have their unique specialty in traditional performance art and social culture. Traditional Hakka people lived close to mountains after immigrating to Taiwan. They have been engaged in agriculture and lived by the mountains when cultivating the mountains or the lands. Folk songs are from countryside and mountains. They are the music created by early Hakka people in cultivation or during the free time. We can see their description of life and praise of love with happiness, anger, sadness and delight in the folk songs. Loud, sonorous and resonant voices are important in singing folk songs to express the primitive and unrestrained feelings. Singers also focus on the charm of acoustic cavity to match the quality of the language. Folk songs of Hakka people used to merely monotonous cheer or sigh. Later on, they entertained themselves with the songs in tealeaves picking, load carrying and cultivation. Sometimes they encouraged one another when they had physical labor in mountains in greeting melodies. To call their friends or attract the other genders, they sang love songs. Or they would talk to their friends in mountains loudly. The simple rhythmic melodies turned to be complete songs and then gradually the folk songs we have now. Vocal solo and antiphonal singing are the most common in folk songs. The former expresses the moods while the latter is originated from outdoor life. In the wide open fields in mountains, cultivation, transplanting rice seedlings, weeding, and rice cutting, when they saw people working in the fields, Hakka people greeted them in loud songs. They responded in songs, too. From asking names, they chatted or persuaded, scolded or flirted. They sang as having dialogues. There have been nine tones and eighteen accents. The tones refer to a certain vocal music system developed from a particular language with the purpose to perform in dramas. The musical tones origin can be divided into folk songs tones and tealeaves picking tones. Ballads spread everywhere were also used in drama music. Moreover, when singing, performers use a lot of function words as for tone and rhyme transfer in addition to the lyrics on the script. There is no particular norm on this and performers can exert their characteristics. In Hakka community, status of women had been affected by men and the traditional environment. Women have been regarded as subordinates to families and children. Thanks to the diversification of the society and higher education, women are freed from the traditional stereotype. However, besides taking care of the household chores, they need to adapt themselves to the role of career women. As a Hakka woman, I have always experienced the feelings, life, enthusiasm and hope of Hakka women through folk songs. This is very touching. Therefore, the researcher would like to have further analysis on representative Hakka songs, Sky of Falling Water, Dapu Tone, Full Moon Pai, Terrace Song, I Sing upon Your Request, etc to explore the image of traditional Hakka women in the Hakka folk songs. Keyword：The term folk songs、Hakka folk songs、nine tones and eighteen accents.
19
Phibion, Otukile Sindiso. "Bakalanga music and dance in Botswana and Zimbabwe." Thesis, 2003. http://hdl.handle.net/2263/26707.
Повний текст джерелаАнотація:
Botswana, formerly known as the Bechuanaland Protectorate, is a country with diverse tribal and religious cultures. Bakalanga are one of the tribes found in Botswana and also in Westrn Zimbabwe. The Western part of the Zimbabwean Bukalanga region was included in the then Bechuanaland Protectorate when its border with Zimbabwe was fixed. To date, Botswana's traditional music has been passed from generation to generation, entirely orally. The main contribution of this study is collecting, documenting and preserving Bakalanga traditional music-making. After abolishing official usage of the Ikalanga language, at independence in 1966, in the early 1990's the Botswana government re-discovered that a nation without culture is a lost nation. Funds were then set aside to be used annually for the development of culture. In using these funds to revive their culture and traditional music, Bakalanga of North Eastern Botswana declared 21 May to be their annual cultural day. Photographs and video footage of these annual cultural festivals were taken by the researcher to help illustrate certain aspects of Ikalanga music and dance in this thesis. Several factors influencing Ikalanga traditional music were taken into consideration: the historical background of Bakalanga, their relationship with other tribes such as the Amandebele, their education, their language in relation to other languages and the missionary influence. Ikalanga traditional music instruments are described. The Mwali religion, which forms the basis of wosana music, linking Bakalanga of Botswana and those of Zimbabwe through the Njelele sacred place joint annual ceremonies, is discussed at length. Different Ikalanga traditional music types are addressed as follows: • Rain Making/Praying music; Wosana and Mayile • Traditional Music for Happy Occasions and Entertainment; Ndazula, Mukomoto, Woso, Iperu, Tshikitsha, Bhoro and Ncuzu./ Maskhukhu • Traditional Music for Healing Purposes; Mazenge (Shumba), Sangoma and Mantshomane. All the above music types are practised within Bukalanga communities publicly, with the exception of mazenge, which is regarded as sacred and private. Bhoro is also extinct in Zimbabwe. The notation of Ikalanga traditional basic musical themes is provided, except for mazenge and ncuzu. which were not found anywhere during this research.Thesis (DMus)--University of Pretoria, 2006.
