Relevant bibliographies by topics / Folk music – History and criticism / Dissertations / Theses
To see the other types of publications on this topic, follow the link: Folk music – History and criticism.

Dissertations / Theses on the topic 'Folk music – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Folk music – History and criticism.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

Full text
Abstract:
From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
APA, Harvard, Vancouver, ISO, and other styles
2

Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

Full text
Abstract:
555 pages
This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
10000-01-01
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Abeyaratne, Harsha. "Folk music of Sri Lanka : ten piano pieces." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213149.

Full text
Abstract:
The purpose of the present research was to provide ideas for positive stress management in the orchestra world to help achieve high-level performances. The author developed the Orchestral Performance and Stress Survey and distributed it to 230 musicians of three orchestras that comprised full-time and part-time professional as well as community orchestra musicians. The survey sought to identify stress-causing and performance-enhancing factors in the orchestra environment. Questions on the musicians' background allowed for comparisons to identify groups with particular needs. Results show that musical training often does not include stress management training. Playing-related injuries are common. Two-thirds of full-time musicians who responded have suffered injuries that forced them to stop playing for more than one week. On average, musicians reported that stress neither detracts from, nor enhances performances. The most stressful concert types were classical concerts. Highly critical audiences are the most stressful.
School of Music
APA, Harvard, Vancouver, ISO, and other styles
7

Go, Kin-ming Joseph, and 吳建明. "Nostalgic musicians in North Point: a survey of Fujian Nanyin activities in Fujian Tiyuhui, from 1957 to thepresent." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227351.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Pham, Phuong Hoa. "Étude des rapports entre les musiques traditionnelles vietnamiennes et les techniques de composition occidentales dans les oeuvres de Dàm Linh." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33737.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cheung, Kwok-hung Stephen, and 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lee, Hee Seung. "The "Beethoven Folksong Project" in the Reception of Beethoven and His Music." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_hee_seung/index.htm.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.

Full text
Abstract:
The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.
Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
APA, Harvard, Vancouver, ISO, and other styles
12

Ryu, Hanpil. "A Conductor's Guide to Un-Yung La's Choral Music as Reflected in Easter Cantata." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862841/.

Full text
Abstract:
Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.
APA, Harvard, Vancouver, ISO, and other styles
13

Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

Jilek, Dwight. "Sven-David Sandström's Matthäuspassion: Examining J.S. Bach's Influence and Sandström's Compositional Language, Use of Symbolism, and Religious and Spiritual Motivations." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862768/.

Full text
Abstract:
Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.
APA, Harvard, Vancouver, ISO, and other styles
15

Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Bearman, Christopher James. "English folk music movement 1898-1914." Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:5448.

Full text
Abstract:
The folk music movement was an important influence on English cultural life in the years immediately before the First World War. From remote origins in the 1830s and 1840s and small beginnings in the 1880s and 1890s, it suddenly caught the public mood between 1904 and 1914 and for a brief moment it seemed as though a genuinely indigenous and unifying cultural force might have been found. This proved to be a false hope, but nevertheless the movement has survived and has a continuing place in English cultural historiography. This movement, however, has never been provided with a general history, still less one which has tried to analyse what actually happened. Instead, over the past thirty years since 1970 an interpretation has developed based on Marxist political thought and cultural theory. Coming as it does from a political position based on class conflict and hostility towards nationalism, this interpretation is profoundly antipathetic to the phenomenon it has sought to analyse and has been more concerned to condemn than to understand. It has seen folk song and dance in terms of material expropriated from the working class, misrepresented and transformed in order to reflect 'bourgeois' ideology, and then fed back to the working class via their children in the state education system. Its weakness is that it has never been able to prove these propositions. This thesis attempts to undermine the Marxist interpretation and to provide a firm foundation of research for future analysis. Chapter One is a historiographical survey of the literature showing how it has developed and exposing its lack of a research base. Chapter Two is a narrative intended to provide a connecting thread for the analytical material which follows. Chapter Three examines the folk music organisations. Chapters Four and Five challenge the central assumptions of the Marxist interpretation by showing that the material was not exclusively 'working class', that folk music collection and publication was careful and scrupulous, and that the movement never succeeded in penetrating the state education system to any significant extent before 1914.
APA, Harvard, Vancouver, ISO, and other styles
17

何倬榮 and Cheuk-wing Ho. "Engendering children: from folk tales to fairy tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227363.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

Ogier, Jarod M. "“Foundations of Folk: The Federal Music Project, The Joint Committee on Folk Arts, and the Archive of American Folk-Song”." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354588034.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Murphy, Judith A. "Folk on Tyne : Tyneside culture and the second folk revival, 1950-1975." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/1731/.

