Relevant bibliographies by topics / Folk dance music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Folk dance music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Folk dance music"

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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Basirova, Karina B. "THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN." History, Archeology and Ethnography of the Caucasus 16, no. 3 (November 1, 2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.

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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genres, their own instruments, their own original rituals, melodies, and dances. Song and dance, the playing of the shepherd's pipe and the beating of the drum have always accompanied the life of the highlanders. The dance of the mountaineers "Lezginka" can be called national, folk, as no holiday passes without this fervent dance. Dagestan people join the dance from the cradle and children-dancers cause the greatest delight. Through music and dance, we can develop children's aesthetic, moral, and physical qualities. A child who receives artistic, aesthetic and moral ideas at an early age, even if he later does not become a dancer or a musician, acquires openness to the world of beauty, kindness, flexibility of thinking, and sensitivity to moral and artistic values for the rest of his life.
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Shahnaz Akhtar and Nuzhat Farooq. "Folk Dance and Music of Rajasthan: A Study of their Role in Fairs and Festivals." Social Science Journal for Advanced Research 3, no. 4 (July 31, 2023): 59–64. http://dx.doi.org/10.54741/ssjar.3.4.9.

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Rajasthan, a state with a thriving cultural scene in India, is home to a diverse range of traditional folk dance performances and folk music that have greatly influenced the growth of the local culture. Through thoroughly examining various folk dance and music, their historical roots, and their contemporary relevance, this study sheds light on how these folk dances and music contribute to preserving Rajasthan's legacy and their significance in fairs and festivals. The main goal of this study is to examine the mutually beneficial interaction between Rajasthan's traditional performances—such as folk dances and music, and the fairs and festivals that shape the state's calendar. The paper is exploratory, providing an overview of the folk dance and music of Rajasthan and their relevance to the state-wide fairs and festivals.
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Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.

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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk dance books from the 1960s. In these books, dances are attached to certain geographical areas, which is not merely contextual information but also entails stylistic features of a specific dance. Most dances are connected to a certain parish, and in some cases the province is mentioned, as well. In practice, for most folk dancers, the names of the areas do not have much significance as material domain, but they are elements of a map of a danced region, and as such the dances are a part of imaginative geographies, performed spaces. Following the British geographer Derek Gregory, I see folk dances as a continuation of performances that necessarily creates novelty, which allows one to experience spaces differently. The books are danced atlases presenting the Nordic region as a series of performed spaces. They address how the Nordic region has been represented in a danced form, emphasizing affiliation and unity, as well as distinction and disjointedness.
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Loutzaki, Irene. "Greek Folk Dance Music." Yearbook for Traditional Music 26 (1994): 168. http://dx.doi.org/10.2307/768264.

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Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.

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The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions.  The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice.  The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes).  
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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.

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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.

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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.

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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dances, with the migration of the peasantry to the towns and cities, the city dances in some way distanced themselves from the traditional ones. This was influenced by new living conditions, more cramped space, mixtures of the European and Oriental culture, as well as the Europeanization of culture and way of life in general. It can be stated that city folk dances are in fact traditional - original dances that have taken on other aspects of dancing and dancing behavior. If any folk dance has marked our city, and the state in general, from the end of the 19th and the beginning of the 20th century, it is undoubtedly Niševljanka folk dance. Numerous manuscripts, books, travelogues, newspaper articles from that time testify to this fact. This paper is an attempt to point this out and to find in one place the musical, rhythmic and playful record of this, undoubtedly original city folk dance.
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Rambing, Rosalina Rolany. "STRENGTHENING OF ORAL TRADITION: LITERATURE AND PERFORMING ARTS IN THE LOCAL LANGUAGE OF TONSEA IN NORTH MINAHASA." International Journal of Social Science and Economic Research 07, no. 12 (2022): 4139–52. http://dx.doi.org/10.46609/ijsser.2022.v07i12.020.