Music
unrestricted
20
Nemapate, Mmbulaheni Alfred. "A study of structure, meaning and performance in Tshivenda traditional songs." Thesis, 2010. http://hdl.handle.net/10386/2190.
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21
Tuohy, Sue. "Imagining the Chinese tradition the case of Huaʻer songs, festivals, and scholarship /". 1988. http://catalog.hathitrust.org/api/volumes/oclc/24081522.html.
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22
"The woman's position and role in Greek traditional society on the basis of selected Demotika tragoudia (kleftika and songs of the cycle of life)." Thesis, 2009. http://hdl.handle.net/10210/2571.
Повний текст джерелаАнотація:
M.A.Our main objective in this M.A. dissertation was to explore the position of women in Greek folk songs and examine if these folk songs are representative of the social environment which created them or they oppose to it. For this purpose, we carefully studied a wide variety of folk songs and selected a number of songs concerning women in different phases of their lives. These songs belong to the kleftic songs and the songs of the cycle of life. They are widespread all over Greece with slight differences. To support our arguments we also used a wide range of studies concerning our subject. Thus, following the planned scheme of the work and applying the methodology and approaches we defined in the introduction, this study has taken the following form. We divided this study in three parts. The first one consists of two chapters. In the first chapter we defined the socio-historical framework of the Tourkokratia, the era of which the songs we used. In the second chapter we gave general information about the folk songs concerning their origin, characteristics, language and their place in literature, tradition and laography. The second part consists of four chapters. Here we examine the woman as a daughter, wife, mother, mother-in-law, widow. The first chapter includes the love songs and the wedding songs. We saw the woman as a maiden and a would-be wife. We explored the social framework of marriage, the match-making and the issue of dowry. In the second chapter, which includes lullabies, we saw the woman as an affectionate mother, projecting her love but also all her unfulfilled dreams or ideals regarding her child. In the third chapter, where we analysed five paraloges, we witnessed the transformation of this loving mother into a possessive mother and an evil mother-in-law. We saw the way she builds up her world and establishes her position within the family. In the fourth chapter, studying laments, we saw how her world can collapse with the death of one of the members of the family, especially her husband’s. But we also saw the alternative mechanisms she invents and uses to relieve the pain and continue her social existence. The third and last part consists of two chapters. In the first chapter we examine the unfaithful wife and why adultery is such a capital crime in the traditional Greek society. We also examined the social and psychological dimensions of the issue. In the last chapter we examined the heroine and going back in time we began with an akritic song. Finally we placed the heroine in the general spirit of the kleftic songs. In the epilogue, the conclusions of this study are presented. The conclusions prove that these songs, which we studied and compared with the existing social institutions of those times, can sometimes depict reality and sometimes not. A great number of songs give voice to women but at the same time another great number of songs deprive her of her voice. Some praise her, some condemn her. But through the fantasy, the myth, the metaphors, the allusions they ease off the tensions and conflicts inherent in the traditional Greek society always maintaining a balance.
23
Kuzmich, Andrea. "Issues of variability and questions of non-change in the traditional polyphonic songs of Tbilisi ensembles /." 2007. 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:MR29575.
Повний текст джерелаАнотація:
Thesis (M.A.)--York University, 2007. Graduate Programme in Music.Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: 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:MR29575
24
Chang, Chia Wen, and 張嘉文. "The Succession and the Current Situation of the Three Major Tunes for the Traditional Hakka Folk Songs in Hualien." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/08574005195809671384.
Повний текст джерелаАнотація:
碩士國立臺北藝術大學
音樂學系研究所
92
This thesis is going to explore the succession of the three major tunes for the traditional Hakka folk songs in Hualien. With the ethnic material collected in the fieldwork and other related documents, the current situation of the heritance and inheritance of the three major tunes is examined. First, the discussion goes vertically from the diachronic dimension of Hakka folk songs, trying to define the meanings of these traditional folk songs, which have been sung and passed down for thousands of years, under different environments and times. Then the focus of the discussion is shifted to the synchronic dimension. By the fieldwork, the relationship and interaction between the three major tunes and the Hakka people in Hualien are inspected. And by the music analysis, we present the current condition of the three major tunes for the traditional Hakka folk songs here, and probe the local and unique cultural symbolic system which is built from the Hakka cultural characteristics, and is relied on and presented by the Hakka people when they face different peoples nearby.
