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Dissertations / Theses on the topic 'Fiddle Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Žák, Josef. "Fiddle music - úloha houslí v americké lidové hudbě." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79388.

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My thesis treats the fiddling as the fundament of the Country music. I write about various styles of the fiddle music : old-time music, bluegrass, Irish & Scottish fiddling, French-Canadien style, Texas contest style, Western swing, and about the great fiddlers. I think this dissertation could be an inspiration for violinists in the Czech Republic because this genre of music is not very known there.

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2

Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

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Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

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4

Glen, Katherine Marshall. "Expressive microtimings and groove in Scottish Gaelic fiddle music." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54477.

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This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listeners’ bodies in complex ways and stimulate movement. My study focuses on the reel, a type of dance tune used in the Scottish Gaelic tradition. Despite the repetitiveness and relative simplicity of the melody in this genre, these tunes have been widely played and performed for many years, and this seems to be due, in large part, to their rhythmic features. I analyze five recordings of a popular reel, “Jenny Dang the Weaver,” by different performers, using methodologies typically applied to the jazz canon. Each recording features only a solo fiddle, so any expressive microtimings are the result of the single performer and musical line, not influenced by interaction with other instruments. My analysis demonstrates that these recordings create groove through beat subdivisions and subversion of expected microtiming patterns. The primary method for analysis is a comparison of beat-upbeat ratios (BUR) and upbeat-beat-ratios (UBR) throughout the measure to determine any trends or significant outliers. The analysis shows that these performers, despite their different backgrounds, share certain microtiming trends and patterns (particularly in the performance of beats 2 and 3, and the presence of phenomenal accents on beat 2), which could therefore be understood as characteristic features of the Gaelic style. Conversely, I also demonstrate that while conforming to those patterns, each musician nevertheless has idiosyncrasies of microtiming that distinguish them from each other.
Arts, Faculty of
Music, School of
Graduate

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5

Bidgood, Lee. "Performance at Music in the Valle Concert Series." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3256.

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6

Perttu, Melinda Heather Crawford. "A Manual for the Learning of Traditional Scottish Fiddling: Design, Development, and Effectiveness." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299300924.

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7

Stock, Jonathan Paul Janson. "Context and creativity : the two-stringed fiddle erthu in contemporary China." Thesis, Queen's University Belfast, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334644.

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8

Olson, Ted. "Carroll Best: Old-Time 'Fiddle-Style Banjo' from the Great Smoky Mountains." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1217.

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Excerpt: In an interview published in the February 1992 issue of The Banjo Newsletter and conducted by bluegrass historian Neil Rosenberg and banjo player and instruction book author Tony Trischka, Carroll Best conveyed the depth of his connections to the instrument he had mastered: “When I was old enough to pick up a banjo I wanted to play.”

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9

Bidgood, Lee, and Andrew Finn Magill. "Performance at Live at Grassy Creek." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3257.

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10

Holmes, Ramona Adella. "A model of aural instruction examined in a case of fiddle teaching /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11219.

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11

Bidgood, Lee, and ETSU Faculty Band. "Performance at Music on the Lawn concert." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1067.

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12

Macdonald, Robert. "Music from the Dead: The Tune Making of John MacDougall." DigitalCommons@USU, 2009. https://digitalcommons.usu.edu/etd/414.

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Cape Breton, Nova Scotia has been a stronghold of active and integrated community traditions of Scotch-Gaelic music and dance since it was settled by large numbers of Scottish emigrants in the nineteenth century. Though these emigrants brought with them an extensive store of tunes common to the Highlands of Scotland, the majority of them were carried in the collective oral memory. Consequently, the traditional Scottish repertoire of Cape Breton fiddlers steadily declined as generations of fiddlers who never learned to read or write music died. In the nearly two centuries that Scots have populated the island, there have been many gifted Cape Breton tune composers. Of these, certainly the most prolific is `old style' fiddler John MacDougall. To date his output numbers over forty thousand tunes. It is not just the staggering quantity of tunes however, that makes MacDougall's composing noteworthy, but his extraordinary claim that he does not write them himself. MacDougall insists that he simply records the tunes whole as they are given to him from the spirits of Cape Bretoners who have long since passed away. This paper examines the connection between MacDougall's tune `making' and the supernatural as an extension and a Christianized revision of a traditional Scottish motif that connects music making with fairylore. It suggests that MacDougall's modernized version of this motif serves to legitimize his large body of tunes to a community of fiddlers that, following in the footsteps of their forbearers, place enormous value on tune authenticity and correctness.