Full text
Abstract:
This thesis explores the nature of the second folk revival in the North East of England. While there have been several major studies of the various national folk revivals during the 1950s, '60s and '70s, there is a paucity of scholarly accounts viewed through a regional lens. This study therefore builds on a common perception of North Eastern regional particularity to establish the ways in which the folk revival as experienced by its members within the region was distinct from that detailed in the literature on the wider (inter-)national folk scene. Using comparative examples drawn from the regional and international folk movements, the thesis contextualizes and differentiates the general trends within the second revival as a whole and its North Eastern manifestation. There are some evident discrepancies relating, for example, to levels of political involvement in the respective folk scenes but also broad similarities in chronological developments. These trends are explored through a number of themes, beginning with the weaving of a constructed regional folk-cultural identity out of a diversity of ethnic, local and occupational strands. Secondly, the common assumption that the North East is a region with a rare continuity of traditions is interrogated, alongside an acknowledgement that this was a time of rapid social change, mobility and dislocation from older cultural practices. The basic dichotomy of 'mediator' and `mediated' is questioned and found wanting, particularly in a region where young revivalists were rarely far — temporally, geographically or socially - from the source of their tradition. The ways in which the media represented and altered folk traditions, and how these representations were used to build regional consciousness is considered, as are the 1960s developments in heritage and tourism which saw vernacular culture taking on a much greater significance in the region's economy. Further, celebratory imagery is shown to have a long history in musical representations of the region, but with a contemporary focus on stoicism in the face of decline. Finally, the reasons behind the folklorists' imperative to locate the `authentic' are sought in relative degrees of alienation from contemporary society, resulting in a dissolution of the barriers between 'genuine' and 'invented' tradition.
APA, Harvard, Vancouver, ISO, and other styles
20

Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Wallace, Charles Allen. "Sarah's Song: How Folk Music Shattered Slaveholding Ideology in Antebellum Alabama." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626602.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Kerley, Sarah C. "If I Had a Hammer: American Folk Music and the Radical Left." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2614.

Full text
Abstract:
Folk music is one of the most popular forms of music today; artists such as Mumford and Sons and the Carolina Chocolate Drops are giving new life to an age-old music. It was not until the 1950s that new popular interest in folk music began. Earlier, folk music was used by leftist organizations as a means to reach the masses. It assumed because of this history that many folk artists are sympathetic to the Left. By looking at the years from 1905-1975 with the end of the Vietnam War, this study hopes to present the notion that even though these artists produced music that promoted leftist ideals, they were not always supportive of the Communist Party and other leftist organizations. Specific artists will be examined, paying close attention to artists who not only produced revolutionary music, but who were also employed by leftist organizations to perform at rallies and meetings.
APA, Harvard, Vancouver, ISO, and other styles
23

Haymans, Brian. "STEVE BLACKWELL: A FLORIDA FOLK MUSICIAN." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3514.

Full text
Abstract:
This study investigates the life of Steve Blackwell (1947-2006), a Florida folk singer/songwriter from Punta Gorda, FL, located where the Peace River meets the Gulf of Mexico. The study examines his biographical history, his performance career, musical output, and the impact he and his music had on the surrounding community. The first part of the study documents Blackwell s history and the major events that shaped his life while, at the same time, describing what kind of person Steve Blackwell was. The second part of the study examines Blackwell s career as a musical performer, the bands he played with, how those bands came to be or changed over time, what types of music they performed, and any albums he recorded. The third part of the paper looks at Blackwell as a songwriter. How Blackwell decided on his lyrical topics, his musical style, and compositional process are discussed. The final part of the study examines the impact of Blackwell and his music. Consideration is given to Steve Blackwell s closest social networks, as well as to the social implications he, his music, and his networking had on his local community. Research for this study was done through immersion mixed with a close study of Steve Blackwell's personal documents. A number of personal interviews and correspondences were conducted with Steve Blackwell s family, friends, former band members, and a number of other unrelated patrons. Primary sources for this study include a number of Blackwell s own documents, such as his letters, journal entries, sketches, working copies of songs, and recording sessions, etc., which were made available with the gracious permission of the Blackwell family. Few secondary sources were found, save for a few magazine and newspaper articles. After these materials were gathered, a portrait of Steve Blackwell emerged. Evidence was found that supports the idea that Steve Blackwell's music was not stylistically unique, although competently made and enjoyed by a wide audience. Nevertheless, he was special for the community by what he was able to accomplish through his music and extroverted personality. This is not a definitive summation of Steve Blackwell s life, but rather a starting point for any further research on Blackwell or any research in the significance of local musicians for social communities.
M.A.
Department of Music
Arts and Humanities
Music MA
APA, Harvard, Vancouver, ISO, and other styles
24