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"泉州南音: 一個福建民間音樂傳統與文化認同的研究 = Nanyin in Quanzhou : a study of a folk musical tradition and cultural identity in Fujian". 2002. http://library.cuhk.edu.hk/record=b5891409.
Повний текст джерелаАнотація:
吳瑞珠."2002年7月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 152-156).
附中英文摘要.
"2002 nian 7 yue".
Wu Ruizhu.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 152-156).
Fu Zhong Ying wen zhai yao.
致謝 --- p.iv
摘要（中文） --- p.v
摘要（英文） --- p.vi
Chapter 第一章 --- 導論 --- p.1
人類學與民族音樂學 --- p.6
音樂傳統與文化認同 --- p.12
研究問題與理論架構 --- p.18
研究地點和研究方法 --- p.22
本文章節安排 --- p.25
Chapter 第二章 --- 福建泉州南音 --- p.27
何謂南音? --- p.27
歷史沿革 --- p.30
曲譜類別、樂器及音樂特色 --- p.39
南音和閩南風俗及其音樂功能
從名稱上看南音的發展 --- p.46
南音裡的男女現象 --- p.48
南音面對的困難 --- p.49
Chapter 第三章 --- 地方組織與表演 --- p.53
泉州市工人文化宮南樂社 --- p.54
泉州南音樂團 --- p.61
浮橋仙景南音學校 --- p.67
南音表演裡的男女角色 --- p.74
地方組織和南音的保存 --- p.75
Chapter 第四章 --- 傳統與改革 --- p.81
南音的演變 --- p.82
傳統南音的局限和新南曲的特點 --- p.88
動態的傳統 --- p.91
新南音的弱點 --- p.95
傳統文化與文化認同 --- p.101
Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106
閩南移民和跨國網絡的建立 --- p.106
境外華人和泉州的南音組織 --- p.110
境內外南音團體的聯繫 --- p.111
傳統的被利用 --- p.114
音樂傳統和懷舊情懷、文化認同 --- p.122
Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127
國際組織和世界文化遺產的保護 --- p.128
泉州南音申報世遺的背景 --- p.129
各界的表現 --- p.132
世遺的價值 --- p.137
世遺和文化認同 --- p.139
Chapter 第七章 --- 結語 --- p.144
附錄（新南曲唱詞） --- p.149
參考書目 --- p.152
26
Le, Roux Ina. "Net die woorde het oorgebly : 'n godsdienswetenskaplike interpretasie van Venda-volksverhale (Ngano)." Thesis, 1996. http://hdl.handle.net/10500/17185.
Повний текст джерелаАнотація:
Text in AfrikaansDie eerste hoofstuk omskryf die begrip ngano, daarna volg 'n uiteensetting hoe die Venda mondelinge tradisie in die verlede gefunksioneer het en word die huidige aard en posisie van die verskynsel in die lewe van die gemeenskap gedefinieer. Veranderende sosio-ekonomiese en politieke kragte het die tradisionele lewenswyse van die Venda-mense in so 'n mate versteur dat die mondelinge tradisie en die stem van die storieverteller nie meer hoog waardeer word deur die moderne geslag nie. Die teoretiese uitgangspunt van hierdie tesis aanvaar dat religie 'n radikaal integrerend funksie het wat chaos in sinvolle patrone inkorporeer. Dialekties verbind aan die eerste beginsel van religie is die inherente drang van die mens se gees om alle gegewe limiete te transendeer. Vanuit hierdie fokus kan ngano as religieuse artikulasies interpreteer word wat chaos in sinvolle patrone uitdruk, en waarin oak opstand teen bestaande orde en tradisionele aannames uitgespreek word. In bree trekke skets die tweede hoofstuk die historiese agtergrond van die Venda-mense vanaf 800 nC tot en met die resente politieke veranderinge van 1994 in die Noordelike Provinsie. Die tweede deel van die hoofstuk bied 'n uiteensetting van hul religio-filosofiese agtergrond en tesame met die geskiedkundige gebeure dien dit as interpretatiewe konteks vir hierdie oeroue verhale wat van die een geslag na die ander oorgelewer is. In die volgende nege hoofstukke verskyn vyftig volksverhale wat in agt verskillende areas in Venda gedokumenteer is. Elke verhaal is vooraf voorsien van 'n opsomming van die inhoud van die verhaal asook 'n interpretasie van die verhaal deur die verteller self of verduidelikings van haar helpers. Die oorspronklike Venda-teks word gegee in die presiese woorde van die verteller met daarby die Afrikaanse vertaling. 'n Terna wat hehaaldelik voorkom is die opstand van die magteloses (die kind, die vrou of niksseggende persoon) teen magtiges (die koning, die man, dominerende familielede of tradisionele strukture). Ander gewilde temas is die ellende van hongersnood, die aanwending en voorkoms van toorkragte en bonatuurlike transformasies. Ten slotte is daar drie Sankambe-verhale waarin die fantastiese avonture van hasie, die aartbedrieer, wat op grand van blote vernuf oorleef, humoristies vertel word. Ofskoon daar duidelike artikulasies van verset en kritiek teen die tradisionele orde en teen magtiges is, waag ngano dit selde buite die tradisioneel religieus-filosofiese grense.