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Research on Oral Traditions: Literature and Performing Arts in the Tonsea Language. in Minahasa Utara aims to (1) identify and classify the oral traditions: literature and performing arts in the form of folk songs and dances, folk music in Tonsea regional language in North Minahasa; (2) Identifying and classifying oral traditions: results of oral literature and performing arts in the form of folk songs and dances, folk music, and which are still strictly performed by community groups using the Tonsea regional language in North Minahasa; and (3) Explaining the cultural meaning contained in oral traditions, literature and performing arts in the form of folk songs and dances, folk music, and folk music, in the regional language of Tonsea in North Minahasa. The method used in this research is descriptive qualitative method. Data collection techniques and tools: observation, interviews, focus discussions, document studies. There are two stages used in data analysis in this study, namely: (1) Anthropological Linguistic Analysis which aims to study and investigate scientifically about the relationship between language and aspects sociocultural based on ethnicity. (2) Data analysis according to Sudikan (2001) can be grouped into the stages of qualitative data analysis, namely: (1) the open coding stage is the researcher trying to vary what is related to the research object. Furthermore, the researcher carried out the process of detailing the data (breaking down), (conceptualizing) and categorizing (categorizing) primary and secondary data; (3) the axial coding stage is re- organizing data based on categories as a continuation of the previous stage. Then analyze the relationship between data / categories or data classification; and (4) the selective coding stage is the classification process of examining data on data categories, comparing, connecting and checking the intended data then draws final conclusions to make a general design. The results showed that in Tonsea region of North Minahasa there are 3 types of dance that are still strictly implemented, namely: Maengket Dance, Kabasaran Dance, and Tumatenden Dance. Furthermore, folk songs that are still strictly implemented are Maengket songs whose lyrics are usually sung together with the Maengket dance. Likewise, folk music that is still strictly performed by the people in the Tonsea region is only Kolintang music.
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Dissertations / Theses on the topic "Folk dance music"

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

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The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.
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Rodhe, Agnes. "Dansens relevans i folkmusikutbildningar." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-581.

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The Relevance of Dance in Folk Music Education The aim of this study was to investigate why and how dance and dance teaching can be relevant in educational programmes in folk music in Sweden. Many of these programmes include dance within them and that fact, in combination with my observation that there is an underlying cultural assumption that dance and music belong together, inspired this research. I wished to look at the function of dance within folk music programmes, and music teachers’ observations of how dance affects their students’ playing. The study has been conducted through qualitative interviews with four music teachers from different institutions, covering three themes: the purpose(s) of including dance in this kind of education, if and how they can see that the students have use for the dance knowledge in their playing, and how they look at the connection between dance and music in this genre. The result shows that there are several reasons for teaching dance as a part of educational programmes in folk music and also that the music teachers themselves use references to dance in their music teaching. These reasons can give dance pedagogues information about how some music teachers think dance is relevant and can be used in the planning of dance teaching. In conclusion, there is a discussion of how this study can be a part of understanding and developing pedagogy within the folk music genre.
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Kiddy, Paul. "Social dance and wellbeing : an ethnographic study of two folk social dance settings." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2052839/.

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Sociable folk dancing in the UK is an organised group activity in which a significant number of people take part, often practising folk styles which have their origins in other countries. These groups are generally not run for profit, operate under the radar of media attention, and consequentially their activities remain largely hidden from view. This thesis addresses the fact that there have been no in-depth studies of these groups. It reports on the findings of a detailed ethnographic research project, to offer in-sights into the practices and motivations of participants in social dance. The thesis answers the key question: ‘What is the meaning and significance of participation in these folk music and social dance styles to those taking part?’. An interdisciplinary and ethnographic research approach was adopted to investigate two such folk styles: Cajun and Zydeco, and Scandinavian. This approach allowed research participants to make a significant contribution to the focus of the research, and to inform the subsidiary questions: ‘What are the concerns and interests of those involved in social folk dance?’, ‘What is it that makes involvement in these dance practices so appealing?’, and ‘What are the overall benefits of being involved?’ The research produced an interpretive account of these practices, through investigating sites of participation in these dance styles in the UK, which were explored by means of immersive involvement in their dance practices. This gave an insight into the way in which participation was organised and managed, and allowed for introductions to be made which were followed up with thirty in-depth interviews. The study revealed that despite the stylistic differences between the two dance styles and how they are practised, both nevertheless benefitted participants in similar ways. That dance events are organised on a not-for-profit basis was particularly important to participants, and encouraged loyalty and cooperation, promoting feelings of empowerment and ownership. An atmosphere of supportive inclusion was also built in to the loose organisation of events and activities, which allowed a consensus to develop where social attitudes and ideas could be negotiated, cultivated, and shared. This created a sense of belonging to an unboundaried, and fluid community or social network, a safe environment in which participants were able to experience dance as a communicative and expressive dialogue between individuals and within the group. This thesis argues that participants found their involvement in these dance styles socially and personally satisfying, and that this made a considerable contribution to their individual wellbeing. The research found that sociable folk dancing served as a vehicle for community, improving participants’ sense of self-worth, supporting creativity, and well-being. These findings complement clinical research that champions dance, and social dance in particular, as a healthy and worthwhile leisure activity. This thesis supports the results of such scientific studies into the benefits of dance by providing supporting evidence from within a social setting. This has implications for further research, and for policy and practice, whether dance activities are pursued formally or informally and whatever their aim.
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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.

