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Relevant bibliographies by topics / Ethnic minority folk music

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Dissertations / Theses

Academic literature on the topic 'Ethnic minority folk music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Dissertations / Theses on the topic "Ethnic minority folk music"

1

Sansbury, Sally Liew. "The Xinjiang piano suites of Shi Fu." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180495584.

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2

Godula, Olga Dominika. "Echoes and Memories of Poland: Music and Dance in the Polish Community of Toledo, Ohio." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213008130.

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3

Harris, Rachel. "Music, identity and representation Ethnic minority music in Xinjiang, China /." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.268806.

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4

Hegedus, Michael S. "The Effect of Public Organizations in Developing the Ethnic Minority Folk Song of Guizhou, China." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338393083.

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5

King, Andrew Stewart. "The Folk-Song Society wax cylinder recordings in the English Folk Dance and Song Society wax cylinder collection : context, history, and reappraisal." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61113/.

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6

Bidgood, Lee. "Book Review of 'Exploring American Folk Music, Ethnic, Grassroots, and Regional Traditions in the U.S.’ by Kip Lornell." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1040.

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7

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

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

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8

Manco, Daniel Jeremy. "“In Our Different Ways We Are The Same”: Representations of Disability in the Music and Persona of Morrissey." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245685405.

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9

Wolters-Fredlund, Benita. "Ethnic, Political and National Identity as Expressed in the Singing of World Music by the Toronto Jewish Folk Choir, 1939–1959." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72041.

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10

Shao, Luyin. "A STUDY OF ACCULTURATION IN CHINESE-MONGOLIAN ER’RENTAI FOLK OPERA." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/94.

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Er’rentai, or Mongolian dance and song duets, is a genre of folk opera in the Inner Mongolian Autonomous Region. Er’rentai performances can be categorized into two styles—the “western-style” and the “eastern-style.” The aim of this thesis is to explore the acculturation in Chinese-Mongolian er’rentai genre in the following ways. First, I address the historical background of the western-style er’rentai. Then, I draw on fieldwork with Huo Banzhu, a famous er’rentai musician, to introduce contemporary state of er’rentai's development. Finally, I employ musical analysis to demonstrate the borrowings of Mongolian music and culture in the formation and transmission of Chinese-Mongolian er’rentai.

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