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13

Neff, Eoghan. "At the vanguard of antiquity : seeking the avant-garde of the Irish Fiddle in C20th performance practices." Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/36644/.

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This thesis examines twentieth-century Irish fiddle performance practices in the search for the avant-garde of Irish traditional music. The central analysis focuses on processes of music structuring, particularly at a macro-structural level. Music structure defines the “terms of tradition” by way of permanent symmetric constructs, whereas it defines the avant-garde by way of transitory asymmetric constructs. If musical individualism is represented exclusively by traditional micro-structural ornaments that are inconsequential to traditional macrostructure, then the musical individual contributes to the permanency of macrostructure under of the terms of tradition. Instead, the avant-garde fiddler seeks musical transitoriness where macrostructure can define and redefine, or be defined and redefined by, both itself and its micro-structural parts throughout the progression of a single musical event. The determining nature of the fiddler’s musical interaction with the fiddle is that both human and artefact follow (thus become influenced by) the procedural dimensions of each other. Therefore, the method of analysis in this thesis has an ergonomic basis, which furthermore benefits from the emic perspective and practical expertise of its author. Accordingly, some of the more demanding performances by a selection of the country’s leading exponents are drawn upon to illustrate distinct aspects of where the fiddle instigates the negation of traditional modes of music structuring. Each example represents a different quarter point of the last century. Ultimately, this thesis not only provides a clearer and more radical conception of the musical past, but it also provokes a traditional music avant-garde that emerges from inside fiddle performance practices of the recent century.

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14

Bidgood, Lee, and The Iron Mountain Messengers. "Performance at Arts Center." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1068.

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

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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Feed and Seed." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1074.

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Bidgood, Lee, and Joseph Sobol. "In the Deep Heart’s Core." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1059.

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Bidgood, Lee, and Smoky Mountain Bluegrass band. "Performance At St. John's Episcopal Church." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1053.

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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Bluegrass on Broad Concert Series." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1066.

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20

Bidgood, Lee, Richard Ciferský, and Banjo Romantika Band. "Banjo Therapy." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1076.

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21

Bidgood, Lee, and Hasee Ciaccio. "Performance at the Willow Tree Coffeehouse." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1055.

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22

Bidgood, Lee, and ETSU Old Time Band. "Performance at Rhythm and Roots Reunion Festival." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1078.

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23

Bidgood, Lee. "In the Deep Heart’s Core: A Mystic Cabaret by Joseph Sobol." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1052.

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A cycle of songs and spoken pieces from the verses and essays of Ireland's master poet, W. B. Yeats, In the Deep Heart’s Core is a stunning evening of musical theatre. The Chicago Tribune called it "A joy--poetry to the ears, alternately tender and rousing." Featuring Joseph Sobol and original cast member Kathy Cowan. Performers include Lee Bidgood, Dominic Aquilino, Clara Ray Burrus, and Robbie Link.

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Bidgood, Lee, and ETSU Old Time Band. "Performance at Riddlefest." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1075.

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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Blue Plum festival." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1071.

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

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27

Yeagle, Kalia. "Devil in the Strawstack, Devil in the Details: A Comparative Study of Old-Time Fiddle Tune Transcriptions." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3743.

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This thesis asks what transcriptions of old-time fiddle tunes might tell us about their underlying purposes and the nature of transcription. How could differing approaches to transcription reflect the intentions of the author, and what are those intentions? What does this suggest about how aural information is prioritized? Through a comparative analysis of three transcriptions of the same recording—Tommy Jarrell’s “Devil in the Strawstack”—this thesis examines how musical information is prioritized and how transcribers have adapted their methods to better reflect the nuances of old-time music. The three transcriptions come from Clare Milliner and Walt Koken (The Milliner-Koken Collection of American Fiddle Tunes), Drew Beisswenger (Appalachian Fiddle Tunes), and John Engle. The analysis of these transcriptions suggests new frameworks for interpreting old-time fiddling, further conversations about the possibilities and limitations of transcription, and provides insight into the underlying purposes of transcription.