Bishop, Glenford Richard. "The origins of the English folk-play : re-interpreting texts and theories." Thesis, University of Wales Trinity Saint David, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683021.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Shagidullina, Adelya. "TATAR FOLK MUSIC AND ITS INFLUENCE ON THE FIRST NATIONAL BALLET." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/581968.

Full text
Abstract:
Music Performance
D.M.A.
The purpose of this monograph is to introduce Tatar national music to the Western world by focusing on the influence of Tatar folklore on the first national ballet, quite possibly the most beloved and popular musical work of Tatars to this day. The monograph will include a brief discussion of the history of Tatars, as well as historical background of Tatar folk music and its importance to the development of concert music in Tatarstan. An analysis of characteristic elements of the folk music of Tatars and their influences on the music of the first Tatar national ballet will also be discussed. In my study, I rely on available sources, including books, articles, reviews, dissertations, recordings, and musical scores. I hope my monograph will help to promote Tatar national music and spark the interest of English-speaking scholars and musicians.
Temple University--Theses
APA, Harvard, Vancouver, ISO, and other styles
26

Scott, Deb. "Supplemental Studies for Mastering Extended Techniques in Three Late Twentieth-Century Works for Solo Trombone: Luciano Berio's Sequenza V, Folke Rabe's Basta and Mark Phillips' T. Rex, Together with Three Recitals of Selected Works by Wagenseil, Grøndahl, Gotkovsky, and Others." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5544/.

Full text
Abstract:
Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.
APA, Harvard, Vancouver, ISO, and other styles
27

Clavero, Dolores. "Génesis y evolución de los temas épicos nacionales del romancero viejo." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26974.

Full text
Abstract:
Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified. The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII). The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions: 1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre. 2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora. 3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives. 4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations. Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
APA, Harvard, Vancouver, ISO, and other styles
28

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/.

Full text
APA, Harvard, Vancouver, ISO, and other styles
29

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

Full text
Abstract:
In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
APA, Harvard, Vancouver, ISO, and other styles
30

Wittmer, Micah. "Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939)." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718725.

Full text
Abstract:
This dissertation explores the portrayal of Negro folk culture in concert performances of the Hall Johnson Choir and in Hall Johnson’s popular music drama, Run, Little Chillun. I contribute to existing scholarship on Negro spirituals by tracing the performances of these songs by the original Fisk Jubilee singers in 1867 to the Hall Johnson Choir’s performances in the 1920s-1930s, with a specific focus on the portrayal of Negro folk culture. By doing so, I show how the meaning and importance of performing Negro folk culture changed over time during this period. My dissertation also draws on Hall Johnson’s lectures, radio broadcasts, and published essays on Negro folk culture. By tracing the performance of the Negro spirituals to those of the original Fisk Jubilee Singers during the Reconstruction period, it becomes clear that without the path-breaking work of the original Fisk Jubilee Singers, there would be no Hall Johnson Choir. Hall Johnson was devoted to composing works about African Americans that preserved and accurately portrayed Negro folk culture because he believed that Negro folk culture was an essential part of American cultural identity. I posit that Run, Little Chillun employs the ideals of the New Negro Renaissance, strategically capitalizing on what many white American cultural critics believed to be primitive—and therefore genuine—black culture while promoting a unique version of black empowerment through the speech of an Oxford Educated black male character who espoused an Afrofuturistic theology. With an interdisciplinary approach, I draw on musicology, African American studies, and sociology to place Hall Johnson’s writings on Negro spirituals within the context of the greater discussion of Negro spirituals during the 1920s-1940s. My primary methodology is historical and includes archival research, musical analysis, and reception history. The writings of black intellectuals and leaders of the New Negro Renaissance such as W.E.B Du Bois, Alain Locke, William Work, and John Rosamond Johnson provide the primary theoretical framework for this dissertation.
Music
APA, Harvard, Vancouver, ISO, and other styles
31

Krafcik, Annika K. "Teaching the Narod to Listen: Nadezhda Briusova and Mass Music Education in Revolutionary Russia." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1591367779053198.