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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.

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Schmidt, Hans. "Die Sardana Tanz der Katalanen /." Hamburg : [s.n.], 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645743.html.

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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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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.

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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.
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García, Peter J. "La Onda Nuevo Mexicana multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3031600.

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Carter, Jennifer. "An integrative approach to style analysis of folk dance melodies with classification using inductive learning." Thesis, University of Derby, 2004. http://hdl.handle.net/10545/621840.

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This thesis investigates the issue of the application of cognitive analysis techniques for Western art music to folk dance melodies for violin, with a view to enabling the development of a computer tool that can aid in the identification and exploration of the stylistic characteristics of the origin of the melodies. The following questions are addressed: Can cognitive music analysis techniques for Western art music be applied successfully to folk dance melodies for violin? Is it possible to define an integrative analysis approach in this context drawing from existing approaches? To what extent can decision tree induction aid in the classification and interpretation of the analysis results? How might the musical data for analysis be represented on computer? What is the best approach to program development for an automated music analysis tool in this context? A series of experiments using samples of American and Irish melodies are presented that verify the use, in this context, of the cognitive analysis approaches of Lerdahl and lackendoff and Narmour. Statistical approaches have also been investigated, since research has shown that such methods can reflect the way in which listeners mentally organise the music that they hear. To enable the analysis to be carried out in an algorithmic way, an experiment using human subjects to further the work of Lerdahl and lackendoff was required. An integrative analysis approach has been identified that can be carried out in an algorithmic way therefore lending itself to future implementation on computer. In order to interpret the results of the analysis process, a decision tree induction tool (SeeS) based on Quinlan's CS algorithm was employed. SeeS was able to classify the melodies based on the attributes derived from the analysis. The decision trees and rules derived by the tool enabled the identification of features of the melodies that pertain to their origins, thus enabling a deeper understanding of the stylistic variations of the melodies. A further experiment indicated that the cognitive analysis approaches and subsequent classification with SeeS compares favourably with the classification abilities of human subjects after a small amount of training in the musical context. Further inductive learning techniques (decision tree induction using Friedman's CART, and neural networks) have been applied to the problem of classification andinterpretation of the analysis results, and although the neural network classified the musical samples with greater accuracy (illustrated using ROC analysis), decision tree induction has been shown to be a more appropriate method in this context. Approaches to music representation and subsequent program development have been investigated, reSUlting in a proposal for future computer implementation of a music analysis tool using the Humdrum toolkit as a means of representation, and a declarative language for the program development.
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Books on the topic "Folk dance music"

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Sam, Sam-Ang. Khmer folk dance. Newington, CT: Khmer Studies Institute, 1987.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi, Kenya: Uzima Press, 1986.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi: Uzima, 1986.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi, Kenya: Uzima, 2000.

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Titan, Group. Anatolian break dance. Place of publication not identified]: Pharaway Sounds, 2016.

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Bartók, Béla. Roumanian folk dances: Piano solo. London: Boosey & Hawkes, 1993.

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Country Dance & Song Society of America., ed. Gems: The best of the Country Dance and Song Society diamond anniversary music, dance, and song contest. Northampton, MA: The Society, 1993.

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Cepeda, William, and J. Emanuel Dufrasne-González. La bomba: La música de Puerto Rico : raíces y evolución. San Juan, PR: Casabe Records, 2012.

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Schäfer, Joachim. Folkmusik och dansåret 1990: Musik och dans på nya villkor : utvärdering av folkmusik och dansåret 1990 : huvudrapport. Stockholm: Musikmuseet, 1991.

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Johnson, Arvin. Israel's folk dance festival in Karmiel: An explosion of music and color. Jerusalem: Jerusalem Dateline, 1994.

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Book chapters on the topic "Folk dance music"

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Gustafson, Ruth Iana. "Folk Music and Dance: Imaginary Images of Modern Nationhood." In Exploring Diasporic Perspectives in Music Education, 43–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52105-9_3.

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Manning, David. "The English Folk Dance and Song Society." In Vaughan Williams on Music, 283–87. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0064.

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Vézina, Caroline. "Black American/French Creole Folk Music." In Jazz à la Creole, 27–48. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496842404.003.0003.