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28

Rooney, David, and n/a. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)." Griffith University. School of Arts, 1996. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.154417.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

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29

Rooney, David. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)." Thesis, Griffith University, 1996. http://hdl.handle.net/10072/367206.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
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30

Bidgood, Lee, and Doctors and Outlaws. "Celebration of 1970s Country-Rock-Grass Fusion." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1063.

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A one-time celebration of the 1970s country-rock-grass fusion of Crowe, Parsons, the Rices, the Burritos, etc. View the YouTube videos below: Part 1: https://www.youtube.com/watch?v=lbWzeKhdbus Part 2: https://www.youtube.com/watch?v=ImrFFCPPXw4 Part 3: https://www.youtube.com/watch?v=Je5oXBpDGmU Part 4: https://www.youtube.com/watch?v=WkNjD079QFQ

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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Down Home." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1065.

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Bidgood, Lee, and Emily Bidgood. "Performance At St. John's Episcopal Church." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1060.

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33

Bidgood, Lee, and Zdeněk Roh. "Performance at The Station." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1077.

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34

Bidgood, Lee, and Great Smoky Mountain Bluegrass Band. "Performance at Ruritan Club Bluegrass Festival." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1062.

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35

Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Old Oak Festival." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1064.

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36

Bidgood, Lee, and Banjo Romantika Band. "An Evening of Czech and Slovak Bluegrass Music." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1050.

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Lee Bidgood was joined by Richard Cifersky, Ed Snodderly, Daniel Boner, and Jeff Elkins in performing Czech translations of bluegrass classics, as well as original Czech material in both Czech and English.

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37

McMahon, Sheronna Lynn. "A critical analysis of scholarship on the transmission and learning of American fiddle music: implications of an aural tradition for music education." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11140.

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Thesis (Ph.D.)--Boston University
In its many origins from Irish, English, Scottish, Canadian, and African influences, American fiddle music has, over the course of the past 300 years, become characterized as an indigenous musical style in the United States and is one that continues to thrive today. The study of the learning and transmission of American fiddle music intersects with area studies in cultural diversity, ethnomusicology, and recent trends in music education, yet no research to date has synthesized information from these three fields to render a comprehensive look at the teaching and learning ofthis tradition. This study examines performance characteristics of various fiddling traditions, first by identifying learning skills that apply when written notation is not utilized, and second by identifying communal-social aspects oftransmitting fiddle music traditions from one player to another. Performance characteristics oftraditional American fiddle style examined included ornaments, bowings, melodic variation, rhythm patterns, and common tune structures; additionally, in the absence ofaural-audio examples, some written transcriptions provided a basis for comparison of the same ttmes performed in different styles. American fiddle styles investigated included bluegrass, hillbilly, contest, and folk, which all have been and currently are transmitted aurally. The main body of this study consists of two sections. The first section includes a historiography of transmission practices ofAmerican fiddle music, based on selected fiddling books and journal articles from the past one hundred years focusing on principles, theories, and methods. The selected books and journals represent the fields of folklore, musicology, ethnomusicology, and music education. The second part of the research study is a content analysis (both quantitative and qualitative) ofselected articles from American Music, American String Teacher, Ethnomusicology, Folk Music Journal, and The Journal ofMusicology that include references to fiddle music or aural transmission of fiddle music published from 1988 to 2008. A coding instrument was utilized when reviewing journal articles to sort content according to tracked data items such as author, journal types, the type offiddle music discussed, the specific fiddle descriptors mentioned, type oftransmission discussed, and the time period to which the article refers. The results of the content analysis include the tallied percentages ofthe two broad categories of scholarly articles that relate to the study of fiddle music itself and those that relate to its transmission, as well as specific sub-topics and categories which emerged within these two categories. The results ofthe study add a synthesis of literature from the disparate fields of folklore, musicology, ethnomusicology, and music education to the existing body ofknowledge on American fiddling. Furthermore, this research study reveals trends in scholarship on this topic that will enable scholars and music teachers to better understand American fiddling in the context ofmusic education and to more explicitly define avenues for further inquiry. The study's outcomes have potential value to contemporary music educators and designers of school music programs in promoting aural learning in music education. Understanding both the genre of fiddling and the pedagogy applicable to aural transmission should support this type ofleaming in the general or instrumental music classroom. Because American fiddling styles may be taught without written notation, students who are not in a traditional orchestra class could participate in a fiddling group, so music educators could reach even more learners by understanding and playing American fiddle music.

