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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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.

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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-existe

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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.

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3

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

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555 pages<br>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 h

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4

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

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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

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5

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.

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6

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.

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7

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.

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8

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.

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9

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.

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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

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10

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/.

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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 i

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11

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.

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12

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/.

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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) e

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13

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

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李潔嫦.<br>論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998.<br>參考文獻: leaves 99-106.<br>Li Jiechang.<br>撮要 --- p.iii<br>Chapter 第一章 --- 地水南音源流槪說<br>Chapter 一´Ø --- 引言 --- p.一<br>Chapter 二´Ø --- 南音的起源和發展 --- p.二<br>Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四<br>Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代）<br>Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八<br>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<br>Chapter 三´Ø --- 七十年代 --- p.二五<br>Chapter 四´Ø --- 八十年代至今 --- p.二八<br>Chapter 第三章 --- 地水南音的音樂風格<br>Chapter 一´Ø --- 引言 --- p.四三<br>Chapter 二´Ø --- 唱詞結構 --- p.四四<br>Chapter 三´Ø --- 板面及過序的處理 --- p.四八<br>Chapter 四´Ø --- 《霸王別姬》音樂

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"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.

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李允協.<br>論文(碩士) -- 香港中文大學硏究院音樂學部, 1995.<br>參考文獻: leaves 129-143.<br>Li yunxie.<br>鳴謝 --- p.´þ<br>前言 --- p.(3)<br>Chapter 1 --- 侗族概況與音樂述略 --- p.1<br>Chapter 1.1 --- 侗族概況 --- p.1<br>Chapter 1.1.1 --- 地理環境及人口分佈 --- p.1<br>Chapter 1.1.2 --- 語言 --- p.3<br>Chapter 1.1.3 --- 簡史與族源 --- p.10<br>Chapter 1.1.4 --- 家庭和社會組織 --- p.17<br>Chapter 1.1.5 --- 信仰和崇拜 --- p.21<br>Chapter 1.1.6 --- 風俗習慣 --- p.28<br>Chapter 1.1.7 --- 節會要覽 --- p.32<br>Chapter 1.2 --- 音樂述略 --- p.37<br>Chapter 1.2.1 --- 民間歌曲 --- p.37<br>Chapter 1.2.2 --- 樂器與器樂 --- p.45<br>Chapter 1.2.3 --- 侗戲音樂 --- p.52<br>Chapter 1.2.4 --

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15

"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.

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吳瑞珠.<br>"2002年7月".<br>論文(哲學碩士)--香港中文大學, 2002.<br>參考文獻 (leaves 152-156).<br>附中英文摘要.<br>"2002 nian 7 yue".<br>Wu Ruizhu.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.<br>Can kao wen xian (leaves 152-156).<br>Fu Zhong Ying wen zhai yao.<br>致謝 --- p.iv<br>摘要（中文） --- p.v<br>摘要（英文） --- p.vi<br>Chapter 第一章 --- 導論 --- p.1<br>人類學與民族音樂學 --- p.6<br>音樂傳統與文化認同 --- p.12<br>研究問題與理論架構 --- p.18<br>研究地點和研究方法 --- p.22<br>本文章節安排 --- p.25<br>Chapter 第二章 --- 福建泉州南音 --- p.27<br>何謂南音? --- p.27<br>歷史沿革 --- p.30<br>曲譜類別、樂器及音樂特色 --- p.39<br>南音和閩南風俗及其音樂功能<br>從名稱上看南音的發展 --- p.46<br>南音裡的男女現

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16

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

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葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ...<br>稿本(據電腦打印本複印)<br>Thesis (M.A.)--香港中文大學, 1989.<br>Gao ben (ju dian nao da yin ben fu yin)<br>Includes bibliographical references (leaves 253-262).<br>Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ...<br>Thesis (M.A.)--Xianggang Zhong wen da xue, 1989.<br>嗚謝 --- p.i<br>序 --- p.iii<br>地圖索引 --- p.v<br>歌謠譜例索引 --- p.vi<br>歌詞例子索引 --- p.viii<br>圖表索引 --- p.x<br>音樂例子索引 --- p.xiii<br>照片索引 --- p.xiv<br>Chapter 第一部分： --- 論文<br>Chapter 第一章 --- 前言<br>Chapter 第一節 --- 研究地區之讓擇 --- p.1<

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17

Gruning, Thomas Robert. "Crossroads of the ordinary contemporary singer/songwriters and the post-revival folk /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120297.

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"上海南匯絲竹樂清音的傳承與變遷研究". Thesis, 2005. http://library.cuhk.edu.hk/record=b6074012.

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China in the twentieth century witnessed a series of revolutions that brought about political and economic changes. Traditional cultures also underwent various changes to survive the drastic impacts of these political revolutionary ideologies. This study takes the case of the Qingyin (locally referred to as the Sizhu), a silk and bamboo instrumental ensemble form that has survived these political impacts in China's recent history and is still thriving in the rural community of Nanhui, a district geographically neighbour to the cosmopolitan city Shanghai, with the aim to locate the reasons and

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19

Scully, Michael F. "American folk music revivalism, 1965-2005." Thesis, 2005. http://hdl.handle.net/2152/3522.

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20

Caleta, Josko. "Social and musical structure of the klapa singing style, Dalmatia and Vancouver." Thesis, 1994. http://hdl.handle.net/2429/5244.