The first chapter outlines the concept ngano, thereafter the function of the Venda oral tradition in the past is described and the present nature and position of the phenomenon in community living is defined. Changing socio-economic and political forces disturbed traditional Venda life-style to such an extent that the oral tradition and the voice of the storyteller are not highly regarded by the modern generation. The theoretical point of departure of this thesis accepts the radical integrative function of religion ordering chaos into meaningful patterns. Dialectically tied to this first principle of religion is the inherent urgency of the human spirit to transcend all given limits. Viewed thus, ngano can be interpreted as religious utterances in which chaos is expressed in meaningful patterns and where resistance is articulated against existing order and traditional assumptions. Chapter two sketches the historical background of the Venda people from 800 AD up to recent political changes of 1994 in the Northern Province. The second part of this chapter presents an exposition of their religio-philosophic background which, together with the historical events provide an interpretative context for these ancient stories handed down from one generation to the next. Fifty folk tales (ngano) appear in the following nine chapters documented in eight different areas in Venda. Every narrative is introduced by a summary of the content of the story together with an interpretation by narrator and assistants. The Venda text is given first adhering as closely as possible to the original words of the narrator. Every line is followed by an Afrikaans translation. A recurring theme in ngano is the powerless (child, wife or insignificant person) resisting the powerful (king, husband/man, dominating family members or unyielding traditional structures). Other popular themes are the misery of famine, application and occurrence of witchcraft and supernatural transformations. Lastly three Sankambe-stories are documented in which the fantastic antics of the hare, the trickster in Venda folk tales who survives by sheer cunning, are humorously narrated. Although there are distinct expressions of resistance and criticism against the existing order and dominating powers, ngano seldom ventures beyond traditional religious and philosophic boundaries.
Religious Studies & Arabic
D. Litt et Phil. (Religious Studies)
27
Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.
Повний текст джерелаАнотація:
Text in EnglishThis case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.
28
Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.
Повний текст джерелаАнотація:
In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
29
Nováková, Tomášková Tereza. "Vybrané aspekty sémantiky barev v lidové slovesnosti sebrané v 19. století." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-398105.
Повний текст джерелаАнотація:
The thesis deals with the subject of semantics of colours in the Czech folk texts using theoretical and methodological framework of culturally oriented and cognitive approaches to language. In order to contribute to the research of the colour domain in linguistic picture of the world in Czech, semantic structure of colour concepts is examined using qualitative analysis of the occurrences excerpted from the corpora of the selected compilations of folk songs of the 19th century. The topic of radiance and visual salience of colours and their manifestations in the source material is discussed as well. Furthermore, the thesis examines if conclusions concerning the usage of colour terms in folk texts drawn by the studies based on the folklore of other Slavic languages can be applicable to the Czech material.
30
Ntsihlele, Flora Mpho. "Games,gestures and learning in Basotho children's play songs." Thesis, 2003. http://hdl.handle.net/10500/1768.
Повний текст джерелаАнотація:
Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures.
It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators.ART HIST, VIS ARTS & MUSIC
DLITT ET PHIL (MUSICOLOGY)
31
Johnson, Simone Lisa. "Defining the migrant experience : an analysis of the poetry and performance of a contemporary southern African genre." Thesis, 2001. http://hdl.handle.net/10413/3014.
Повний текст джерелаАнотація:
This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant
performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of
oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls
upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural
space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a
different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
32
Musungu, Gabriel Joseph. "Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite." Thesis, 2010. http://hdl.handle.net/10500/3680.
Повний текст джерелаАнотація:
Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study.
The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories.
In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based.
The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite.
To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation.
Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns.Art History, Visual Arts & Musicology
D. Litt et Phil. (Musicology)
33
Mkhombo, S. M. (Sibongile Margaret). "The status of indigenous music in the South African school curriculum with special reference to isiZulu." Thesis, 2019. http://hdl.handle.net/10500/25896.
Повний текст джерелаАнотація:
Text in EnglishThe research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase.
Linguistics and Modern Languages
D. Phil. (Languages, Linguistics and Literature)
34
Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.
Повний текст джерелаАнотація:
Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works.
My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana.
Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity.
The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).Art history, Visual Ars and Musicology
D. Mus
35
Rodrigues, Mariana Lima. "Tratamento do acervo do Padre Alfredo Vieira de Freitas com enfoque nas recolhas populares, orais e tradicionais, madeirenses." Master's thesis, 2020. http://hdl.handle.net/10400.13/2795.
Повний текст джерелаАнотація:
Alfredo Vieira de Freitas (AVF) é o autor sobre quem nos vamos debruçar neste relatório de estágio do Mestrado em Linguística: Sociedades e Culturas, devido ao interesse linguístico e sociocultural do seu espólio, abrindo caminho para um melhor conhecimento da sua obra e da sua vida dedicada às recolhas populares, orais e tradicionais, madeirenses. No relatório é feita uma abordagem à vida e obra de AVF, destacando a sua intervenção pedagógica como professor de Português, motivando os alunos a recolherem contos ou lendas, histórias e quadras populares, como redações a entregar ao professor, que constam do seu espólio, juntamente com outras recolhas manuscritas feitas por si. O principal objetivo do nosso trabalho de estágio foi inventariar, catalogar, separar, transcrever e sistematizar a grande quantidade e diversidade de manuscritos com recolhas populares do acervo de AVF. Depois, surgiu o desafio de propor uma classificação para os contos e lendas, romances tradicionais e quadras populares, publicados e inéditos, que constam do seu espólio. Finalmente, do confronto entre as versões recolhidas e as publicadas, podemos confirmar a tendência de AVF para a normalização da escrita, não conservando alguns dos traços da fala popular e regional madeirense, nas publicações das composições orais e tradicionais. Nas recolhas de AVF predominam as quadras populares, algumas das quais publicou em O Amorno folclore madeirense e O Humor no folclore madeirense (do povo e para o povo). Seguem-se os contos e lendas populares, alguns publicados em Era uma vez… na Madeira. Lendas, contos e tradições da nossa terra (1964) e em Continhos Populares Madeirenses (1988). De seguida, destacam-se os romances tradicionais, as adivinhas, as expressões populares, formas da linguagem popular, provérbios e alcunhas coletivas que AVF não publicou. Com este trabalho, pretendemos contribuir para o tratamento, estudo e divulgação das recolhas populares, orais e tradicionais, madeirenses do acervo de AVF, valorizandoas ao mostrar o seu interesse linguístico e sociocultural, enquanto património linguísticoetnográfico da Madeira e do Porto Santo.Alfredo Vieira de Freitas (AVF) is the author we will focus on this internship report from the Master in Linguistics: Societies and Cultures, due to the linguistic and sociocultural interest of his holdings, paving the way for a better knowledge of his work and life dedicated to popular oral and traditional Madeiran collections. The report presents an approach to AVF's life and work, highlighting its pedagogical intervention as a Portuguese teacher, motivating students to collect tales or legends, stories and popular songs, such as essays to be given to the teacher, which are contained in his assets, along with other handwritten popular collections he made. The main objective of our internship work was to inventory, catalog, separate, transcribe and systematize the large number and diversity of popular collection manuscripts from the AVF holdings. Then came the great challenge of proposing a classification for the published and unpublished tales and legends, traditional novels, and popular songs in his assets. Finally, from the confrontation between the collected and published versions, we can confirm the option of AVF for the normalization of the writing, not always preserving the traces of popular and regional Madeiran speech, in the publications of the oral and traditional compositions. In AVF collections, the popular songs predominate, some of which he published in O Amor in Madeiran folklore and O Humor in Madeiran folklore (of the people and for the people). Following are the tales and legends, some of them published in Once upon a time… in Madeira, legends, tales and traditions of our land (1964), and Madeiran folk tales (1988). Then there are the traditional novels, riddles, popular sayings or expressions and proverbs that AVF didn’t publish. With this work, we intend to contribute to the treatment, study and dissemination of popular, oral and traditional collections made by AVF and his students, valuing them by showing their linguistic and sociocultural interest, as a linguistic-ethnographic heritage of Madeira and Porto Santo.