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MacDonald, Jennifer Marie. ""Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99381.

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In 1995, fiddler Ashley MacIsaac released the album Hi, How Are You Today? that featured MacIsaac performing traditional Celtic tunes accompanied by modern rock instruments. The musical genre transformation on the album (notable because people who were not fans of Celtic music bought this album, tracks were released for airplay, and music videos accompanied the singles) can be studied according to the types of genre transformation outlined by Alastair Fowler in Kinds of Literature. If MacIsaac's goal was to offer a popular rock album while playing traditional tunes on the fiddle, critics and members of his audience inevitably questioned his motivation, from which charges of pandering and exploitation followed. Alternate interpretations stressed that MacIsaac was merely adapting traditional music to reflect a changing musical climate. This thesis examines such perspectives, along with the global phenomenon of modernizing folk music amidst the ambiguous boundary between popular and folk musical genres.

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Ousley, Larry James. "Solo Techniques for Unaccompanied Pizzicato Jazz Double Bass." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/96.

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The purpose of this study was to research and demonstrate various techniques that a double bassist may utilize when performing an unaccompanied solo in a jazz setting. This study primarily focused on pizzicato (plucked) styles and sought to maximize the polyphonic potential of the double bass, which has traditionally been considered a homophonic instrument. This study provides a written, organized approach that illustrates recorded examples and augments private instruction for the double bass. This study offers a vocabulary of techniques comprising chords and intervals that allow the double bassist to accompany oneself. It uses an intervallic approach to determining practical ways of voicing chords and accompanying melodic statements. Specific songs from the standard repertoire were chosen to demonstrate self-accompaniment techniques in the contexts of melodic and harmonic movement. Recorded examples are provided that show how specific bassists successfully used certain techniques in the context of songs. Bassists that were examined include Ray Brown, Niels-Henning Orsted Pedersen, Dave Holland, Charlie Hayden, Ron Carter, Edgar Meyer, Lynn Seaton, and David Friesen.

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Gluska, Virginia. "Fiddling with a Culturally Responsive Curriculum." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19894.

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The discourse on education for Aboriginal people has long been limited to a curriculum of cultural assimilation often resulting in an erosion of self-esteem and disengagement. Consequently, this research puts forth narratives of how fiddle programs in northern Manitoba work as a culturally responsive curriculum that in turn address such curricular erosions. As a research methodology, Metissage afforded me pedagogical opportunities to weave the various perspectives of community members, parents, instructors, and former students into an intricate story that attempts to represent some of their social, cultural and historical experiences within the north. Braiding stories of the historical and present impacts of fiddle playing reveals the generative possibilities of school fiddle programs in Canadian Indigenous communities. In addition to building intergenerational bridges, the stories put forth in this thesis demonstrate how the fiddle has become a contemporary instrument of social change for many communities across northern Manitoba.

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Höglund, Evelina. "Irländsk Folkmusikwannabe : En självstudie i att appropriera irländsk ornamentik på fiol." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67126.