Full text
APA, Harvard, Vancouver, ISO, and other styles
32

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

Full text
Abstract:
French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
APA, Harvard, Vancouver, ISO, and other styles
33

Loyacano, Shelby N. "Her People and Her History: How Camille Lucie Nickerson Inspired the Preservation of Creole Folk Music and Culture, 1888-1982." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2624.

Full text
Abstract:
Over the twentieth century, Camille Lucie Nickerson excelled in her multi-faceted career as an educator, musician, and interpreter for the advancement of musical education for generations of black students in New Orleans and at Howard University in Washington D.C. Nickerson devoted herself to furthering her musical education through private instruction with her father, Professor William J. Nickerson. She then graduated with a diploma from Southern University and with a B.A. and M.A. in music from Oberlin College. Nickerson’s leadership in musical associations on a local and national level enhanced her ability to reach audiences of all ages through her performances. She dedicated her life to musical education and the sharing Creole folk music, both personal attributes passed down from her father. While Nickerson was determined to preserve Creole folk music through her lecture-recitals, her wider purpose argued for a distinct recognition for Creole culture, thus, acknowledgment of her culture.
APA, Harvard, Vancouver, ISO, and other styles
34

McGee, Nathan. "Sounds Like Home: Bluegrass Music and Appalachian Migration in American Cities, 1945-1980." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1479824005091132.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
38

譚達先 and Tat-sin Tam. "Folk literature and the Zaju (Northern drama) of the YuanDynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31232395.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.

Full text
Abstract:
This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following a look at specific musical effects used by Debussy that reveal the influence of the Orient, this paper surveys an extensive body of his piano music chronologically, focusing on compositional techniques that were learned from the Asian ensembles at the cultural exhibits of the Paris Expositions. This paper reveals the depth of the Oriental influence in Debussy's piano music.
APA, Harvard, Vancouver, ISO, and other styles
40

Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

Full text
Abstract:
Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.
APA, Harvard, Vancouver, ISO, and other styles
41

Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

Full text
APA, Harvard, Vancouver, ISO, and other styles
42

Balkilic, Ozgur. "Kemalist Views And Works On Turkish Folk Music During The Early Republican Period." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606528/index.pdf.

Full text
Abstract:
The main aim of this thesis is to examine the characteristics of Kemalist views and works on Turkish folk music during Early Republican Period. Kemalism, as a modernization project, aimed to transform the Turkish social formation totally. In this respect, one of the indispensable dimension of this project was cultural reforms. The music policies, as a part of the cultural reforms, were given considerable attentions by the Kemalist cadres since the music, according to them, was one of the area to reflect the developmental level of a society. Their views and efforts on Turkish folk music were a significant part of these music policies. In this sense, Kemalist folklore acts are of crucial importance to understand the features of Kemalist ideologic paradigms. Besides, this thesis will deal with the Kemalist folklore acts in order to understand two main principles of Kemalism
nationalism and populism which were the important ideological paradigms of Kemalism. In other words, one of the main ab inito of this thesis is to comprehend the nationalism and populism principles which constituted the general framework of Kemalist folklore acts. The thesis also pays attention to the inconsistencies and unmethodological works in folk music acts during the Early Republican Period.
APA, Harvard, Vancouver, ISO, and other styles
43

Chapman, Christopher Adam 1964. "Regional traditions of Lao vocal music : lam siphandon and khap ngeum." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7867.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Martin, Toby. "Yodelling boundary riders : country music in Australia, 1936-2010." Phd thesis, Department of History, 2011. http://hdl.handle.net/2123/8573.

Full text
APA, Harvard, Vancouver, ISO, and other styles
45

Peter, Timothy Layne. "Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186414.

