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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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11

Kim, Christine. "Munui (문의): Modern Adaptations of Korean Folk and Fairy Tales". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1911.

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12

Harding, Warren. "Dubbin' the Literary Canon: Writin' and Soundin' A Transnational Caribbean Experience." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1370484912.

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13

Anosike, Philemon O. Sr. "Praxialism: A Philosophical Foundation of Multicultural Education in a Democratic Society." University of Toledo / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1365124962.

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14

Bonnette, Lakeyta Monique. "Key Dimensions of Black Political Ideology: Contemporary Black Music and Theories of Attitude Formation." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243623775.

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15

Tu, Ming. "The Effects of a Chinese Music Curriculum on Cultural Attitudes, Tonal Discrimination, Singing Accuracy, and Acquisition of Chinese Lyrics for Third-, Fourth-, and Fifth-Grade Students." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/514.

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The purpose of the study was to investigate the effect of 10 minutes of daily exposure for 10 weeks to a Chinese Music Curriculum and its effect on generating positive cultural attitudes towards the Chinese people, improving tonal discrimination skills, singing accuracy of tonal patterns, and accuracy of singing Chinese lyrics for third-, fourth-, and fifth-grade students, compared to a comparison group not receiving the Chinese Music Curriculum. In an elementary school in Miami-Dade County, Florida, 6 third-, fourth-, and fifth-grade classes were chosen and randomly assigned to either an intervention or a comparison group. A Chinese Music Curriculum was developed for the intervention group and implemented by classroom teachers. Meanwhile, the comparison group received normal academic instruction and a weekly music class by a music specialist. Pre- and post-tests were administered to both the intervention and comparison groups: (1) Children's Attitudes toward Chinese (CATC), (2) Intermediate Measures of Music Audiation-Tonal (IMMA, Gordon, 1982), and (3) Tonal Pattern Performance Measure (TPPM). The Chinese Song Performance Measure (CSPM) was administered to the intervention group only in order to measure students' abilities for accurately singing the Chinese lyrics of a simple Chinese song, "Little Rat." Data were subjected to a mixed Multivariate Analysis of Variance (MANOVA) statistical analysis, item analysis, and Pearson Product-Moment correlation. The results demonstrated that the CATC survey was a reliable and valid measure to assess children's attitudes toward Chinese people. The overall effect of the Chinese Music Curriculum was significant in combination of the three outcome measures: CATC, IMMA, and TPPM. The follow-up individual examination revealed that children's attitudes toward Chinese people and tonal pattern singing accuracy were significantly improved, but tonal discrimination skills did not improve. Grade was found to influence children's singing accuracy of tonal patterns with fifth graders outperforming the third and fourth graders. All participants in the intervention group were able to sing a Chinese song with over 70% accuracy of the Chinese lyrics.

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16

Davis, Peter. ""Woven Into the Deeps of Life": Death, Redemption, and Memory in Bob Kaufman's Poetry." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/pomona_theses/220.

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The scholars who have taken up the task of writing about Bob Kaufman have most often done so in response to a perceived demand: the lack of Kaufman scholarship, readership, anthology, publicity, canonization. The basis of this need is clear: Kaufman is almost never included as even a third-string Beat, a fringe Surrealist, or an underappreciated Jazz performer. To the committed readers of Kaufman – and almost all of his readers seem to be committed ones – it’s unforgivable. These various canons, major (mid-century American poets, Beat poets) and minor (Jazz poets, American Surrealists), are clearly missing one of their most important members. The task is to reintegrate Kaufman into the company it seems he has been omitted from, the company he deserves. The problem is that once the critic has overcome all the resistance – the capitalist publishing industry, the prison system, the white-dominated west coast poetry setting, the public demands of aesthetic production – she is resisted by the poetry itself, and by Kaufman the poet. Along the lines of Claude Pelieu’s back jacket blurb of Golden Sardine – “in spite of his continuing exclusion from American anthologies, both Hip & Academic” – Kaufman has excluded the anthology, the academy. I will read death through various critical lenses – some with nearly universal critical currency among readers of Kaufman, some with little – as Kaufman’s “FOUNT OF THE CREATIVE ACT.” But this thematic circumscription is also a reading of endurance, even of life. Kaufman writes: “[THE POET’S] DEATH IS A SAVING GRACE.” This becomes the vital relation at the center of my project: how does Kaufman, like Lorca, survive in his poem? How does Kaufman’s political poetry relate with poetic death and redemption? How does jazz involve these things? Does death exist? I want to know . . .