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Syftet med denna studie är att utforska mitt egna lärande i processen med att appropriera den ornamentik som är en central del i den irländska folkmusikkulturen. Syftet stärks med följande forskningsfrågor: Med vilka redskap tillägnar jag som lärling mig ornament från den irländska folkmusiktraditionen? samt I vilken utsträckning har jag approprierat irländsk ornamentik efter en period på tio veckor? Arbetet är baserat på ett sociokulturellt perspektiv med stark betoning på mästarläran. Detta ingår i bakgrundskapitlet tillsammans med relevant litteratur med inslag av tidigare forskning på området. Exempel på vad som tas upp är förklaringar om specifika ornament samt en översiktlig beskrivning av den irländska folkmusiktraditionen. Studien baseras på videoobservation av mig själv samt genom egna loggboksanteckningar. Resultatet presenteras med hjälp av olika rubriker; exempelvis olika redskap under enskilda fiollektioner, tillägnande av yrkesidentitet samt jag och min mästare. Avslutningsvis diskuteras resultatet i förhållande till litteraturen samt tidigare forskning där bland annat min etniska tillhörighet och outtalade regler vid sessions nämns. Här diskuteras även variation och improvisation samt vilka redskap som tillfört mest till min lärandeprocess.
The purpose of this thesis is to explore my own learning in the process of appropriating the kind of ornamentation that is a central part of the Irish trad music culture. The purpose is supported with these following reserch questions: Which tools do I use as an apprentice to appropriate the ornaments from the Irish traditional music culture? and To what degree have I appropriated the Irish ornamentation after a period of ten weeks? The thesis is based on a sociocultural perspective with a strong emphasism on master – apprentice teaching. This is included in the background chapter together with relevant litterature and earlier studies on this area. Explanations about specific ornaments and a brief description about the Irish trad culture are examples of what is brought up in the background chapter. The thesis is based on video observations of myself and by a written journal. The result is presented with several themes, for example different tools during individual fiddle lessons, adopting of professional identity and me and my master. In the conclution the results are discussed compared to the litterature and earlier research where my ethnical background and unspoken rules during sessions are mentioned. The discussion also include variation and improvisation together with which tools that have contributed the most to my process of learning.

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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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von, Wachenfeldt Thomas, Sture Brändström, and Juvas Marianne Liljas. "Folkmusikundervisningen på fiol och gitarr och dess historiska rötter." Högskolan Dalarna, Pedagogiskt arbete, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-10942.

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How folk musicians of today learn to play their instruments is an over-all question in this article. One violin lesson and one guitar lesson have been observed at Framnäs folk high school. Three research questions were formulated. What do the two lessons have in common? What are the differences? How could the folk music education of today be related to the Swedish fiddler movement in the 1920s and other folk music traditions? Theoretically, the interpretation of the results was based on the mimesis theory of Ricoeur. Two teachers and three students participated in the study. The results showed that the lessons were structured in a similar way and dominated by master apprenticeship teaching. The violin teacher showed a more respectful attitude towards the tradition compared to the guitar teacher. Great parts of the manifest ideology of the fiddler movement seems to have become concealed into a latent or frozen ideology in the formal folk music education of today. There seems to be no big differences between learning the music by way of visiting an older fiddler hundred years ago compared to the study of music today at a formal institution.
Musikfolkhögskolans utbildningsideologier

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44

Bidgood, Lee. "Czech Bluegrass Fiddlers and their Negotiations of Past and Present." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1035.

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Excerpt: Proc ty housle? ("Why the fiddle?") - "Fiddlers are all bad here - Why not write about the banjo or something else that Czechs are good at?"These questions about my ethnographic fieldwork came from musician colleagues with whom I working in researching bluegrass music in the Czech Republic, during a jam circle around a table. While these colleagues were mainly banjo and guitar players, these critiques of Czech fiddling are common even among Czech fiddlers, who are in many cases not as accomplished (in technical skill or musicality) as are their banjo-playing and mandolin-picking compatriots.

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Caldwell, Connor Thomas. "Did you hear about the poor old travelling fiddler? : the life and music of John Doherty." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600127.

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A study of John Doherty (1900-1980) contextualising his life as a traveller in the early 20th century. A break down of his musical style and repertory is included with transcriptions of over 25 years of music.

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Meurig, C. L. "The music of the fiddler in eighteenth-century Wales : a study of the manuscript of John Thomas." Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395980.

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Dellow, Rebecca. "'Fiddlers' Tunebooks' : vernacular instrumental manuscript sources, 1860-c1880 : paradigmatic of folk music tradition?" Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/22115/.