Full text
Abstract:
This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non-emotional approach with the evangelist recitatives. These new approaches found in Critica Musica, derived from Italian opera in connection with Mattheson's writings, are in comparison to the musical devices in recitatives used by Mattheson's predecessors Schutz, Bernhard, Theile, and Keiser. The results of these comparisons show a natural progression of stylistic changes in recitatives in passion settings up to Mattheson's years at the Domkirche in Hamburg.
APA, Harvard, Vancouver, ISO, and other styles
46

Matambo, Lotta Eleonoora. "The solo piano music of Einojuhani Rautavaara." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.

Full text
Abstract:
Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.
APA, Harvard, Vancouver, ISO, and other styles
47

"香港地水南音初探." 1998. http://library.cuhk.edu.hk/record=b5896292.

Full text
Abstract:
李潔嫦.
論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998.
參考文獻: leaves 99-106.
Li Jiechang.
撮要 --- p.iii
Chapter 第一章 --- 地水南音源流槪說
Chapter 一´Ø --- 引言 --- p.一
Chapter 二´Ø --- 南音的起源和發展 --- p.二
Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四
Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代）
Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八
Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九
Chapter 三´Ø --- 七十年代 --- p.二五
Chapter 四´Ø --- 八十年代至今 --- p.二八
Chapter 第三章 --- 地水南音的音樂風格
Chapter 一´Ø --- 引言 --- p.四三
Chapter 二´Ø --- 唱詞結構 --- p.四四
Chapter 三´Ø --- 板面及過序的處理 --- p.四八
Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四
Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八
Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣
Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八
Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三
Chapter 三´Ø --- 結論 --- p.九十
Chapter 第五章 --- 結論 --- p.九四
參考書目 --- p.九九
附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七
附錄二 《霸王別姬》的唱腔分析 --- p.一一七
附錄三《客途秋恨》的唱腔分析 --- p.一三一
表目
表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五
表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七
表2-3 八十至九十年代南音演出和講座資料 --- p.三九
表3-1 --- p.五五
表3-2 --- p.五七
表3-3 --- p.六五
表3-4 --- p.六九
表3-5 --- p.七二
表4-1杜煥生平年表 --- p.八二
表4-2唐健垣生平年表 --- p.八八
APA, Harvard, Vancouver, ISO, and other styles
48

"貴州省從江縣高增鄉侗族多聲部民歌: 大歌的探索." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895582.

Full text
Abstract:
李允協.
論文(碩士) -- 香港中文大學硏究院音樂學部, 1995.
參考文獻: leaves 129-143.
Li yunxie.
鳴謝 --- p.´þ
前言 --- p.(3)
Chapter 1 --- 侗族概況與音樂述略 --- p.1
Chapter 1.1 --- 侗族概況 --- p.1
Chapter 1.1.1 --- 地理環境及人口分佈 --- p.1
Chapter 1.1.2 --- 語言 --- p.3
Chapter 1.1.3 --- 簡史與族源 --- p.10
Chapter 1.1.4 --- 家庭和社會組織 --- p.17
Chapter 1.1.5 --- 信仰和崇拜 --- p.21
Chapter 1.1.6 --- 風俗習慣 --- p.28
Chapter 1.1.7 --- 節會要覽 --- p.32
Chapter 1.2 --- 音樂述略 --- p.37
Chapter 1.2.1 --- 民間歌曲 --- p.37
Chapter 1.2.2 --- 樂器與器樂 --- p.45
Chapter 1.2.3 --- 侗戲音樂 --- p.52
Chapter 1.2.4 --- 曲藝 --- p.56
Chapter 2 --- 侗族大歌概貌 --- p.58
Chapter 2.1 --- 分類 --- p.58
Chapter 2.2 --- 唱大歌的場合 --- p.60
Chapter 2.3 --- 大歌的结構 --- p.62
Chapter 2.4 --- 歌詞韵律结構 --- p.66
Chapter 3 --- 侗歌的傳承與社會功能 --- p.68
Chapter 3.1 --- 承傳 --- p.69
Chapter 3.2 --- 社會功能 --- p.73
Chapter 4 --- 多聲部民歌曲目研究分析 --- p.78
Chapter 4.1 --- 田野工作簡況 --- p.78
Chapter 4.2 --- 多聲部民歌曲目分析 --- p.84
Chapter 4.2.1 --- 曲目介紹 --- p.84
Chapter 4.2.2 --- 曲目綜合分析 --- p.89
Chapter 4.2.3 --- 譜例個案分析 --- p.112
Chapter 5 --- 總结 --- p.123
附錄
Chapter 1 --- 參考書目 --- p.129
Chapter 1.1 --- 外文參考書目 --- p.129
Chapter 1.2 --- 中文參考書目及論文目錄 --- p.130
Chapter 2 --- 附圖
附圖一中國民族分佈概圖 --- p.144
附圖二 侗族的分佈 --- p.145
附圖三 侗語方言區域圖 --- p.146
附圖四 侗族蘆笙 --- p.147
附圖五 侗族蘆笙筒 --- p.147
APA, Harvard, Vancouver, ISO, and other styles
49