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This study examines both the social and musical characteristics of klapa singing. Comparative analysis of the klapa in Dalmatia, its place of origin, and the klapa in Vancouver is the focus. The field work for this project took place on two occasions: during the regular practices of klapa "Zvonimir", and in a series of individual interviews. The interviews were with the oldest member and one of the organisers of the klapa "Zvonimir", Jozo Cvitanovic. A traditional folk klapa was, and to an extent still is, an informal group of friends, usually brought together by similar interests, a

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Buck, Allison. "An investigation of the influence of central Italian folk music on composers' use of bassoon in select symphonic and large chamber works of the nineteenth century." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738074.

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This study has investigated the influence of Central Italian folk music in select compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean Sibelius. Through the titles of these pieces, one can infer that they were influenced by the composer living in Italy, or visiting, on holiday. This study also includes a brief history of the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of the more modern 19th-century genre. A review of the evolution of the state of ethnomusicology in Italy, including discussion of art and folk-music instruments

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"A portfolio of music compositions." Thesis, 2012. http://library.cuhk.edu.hk/record=b5549034.

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這份作品集包括三首我在修讀碩士課程時的作品。這三首作品代表了我思索及尋找如何表達中國元素的過程。創作過程中，我特意集中於三方面：中國樂器的獨特音色、小型樂隊中樂手之間的親暱、及樂手自發的創造力。而在探索這三方面的同時，我嘗試保留在中國文學常見的表現力，從而創作出一個充分表達中國元素的作品。<br>在第一首樂曲《亂了殘紅》中，我嘗試探索胡琴的獨特音色，在單一的音色組合當中（四部胡琴）尋找音色上的細微變化。另外，我亦嘗試運用有較大自由的記譜法，在給予樂手空間的同時，令他們有緊密的合作，令團隊中有一種緊密而又自然的合作。<br>在《風刀霜劍》中，我將這記譜法更廣泛地運用，而透過這記譜法，我希望可以解放樂手的創造力，同時有效地運用在中國傳統音樂中常見的即興元素。另外，中國樂器有不少先天的限制，我在尊重這些限制的前提下，嘗試在正常以外的演奏技巧，以加強表現力。<br>此後，我將《風刀霜劍》的成果運用於《殘月葬花》，希望從而可以在西方樂器的組合上體現中國文化的影響。在前作的基礎上，顧及到西方音樂訓練中沒有即興演奏的習慣，在記譜上作出了調整，但仍然保留對音色轉變的敏感以及演奏者的自由與緊密合作。而在這些的技巧上，我希望仍然能夠表達一個屬於中國文化的境象，以此作為我對中國文化的回應。<br>The works included in this portfolio represent my cont

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23

Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.

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Text in English<br>This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and wh

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Phibion, Otukile Sindiso. "Bakalanga music and dance in Botswana and Zimbabwe." Thesis, 2003. http://hdl.handle.net/2263/26707.

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Botswana, formerly known as the Bechuanaland Protectorate, is a country with diverse tribal and religious cultures. Bakalanga are one of the tribes found in Botswana and also in Westrn Zimbabwe. The Western part of the Zimbabwean Bukalanga region was included in the then Bechuanaland Protectorate when its border with Zimbabwe was fixed. To date, Botswana's traditional music has been passed from generation to generation, entirely orally. The main contribution of this study is collecting, documenting and preserving Bakalanga traditional music-making. After abolishing official usage of the Ikalan

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Bracewell, Maureen. "Andean musicians in Vancouver : transcultural traditions and identity." Thesis, 2001. http://hdl.handle.net/2429/11642.

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Since the 1980s, "traditional" music of the Andes has become familiar to Vancouver audiences, as well as to those in urban centres throughout North America, Europe, Australia and Japan. This thesis explores the performance and presentation of Andean music in Vancouver, as an example of music making in transcultural displacement. Profiles of three musicians are presented, based on data compiled through formal interviews with musicians, observation of performance events, and research of promotional materials produced by Andean musical groups. All three are part of the Latin American immigrant

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Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.

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In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots

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Musungu, Gabriel Joseph. "Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite." Thesis, 2010. http://hdl.handle.net/10500/3680.

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Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The

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"排瑤"歌堂儀式"音聲研究". Thesis, 2008. http://library.cuhk.edu.hk/record=b6074472.

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Firstly, while the Yao people inhabit in wide geographic regions stretching across Southern China and South East Asia, even overseas, the Paiyao, a branch of the Yao who inhabits only in the Liannan district of the Guangdong province, is unique not only in their geographical inhabitancy but also cultural characteristics.<br>Secondly, while Yao people's Getang ritual is a wide spread ritual practice with local variations, there has not been any in-depth study on the Getang ritual of the Paiyao people.<br>The significance of this study are Three-fold.<br>The thesis aims to study the soundscape o

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Rutstein, Esther. "Jewish folksongs in the Palestinian period : building a nation." Diss., 1997. http://hdl.handle.net/10500/17649.

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The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal

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Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.

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Accompanying music files attached (mp3)<br>The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music.

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Khosa, Hanyani Aubrey. "A descriptive analysis of indigenous Xitsonga music dance compound: A musicological approach." Thesis, 2018. http://hdl.handle.net/11602/1127.

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PhD (African Studies)<br>Centre for African Studies<br>It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for o

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