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Fiddlers’ Tunebooks are handwritten manuscript books preserving remnants of a largely amateur, monophonic, instrumental practice. These sources are vastly under-explored academically, reflecting a wider omission in scholarship of instrumental music participated in by ‘ordinary’ people in nineteenth-century England. The tunebooks generate interest amongst current folk music enthusiasts, and as such can be subject to a “burden of expectation”, in the belief that they represent folk music tradition. Yet both the concepts of tradition and folk music are problematic. By considering folk music from both an inherited perspective and a modern scholarly interpretation, this thesis examines the place of the tunebooks in notions of English folk music tradition. A historical musicological methodology is applied to three post-1850 case-study manuscripts drawing specifically on source studies, archival research and quantitative analysis. The study explores compilers’ demographic traits and examines content, establishing the existence of a heterogeneous repertoire copied from contemporary textual sources directly into the tunebooks. This raises important questions regarding the role played by publishers and the concept of continuous survival in notions of tradition. A significant finding reveals the interaction between aural and literate practices, having important implications in the inward and outward transmission and in wider historical application. The function of both the manuscripts and the musical practice is explored and the compilers’ acquisition of skill and sources is examined. This results in the ‘re-discovery’ of Musical Circulating Libraries, and identifies a binary route to skill acquisition, largely defined by environment. Acknowledging the contention surrounding terms such as folk, popular and tradition, and the subtle interaction of aurality and literacy, this study concludes that the manuscripts contribute to wider historical discourse and do have a place in notions of folk music tradition, moreover that their textual nature provides a unique perspective from which to observe the process.

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Lindberg, Eriksson Jenny. "Spela en fiddel : En kreativ studie av folklorkaraktärer inom Terry Pratchetts Skivvärld." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-179524.

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This essay is a creative study of how characters are depicted in Terry Pratchett’s Discworld, based on three novels of Pratchett, translated to Swedish: Häxor i Faggorna (1994), Svinvinternatt (2005), and Levande musik (2001). The creative part will be a short story written by me, where I put the well-known character Näcken from Swedish folklore into Pratchett’s imaginary world Discworld. I will use two academic texts about Näcken, Näcken (2008) by Jochum Stattin and Erotiska väsen(2010) by Ebbe Schön, as a base for my creative writing. To study how Pratchett writes and uses allusions in his works, White Knowledge and the Cauldron of story: The Use of Allusion in Terry Pratchett’s Discworld by William T. Abbott and The intertextual use of the Fairy Tale in Postmodern Fiction by Kevin P. Smith will guide me. The purpose of this essay is to study how Pratchett changed folklore characters to fit into his world.

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Bernard, Ryan Carlson. "The Rise and Fall of the Hillbilly Music Genre, A History, 1922-1939." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2059.

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This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War.

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Olson, Ted. "Foreword." Digital Commons @ East Tennessee State University, 2015. https://www.amzn.com/1621900975.

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Book Summary: Canada's Prince Edward Island is home to one of the oldest and most vibrant fiddling traditions in North America. First established by Scottish immigrants in the late eighteenth century, it incorporated the influence of a later wave of Irish immigrants as well as the unique rhythmic sensibilities of the Acadian French, the Island's first European inhabitants. In "Couldn't Have a Wedding without the Fiddler," renowned musician and folklorist Ken Perlman combines oral history, ethnography, and musical insight to present a captivating portrait of Prince Edward Island fiddling and its longstanding importance to community life. The book draws heavily on interviews conducted with 150 fiddlers and other Islanders, whose memories colorfully brings to life a time not so very long ago when virtually any occasion - wedding, harvest, house warming, holiday, or the need to raise money for local institutions such as schools and church - was sufficient excuse to hold a dance. And in those days, you simply couldn't have a dance without the fiddler!Perlman explores how fiddling skills and traditions were learned and passed down through the generations and how individual fiddlers honed their distinctive playing styles. He also examines the Island's history and material culture, fiddlers' values and attitudes, the role of radio and recordings, the fiddler's repertoire, fiddling contests, and the ebb and flow of the fiddling tradition, including efforts over the last few decades to keep the music alive in the face of modernization and the passing of old-timers. Rounding out the book is a rich array of photographs, musical examples, dance diagrams, and a discography. The inaugural volume in the Charles K. Wolfe American Music Series, Couldn't Have a Wedding without the Fiddler is, in the words of series editor Ted Olson, "clearly among the more significant studies of a local North American music tradition to be published in recent years."

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