"泉州南音: 一個福建民間音樂傳統與文化認同的研究 = Nanyin in Quanzhou : a study of a folk musical tradition and cultural identity in Fujian." 2002. http://library.cuhk.edu.hk/record=b5891409.

Full text
Abstract:
吳瑞珠.
"2002年7月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 152-156).
附中英文摘要.
"2002 nian 7 yue".
Wu Ruizhu.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 152-156).
Fu Zhong Ying wen zhai yao.
致謝 --- p.iv
摘要（中文） --- p.v
摘要（英文） --- p.vi
Chapter 第一章 --- 導論 --- p.1
人類學與民族音樂學 --- p.6
音樂傳統與文化認同 --- p.12
研究問題與理論架構 --- p.18
研究地點和研究方法 --- p.22
本文章節安排 --- p.25
Chapter 第二章 --- 福建泉州南音 --- p.27
何謂南音? --- p.27
歷史沿革 --- p.30
曲譜類別、樂器及音樂特色 --- p.39
南音和閩南風俗及其音樂功能
從名稱上看南音的發展 --- p.46
南音裡的男女現象 --- p.48
南音面對的困難 --- p.49
Chapter 第三章 --- 地方組織與表演 --- p.53
泉州市工人文化宮南樂社 --- p.54
泉州南音樂團 --- p.61
浮橋仙景南音學校 --- p.67
南音表演裡的男女角色 --- p.74
地方組織和南音的保存 --- p.75
Chapter 第四章 --- 傳統與改革 --- p.81
南音的演變 --- p.82
傳統南音的局限和新南曲的特點 --- p.88
動態的傳統 --- p.91
新南音的弱點 --- p.95
傳統文化與文化認同 --- p.101
Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106
閩南移民和跨國網絡的建立 --- p.106
境外華人和泉州的南音組織 --- p.110
境內外南音團體的聯繫 --- p.111
傳統的被利用 --- p.114
音樂傳統和懷舊情懷、文化認同 --- p.122
Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127
國際組織和世界文化遺產的保護 --- p.128
泉州南音申報世遺的背景 --- p.129
各界的表現 --- p.132
世遺的價值 --- p.137
世遺和文化認同 --- p.139
Chapter 第七章 --- 結語 --- p.144
附錄（新南曲唱詞） --- p.149
參考書目 --- p.152
APA, Harvard, Vancouver, ISO, and other styles
50

"香港西貢及其鄰近地區歌謡硏究." 1989. http://library.cuhk.edu.hk/record=b5887244.