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Chapter 2 starts by describing the characteristics of, and similarities between, Black American folk music and Creole songs and their variants, while outlining the latter distinctive use of Caribbean rhythms such as the habanera and the tresillo. Creoles songs, including dance songs, work songs, street cries, and Voodoo songs, were played and sang on the French plantations, Congo Square and in the streets of New Orleans. New information about Congo Square after the Civil War where Danses Créoles were held, and the survival of similar dances, and Voodoo ceremonies in New Orleans and in the countryside strongly suggest that early jazz musicians might have witnessed remnant of the antebellum Sunday gatherings of enslaved people in their childhood.
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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California, 117–60. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0006.

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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California, 161–96. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0007.

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Shay, Anthony. "Encountering Greek American Soundscapes." In Greek Music in America, 312–25. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0016.

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In “Encountering Greek American Soundscapes,” respected dance scholar and choreographer Anthony Shay investigates the context of Greek musical performances based on his experiences as a young folk dancer in California from the 1950s to 1970s. After first tracing immigration history and exploring the circumstances in which people listened to music, sang, played musical instruments, and danced in Greece, he then delineates the types of music in several different American contexts, as well as who plays or sings each genre and, who forms the audience. Among the contexts that he notes are church picnics, as well as Greek taverns and clubs such as Athenian Gardens and Greek Village.
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Ellis, Katharine. "Folk Music, Class, and Nation." In French Musical Life, 275–316. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.003.0009.

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The identitarian nature of French folk music (both in itself and within art music) is introduced as presenting a challenge to long-standing official French policies of national unity—whether expressed as traditional unity in uniformity or via a newer Third-Republic formulation of unity in diversity. This challenge explains why official French art-musical culture never joined in with the celebratory ethnic-national folk-music practices of other European nations in the late nineteenth and early twentieth centuries. Instead, French folk music’s relation to the state is characterized by wide-ranging attempts to control and neutralize difference, resulting in invented traditions presented to schoolchildren as their unified patrimoine and composed into an emerging strand of neoclassical dance-form composition that brought together the modal and the folk-like. At the same time, folk music was usefully harnessed as an internal exotic within world’s fairs and as an element of modern tourism, while within opera, the particularism of regionalist composers was censored (sometimes self-censored), and often replaced by vague indicators of childlike Frenchness.
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"Smith’s Amnesia Theater: “Moonshiner’s Dance” in Minnesota." In Harry Smith's Anthology of American Folk Music, 154–81. Abingdon, Oxon ; New York City : Routledge, 2017. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315586250-18.

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"‘me and not-me’: folk songs, narrative perspectives and the gender imaginary in Shadow Dance." In Angela Carter and Folk Music. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350296312.ch-003.

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"Ritual Music, Dance and Theatre of Shintō Shrines: Kagura." In An Introduction to Japanese Folk Performing Arts, 39–54. Routledge, 2016. http://dx.doi.org/10.4324/9781315566887-9.

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Conference papers on the topic "Folk dance music"

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Talpa, Svetlana. "Stage folk dance versus character dance." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.09.

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In the article, the author’s main objective is to argue the need to study and capitalize on folk stage dance and character dance by comparatively assigning their methodological and aspectual features. For this purpose, the analytical method of approaching the problem is used, as well as the pedagogical aspect. Performing folk dance and character dance exploits the capacity of the mind of both a professional dancer (ballet artists) and of an amateur dancer, by educating the body in order to be aware of each movement performed. From a methodological point of view, the stage folk dance and the character dance are analogous, and from the aspectual point of view they are varied, differing depending on the performers/artists/dancers, the place of manifestation and the specific music. These forms of dance are analyzed by specific artistic means, and finally they are reproduced in choreographic works (choreographic suites) or in ballet performances.
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Marolt, Matija, Janez Franc Vratanar, and Gregor Strle. "Ethnomuse: Archiving folk music and dance culture." In IEEE EUROCON 2009 (EUROCON). IEEE, 2009. http://dx.doi.org/10.1109/eurcon.2009.5167650.

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Kaeomak, Theerawut. "Music Composition: Lagu J-Mahmad Folk Dance for Jazz Ensemble." In – The European Conference on Arts & Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2188-1111.2023.8.

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Lu, Qinghua. "The Positioning and Development of Yunnan Folk Music Song and Dance Performances." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.19.

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Bolya, Mátyás. "A digitális gyűjtésrekonstrukció lehetőségei: az Ethiofolk projekt." In Networkshop. HUNGARNET Egyesület, 2023. http://dx.doi.org/10.31915/nws.2023.15.