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17

Berthon, Alice. "Le Japon au musée. Le Musée national d’ethnologie et le Musée national d’histoire et de folklore : histoire comparée et enjeux." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF005.

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En 1974 et 1981, deux musées nationaux d’un genre nouveau ont été fondés au Japon : successivement, le Musée national d’ethnologie dans le Kansai, et le Musée national d’histoire et de folklore dans le Kantô. Le premier expose l’ensemble des cultures étrangères ainsi que celle de l’archipel, à travers une approche ethnologique, quand le second se concentre sur l’histoire, le folklore et l’archéologie du Japon. Ce travail vise à analyser le processus de construction et la manière dont le Japon est (re)présenté à travers ces deux musées, en les inscrivant dans une histoire aussi bien muséale que disciplinaire. Leur création dans un Japon en plein essor économique et, par surcroît, qui venait de rejoindre les grandes puissances sur la scène internationale, les associe d’emblée à une volonté de positionner la culture et l’histoire nationale, afin de rendre compte de son particularisme, ou encore de son homogénéité ; théories alors largement répandues à cette période. Si ce contexte idéologique rejaillit en partie dans les choix muséographiques et programmatiques, ce n’est pas tant pour y adhérer que sous forme de tensions propres au caractère national de ces deux musées. La muséographie étant à la charge des chercheurs et non des conservateurs, ce sont d’abord des enjeux disciplinaires qui conditionnent l’exposition. La tension se situe aussi bien dans la peur de l’instrumentalisation que dans l’exigence de la rigueur scientifique pour se légitimer ; ce qui se traduira sous forme de négociations et d’ajustements entre l’autorité du discours scientifique et celui, plus politique, de l’État-nation<br>In 1974 and 1981, two national museums of a new kind were established in Japan : successively, the National Museum of Ethnology in the Kansai region, and the National Museum of History and Folklore in the Kantô region. The first exhibits foreign cultures, as well as cultures of the Japanese archipelago, using an ethnological approach, whereas the second focuses on the history, folklore and archeology of Japan. This work aims at analysing the process of construction and the way Japan is (re)presented in these two museums, while replacing them in both museum and disciplinary history. Their establishment, in the context of Japanese economic growth, in a country who had just joined the ranks of global powers is thus linked with a strong will to present national history and culture in order to show its particularism, or its homogeneity ; both such theories were widely prevalent in this period. If this ideological context is partly reflected in the museographic and programmatic choices, it’s not so much to adhere to them, but can be perceived in the form of tensions, pertaining to the national character of these two museums. Since the museography was left to researchers and not curators, it is first and foremost the disciplinary stakes which condition the exhibition. The tension arises from the clash of intrumentalisation, and the demand for scientific rigor to legitimate certain claims, materilazed by negociations and adjustments between the authority of the scientific discourse and that, more political, of the nation-state

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18

Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.

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19

Rhodes, Mark A. II. "The Memory Work of Welsh Heritage: Multidimensional landscapes of a multinational Wales." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1555693473757734.

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20

MacRobbie, Danielle Elizabeth. "An Investigation of Technological Impressions in Steve Reich and Beryl Korot's Three Tales." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1382368248.

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21

Amoah, Maame A. "FASHIONFUTURISM: The Afrofuturistic Approach To Cultural Identity inContemporary Black Fashion." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent15960737328946.

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22

Pimentel, Bret. "Woodwind doubling on folk, ethnic, and period instruments in film and theater music case studies and a practical manual /." 2009. http://purl.galileo.usg.edu/uga%5Fetd/pimentel%5Fbret%5Fr%5F200905%5Fdma.

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23

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.

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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.<br>Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

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24

García, Peter J. "La Onda Nuevo Mexicana : multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico." 2001. http://hdl.handle.net/2152/10476.

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25

Collins-Sibley, Miles A. M. "Wrap Your Body. Come Home." 2019. https://scholarworks.umass.edu/englmfa_theses/98.

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