Full text
Abstract:
葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ...
稿本(據電腦打印本複印)
Thesis (M.A.)--香港中文大學, 1989.
Gao ben (ju dian nao da yin ben fu yin)
Includes bibliographical references (leaves 253-262).
Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ...
Thesis (M.A.)--Xianggang Zhong wen da xue, 1989.
嗚謝 --- p.i
序 --- p.iii
地圖索引 --- p.v
歌謠譜例索引 --- p.vi
歌詞例子索引 --- p.viii
圖表索引 --- p.x
音樂例子索引 --- p.xiii
照片索引 --- p.xiv
Chapter 第一部分： --- 論文
Chapter 第一章 --- 前言
Chapter 第一節 --- 研究地區之讓擇 --- p.1
Chapter 第二節 --- 過去及目前之研究 --- p.2
Chapter 第三節 --- 研究目標 --- p.5
Chapter 第四節 --- 資料來源 --- p.6
Chapter 第二章 --- 歌謠之概念及分類
Chapter 第一節 --- 歌謠之定義及概念 --- p.10
Chapter I --- 過往學者對「民歌」所下之定義 --- p.11
Chapter II --- 筆者對西貢地區歌謠所作之定義 --- p.14
Chapter III --- 粤省與西貢地區歌謠之稱謂問題 --- p.16
Chapter 甲 --- 「粤謳」 --- p.16
Chapter 乙 --- 「粤風」 --- p.17
Chapter 丙 --- 「粤歌」 --- p.18
Chapter 第二節 --- 歌謠分類之概念及分類方法 --- p.22
Chapter I --- 歌謠分類的一些概念 --- p.22
Chapter II --- 台灣歌謠之一般分類方法 --- p.24
Chapter III --- 過往國內歌謠之「三分法」 --- p.25
Chapter IV --- 近期國內歌謠「色彩區」之劃分 --- p.26
Chapter V --- 廣東省（粤）歌謠的分類 --- p.29
Chapter VI --- 本港歌謠之分類 --- p.30
Chapter VII --- 筆者對西貢歌謠之分類方法 --- p.32
Chapter 甲 --- 歌謠劃分之層次 --- p.32
第一級分類： 體系 --- p.33
第二級分類： 歌謠方言色彩區 --- p.33
第三級分類： 體裁 --- p.34
第四級及五級分類歌類及歌目 --- p.35
第六級分類： 歌名 --- p.37
Chapter 第三章 --- 西貢歌謠尋根
Chapter 第一節 --- 西貢地區人口組成的一些資料 --- p.42
Chapter 第二節 --- 本地人與蛇歌 --- p.45
Chapter I --- 「輋」字，「畬」字及類似字之字義 --- p.46
Chapter II --- 目前國內及廣東省畬族的狀況 --- p.47
Chapter III --- 西貢地區蛇歌之特色 --- p.49
Chapter IV --- 福建畬歌之特色 --- p.54
Chapter V --- 浙江畬歌之特色 --- p.56
Chapter VI --- 西貢「九龍蛇話山歌」命名之推想 --- p.59
Chapter 甲 --- 源出於浙江九龍山龍泉縣？ --- p.60
Chapter 乙 --- 源出於粤北九連（龍）山一帶地區？ --- p.60
Chapter 丙 --- 源出於粤北九峰山以南之瑤區？ --- p.61
Chapter 丁 --- 源出於本港九龍城附近一帶地區？ --- p.62
Chapter 第三節 --- 客家人與客家歌謠 --- p.65
Chapter I --- 客籍人士之遷徙過程 --- p.66
Chapter II --- 西貢客家山歌的特色 --- p.68
Chapter III --- 梅縣地區客家山歌之特色 --- p.71
Chapter 第四節 --- 蛋家與蛋家歌謠 --- p.77
Chapter I --- 西貢地區漁民之狀況 --- p.77
Chapter II --- 「蛋家」與「蛋名」沿革 --- p.79
Chapter III --- 「蜑」乃「龍蛇」之後？ --- p.81
Chapter IV --- 廣東蛋民的分佈 --- p.82
Chapter V --- 西貢漁民所採用之方言 --- p.83
Chapter VI --- 西貢蛋歌之特色 --- p.84
Chapter VII --- 客家及鶴佬漁民漁歌之特色 --- p.89
Chapter 第四章 --- 歌唱場合
Chapter 第一節 --- 歌唱場合之概念 --- p.94
Chapter 第二節 --- 本地及客家山歌之歌唱場合 --- p.98
Chapter I --- 戶外及田間之山歌 --- p.99
Chapter II --- 攔路歌 --- p.100
Chapter III --- 情歌及艷情歌 --- p.102
Chapter IV --- 老人山歌 --- p.106
Chapter V --- 鬥歌 --- p.107
Chapter 第三節 --- 圍頭歌之歌唱場合 --- p.110
Chapter I --- 月令歌 --- p.111