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In June, 1965, two young researchers arrived in Addis Ababa at the invitation of Emperor Haile Selassie. The purpose of György Martin (folk dance researcher) and Bálint Sárosi’s (folk music researcher) journey was to examine and explore traditional Ethiopian folklore. They were members of the Folk Music Research Group of the Hungarian Academy of Sciences, whose head was Kodály at that time. From their home institution they had received internationally renowned knowledge and expertise in folk music research, thus they wished to be among the first to explore Ethiopian folklore. Thus, one of the most exciting and productive expeditions of Hungarian folklore research to Africa began. As virtually nothing was available about Ethiopian folklore in Hungary at that time, their journey amounted to an academic leap of faith. At the beginning they had no idea of the richness of the archaic dance and music culture that they would encounter. Without any knowledge of the place and the material that awaited them in Ethiopia, their only support were the 70 years of experience crystalized in the methodology of Hungarian folk music research and the tools of contemporary documentation. While, some cultural exchange between the two countries followed their journey to Ethiopia for a few years, the collection’s material slowly became forgotten. During their journey they kept detailed notes and records, but also made audio and video recordings, photographs, and bought instruments. They returned home all together with approximately 3200 meters of silent video recordings, 30 strips of audio tape and 1000 photographs. Processing the Ethiopian collection meant a new challenge for the team, since the collection itself took place more than five decades ago. We had to learn and understand a methodology that relied on the technology of the time and transfer it to a modern software environment. After digitalization we created a data structure and based on the available records and notes we made a full-scale collection reconstruction, fine-tuning the data and creating cross-references. Thus, we got a meta-data structure that could be placed to the software environment, developed by the Polyphony Project, which is capable of fulfilling online publication purposes as well as assisting research. Behind the scenes of a website that is accessible to everybody, there is a diverse database system that complies with the most rigorous of scientific standards and handles significantly more considerations that what is visible from the displayed elements. How much more is a digital reconstruction of fieldwork than the digitization of analog material? How can the information that can be extracted be maximized five decades later? How can all this be linked to a digital archive concept? The article will seek answers to these questions.
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Guo, Zhenhua, and Jun Yang. "The Folk Custom Projection of Bloodline Heritage of Ethnic Group - Inspection and Analysis of Gejia People's Music and Dance." In International Conference on Education, Management, Computer and Society. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/emcs-16.2016.125.

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Mouli, T. Sai Chandra. "Sustaining Folk Literature: A Study." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-7.

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Folk literature is integral to all languages. Verbal and nonverbal forms of folk literature are all pervasive. Verbal forms include proverbs, riddles, lullabies, tales, and ballads, among others. The nonverbal form encompasses dances, games, toys, and objects comprising ethnic designs and flavors. A community’s outlook is shaped by these forms. By and large, folk literature in South Indian languages is performance-oriented, and music is an essential component of the same. The written form has a greater status than the oral presentation. Thus ‘highbrow’ or classical literature enjoys greater status than ‘popular’ or ‘folk literature.’ For thousands of years, humans communicated orally, not with the stylus nor pen. With the advent of printing technology, the explosion of electronic media and the inconceivable impact of information technology, folk literature seems to be waning. This has survived on account of performances by people who live in rural areas and who are generally not so well educated. The same technology should be employed to further the study of folk literature and to preserve the folk literature in Asian countries, as elsewhere. Translation of folk literature into a global language such as English assists in preserving this and in offering the language a greater reach. Making use of online tools in the transmission and the sharing of data is imperative. This presentation seeks to focus attention on efforts made in this direction in South India.
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Reports on the topic "Folk dance music"

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Karki, Shanta, Marina Apgar, Mieke Snijder, and Ranjana Sharma. Learning from Life Story Collection and Analysis With Children Who Work in the Worst Forms of Child Labour in Nepal. Institute of Development Studies, October 2022. http://dx.doi.org/10.19088/clarissa.2022.007.

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The CLARISSA Nepal team collected and analysed 400 life stories of children and young people engaged in or affected by the worst forms of child labour (WFCL), particularly in the “Adult Entertainment” sector in Nepal, which includes children working in Dohoris (restaurants playing folk music), dance bars, spa-massage parlours, khaja ghars (tea/snack shop) and guest houses. Stories were also collected from children in CLARISSA’s focus neighbourhoods, children in this category include street connected children and those working in transportation, party palaces, domestic labour and construction sites. Of the 400 stories collected, 350 were collected by adult researchers and 50 were collected by children themselves.
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