Chapter 甲 --- 唱古人 --- p.113
Chapter 乙 --- 唱節氣 --- p.117
Chapter 丙 --- 唱花木、茶菓及字眼 --- p.120
Chapter 丁 --- 唱魚名鳥名及十二生肖 --- p.123
Chapter 戊 --- 唱過番 --- p.124
Chapter II --- 猜謎歌 --- p.125
Chapter 甲 --- 猜字眼 --- p.126
Chapter 乙 --- 猜古人 --- p.127
Chapter III --- 圍名歌 --- p.127
Chapter IV --- 節日吉慶 --- p.129
Chapter 甲 --- 祝壽 --- p.129
Chapter 乙 --- 中秋 --- p.130
Chapter 丙 --- 過年 --- p.132
Chapter 第四節 --- 本地及客家「歌堂歌」及「靈堂歌」之歌唱場合 --- p.135
Chapter I --- 哭嫁與坐歌堂 --- p.136
Chapter 甲 --- 開口喊天喊地 --- p.138
Chapter 乙 --- 第一次哭辭 --- p.139
Chapter 丙 --- 坐凳頭 --- p.141
Chapter 丁 --- 上頭 --- p.143
Chapter 戊 --- 第二次哭辭 --- p.144
Chapter 己 --- 出閣 --- p.146
Chapter II --- 「靈堂歌」之歌唱場合 --- p.150
Chapter 第五節 --- 蛋家之歌唱場合 --- p.153
Chapter I --- 捕魚及行船歌 --- p.153
Chapter II --- 蛋家風俗歌謠及其歌唱場合 --- p.158
Chapter 甲 --- 哭嫁 --- p.159
Chapter 乙 --- 迎娶 --- p.161
Chapter 丙 --- 耍歌堂 --- p.164
Chapter III --- 咸水歌 --- p.166
Chapter 甲 --- 咸水字眼歌 --- p.167
Chapter 乙 --- 歎姑妹 --- p.169
Chapter 丙 --- 艇仔歌 --- p.170
Chapter 第五章 --- 西貢歌謠音樂及歌詞結構的固定因素與非固定因素
Chapter 第一節 --- 歌謠中「歌詞」之「固定」與「非固定」因素 --- p.175
Chapter I --- 歌謠「歌詞」中的「固定」因素、格式、條數規限 --- p.176
Chapter II --- 有「固定格式歌謠」中的「非固定」因素 --- p.182
Chapter 甲 --- 七言四句、三句半及五句板的例子 --- p.182
Chapter 乙 --- 七言四句變五言四句的例子 --- p.186
Chapter 丙 --- 月令歌的例子 --- p.188
Chapter 丁 --- 長篇歌謠的例子 --- p.188
Chapter III --- 「沒有固定格式歌謠歌詞」中之「固定」與「非固定」因素 --- p.198
Chapter 甲 --- 漁民歌謠的例子 --- p.198
Chapter 乙 --- 風俗歌謠的例子 --- p.202
Chapter IV --- 歌謠固定與非固定「襯字」、「襯詞」、及「襯句」 --- p.205
Chapter 甲 --- 客家歌謠例子 --- p.205
Chapter 乙 --- 本地歌謠例子 --- p.209
Chapter 丙 --- 蛋家歌謠例子 --- p.212
Chapter 第二節 --- 歌謠在「音樂」上的「固定」與「非固定」因素 --- p.215
Chapter I --- 有固定曲調歌謠的固定與非固定因素 --- p.215
Chapter 甲 --- 單句式的歌謠例子 --- p.215
Chapter 乙 --- 雙句式的歌謠例子 --- p.218
Chapter 丙 --- 三句半、四句式及五句板例子 --- p.222
Chapter 丁 --- 歌詞次序調換的例子 --- p.225
Chapter 戊 --- 詩詞句法與音樂句法的配合情況 --- p.228
Chapter II --- 「沒有基本曲調」中的固定與非固定因素 --- p.234
Chapter III --- 「襯字」 、「襯詞」、「襯句」與「音樂」之配合 --- p.239
Chapter 甲 --- 歌謠中「不重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 乙 --- 歌謠中「重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 第三節 --- 固定與非固定因素於歌謠中之作用及意義 --- p.243
Chapter I --- 「基本曲調」對歌謠流傳之重要性 --- p.243
Chapter II --- 「襯字」的功能 --- p.245
Chapter III --- 歌謠的「版本」問題 --- p.246
Chapter 第六章 --- 結語 --- p.248
中文參考書目 --- p.253
英文參考書目 --- p.261
第二部份：地圖及歌謠譜例 --- p.262-336
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Folk music – History and criticism' for other source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography