Dissertations / Theses: 'Folk songs Folk-songs'

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Schimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.

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Baltagi, Ibrahim H. "Relationships among folk song preferences of grade five students." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.

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Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.

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Kim, Young-Youn. "Traditional Korean children's songs : collection, analysis, and application /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11288.

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Mowery, Samantha. "Stephen Foster and American song a guide for singers /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.

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Boychuk, Volodymyr. "Vivady : wedding songs of Ukrainians from Bosnia /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22518.pdf.

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Cheung, Kwok-hung Stephen. "Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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Ward, Marilyn. "The extent to which American children's folk songs are taught by general music teachers throughout the United States." [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000820.

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Diehl, Keila. "Echoes from Dharamsala : music in the lives of Tibetan refugees in north India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2008.
Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).

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Ćurčin, Milan. "Srpska narodna pesma u nemačkoj književnosti." Beograd : Narodna biblioteka Srbije, 1987. http://catalog.hathitrust.org/api/volumes/oclc/18487273.html.

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Originally presented as the author's Thesis (doctoral --Universität Wien) under the title: Das serbische Volkslied in der deutschen Literatur.
Includes bibliographical references (p. [169]-189) and index.

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13

Smith, Stephanie Deborah Ladd. "A contextual study of singing in the Fisher family." Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/8230.

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This ethnographic study of a Scottish singing family, the Fishers of Glasgow, is based largely on fieldwork conducted over a period of three years. The Fishers were chosen because of their early involvement in, and their enormous influence on, the Scottish folk revival, which dates from the 1950s. Three members of the Fisher Family, Archie, Ray, and Cilia, sing professionally, and perform both traditional folksongs and contemporary material. This study focuses on them, although commentary about and from other family members is also included. In Chapter 2, I present a biography of the family, which is a patchwork of oral accounts by family members. Their biography leads us back to the islands of Vatersay and Barra, and the island traditions have obviously shaped the family ethos, even though they are an urban family. Chapter 3 is in part an oral history of the folk revival in Scotland, and the emergence of Archie and Ray Fisher as performers in the revival, as well as an analysis of important musical personalities and currents which had an impact on the revival, and particularly on Archie and Ray Fisher. Chapter 4 examines the professional careers of Archie, Ray, and Cilia, as well as the involvement of sisters Joyce, Cindy, and Audrey in the revival. The repertoire of the Fishers is examined in Chapter 5, with reference to the patterns of repertoire in the Scottish folk revival, and traditional sources. The way in which Archie, Ray, and Cilia categorize their songs is considered. Their categories, such as "heavy songs" and "light songs" tend to reflect the emotive impact of a song in performance, rather than structure. The problem of song "ownership" and repertoire within a family is also dealt with here. Chapter 6 focuses on the "aesthetic systems" of Archie, Ray, and Cilia, considering the following components: attraction to and selection of songs for learning; relative importance of tune and text; preferred song content; degree of emotional identification with songs; suitability of voice for a particular song; singing style; vocal range; the choice to accompany or not; the desired impact of the singer on the audience; the performing venue; and self-imposed expectations. The Fishers' aesthetic systems are also compared with those of other singers, both traditional and revival. In Chapter 7, I discuss the functions of songs in the Fishers' public performances, and analyse transcribed performance extracts of Archie, Ray, and Cilia (performing with her husband Artie). The spoken portion of the performances is seen as a significant and integral part of the performance as a communicative event. Analysis focuses on the structure of the performance, how the performance reflects the individual aesthetic system, and what levels of meaning may be derived from the performance. In Chapter 8, I conclude with a brief summary, and assess the place of the Fishers in the Scottish folk revival. Other data on the Fisher family, such as repertoire lists, a discography, and transcribed performance extracts may be found in the Appendices.

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Oras, Janika. "People of the present and songs of the past: collecting folk songs in Estonia in the 1950s and 1960s." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16017.

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This paper discusses musical folklore-collecting practices in Estonia in the 1950s and 1960s. My aim is to observe folkloristic encounters that took place 50 years ago { to do ethnographic Fieldwork in the ethnomusicological past, as called for by Philip Bohlman (Bohlman 1997). The objects of my research are the folkloristic Fieldwork culture from half a century ago (one of the cultural processes characteristic of that era) and its representatives: the folklorists and their interviewees. 'Fieldwork in the past' is a key phrase which allows us to study the persons operating at the time as equally historical Others without focusing too much on the deconstruction of past disciplinary practices, but rather attempting to assume the position of an understanding and sensitive listener to the voice of the Other.

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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.

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Nemapate, Mmbulaheni Alfred. "The structure and meaning in Tshivenda traditional songs." Thesis, University of the North, 1999. http://hdl.handle.net/10386/2152.

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Steubing, Deborah Marie. "The setting of the Auvergnat-dialect folk songs by Joseph Canteloube in his Chants d'Auvergne : an analysis of the modal aspects of the pure folk songs and Canteloube's diatonic/pentatonic accompaniments /." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008252.

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Chyou, Shang-Fen, and Shang-Fen Chyou. "Music has more than charm: a historical and stylistic discussion of Chinese folk songs." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624795.

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Koszarycz, Anna-Marie. "Collection and documentation of Ukrainian folk songs in Kalyna Country, Edmonton, Alberta, Canada (1997)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ38564.pdf.

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Oyola, Rebaza Zoraida Alfonsina. "A collection of Peruvian and other South American folk songs adapted for teaching violoncello." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/2254.

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This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students. The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.

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Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.

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Labi, Kanni. "Eesti regilaulude verbisemantika /." Tartu : Tartu Ülikool Kirjastus, 2006. http://dspace.utlib.ee/dspace/bitstream/10062/866/5/labikanni.pdf.

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Švalbe, Erika Lynn. "Andrejs Jurjāns as Symbol of Latvian Identity: Native Folk Songs in his Large-Scale Symphonic Works." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279409/.

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This thesis presents a study of Andrejs Jurjāns' significant symphonic works as informed by a native musicologist, Professor Jānis Torgāns, and illuminates Jurjāns' role within the cosmopolitan framework of nationalism in music.

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Goussias, Giannoula. "Heroes and heroic life in the Iliad and Akritic folk-song /." Title page, table of contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armg717.pdf.

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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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Ash, Roisin L. "Perception of structure in auditory patterns." Thesis, University of Stirling, 1998. http://hdl.handle.net/1893/26669.

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The present research utilised five tasks to investigate non-musicians' perception of phrase, rhythm, pitch and beat structure in unaccompanied Gaelic melodies and musical sequences. Perception of phrase structure was examined using: i) a segmentation task in which listeners segmented Gaelic melodies into a series of meaningful units and ii) a novel click localisation task whereby listeners indicated where they perceived a superimposed click in the melody had occurred. Listeners consistently segmented the melodies into units of 2.4 - 5.4 seconds. Clicks which were positioned before and after perceived boundaries (identified by segmentation) were perceptually migrated towards the boundary. These results suggest that listeners perceptually differentiate between phrasal groups in melodies (See Sloboda & Gregory, 1980; Stoffer, 1985, for similar results with musicians). Short term memory for rhythmic structure was examined using rhythm recall of computer generated sequences and Gaelic melodies. Computer generated rhythms with small tonal pitch intervals (1 - 4 semitones) were easier to recall than large atonal intervals (predominantly greater than 4 semitones). Recall of Gaelic melodies, containing repetitive rhythmic units, was better than recall of computer sequences. Pitch reversal of Gaelic melodies did not effect recall. Beat-tapping with three Gaelic melodies revealed that the majority of listeners established the underlying beat 1.5 - 3 seconds (5 - 6 notes) after the start of the melodies. Perception of meaning and content in two note melodic intervals and three Gaelic melodies was examined using an adjective pair two-alternative forced choice task. Responses to musical intervals showed evidence of perceptual similarity based mainly on interval size. Perceived information content in the melodies increased significantly by the fourth note. The results suggest that the amounts of Gaelic melody which are: i) required to establish an underlying beat, ii) remembered after one hearing, and iii) perceptually grouped into a meaningful unit, include the unit of melody which is necessary to establish a basic meaning.

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Kuutma, K. "A Sámi ethnography and a Seto epic : two collaborative representations in their historical contexts /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6583.

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Son, Kristyn Hyun. "The Comparative Analysis of Slovakian Folk Elements From Béla Bartók’s for Children in Paul Schoenfield’s Slovakian Children’s Songs." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804834/.

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Paul Schoenfield’s Slovakian Children’s Songs for flute and piano is a unique work in the flute repertoire, incorporating Slovakian folk quotes from Béla Bartók’s For Children (Volume II, Based on Slovakian Folk Tunes) with layers of Slovakian folk elements used in the overall texture. The primary objective of this dissertation is to expand the limited resources available to flutists regarding Slovakian Children’s Songs. Detailed comparative analysis will demonstrate both Paul Schoenfield’s use of Slovakian folk tunes in the piece and his compositional style. In addition, this dissertation will develop the performer’s understanding of the work through background information, comparative analysis, and interviews to encourage insightful and informed performance. The dissertation’s purpose will be achieved through examining 1) the life, historical, and musical background of Paul Schoenfield and Slovakian Children’s Songs, as well that of Béla Bartók and For Children, and 2) how Schoenfield quotes and arranges Bartók’s For Children by providing a comparative analysis. Interviews with both the composer and Carol Wincenc will be included in the dissertation along with performance suggestions received directly from Carol Wincenc in the appendix.

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Jackson-Houlston, Caroline Mary. "Ballads, songs and snatches : the appropriation of, and responses to, folk song and popular music culture in the nineteenth century." Thesis, Oxford Brookes University, 2010. http://radar.brookes.ac.uk/radar/items/9e1ec114-8faf-9eef-65eb-95772b5a8423/1.

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Ballads, Songs and Snatches demonstrates how allusion to folk song and some aspects of popular musical culture were absorbed into the polyphony of discourses in the realist prose of the nineteenth century, and explores the implications of the various transformations that occurred during this process, with an emphasis on the representation of the labouring classes. Wide and deep acquaintance with folk tradition is shown to account for richly dense literary textuaJity, especially in Scott and Hardy, even where they mediate their knowledge tactically. Lack of that knowledge is consonant with weakness in such representation. The sources used by each writer are identified as accurately as possible. The book is necessarily interdisciplinary, bringing together literary and folk song study and scholarship. It defines a new category for discourse analysis, the 'false intertext', i.e. supposed allusions to folk song or other texts actually composed by the prose writers themselves. It investigates the effects within the literary texts both of these false intertexts and of the inclusion of material so heavily mediated as substantially to misrepresent the original compositions. In the course of this discussion it outlines ways in which authors appealed to audiences often stratified along class and gender lines. The chapter and article extend the concerns of the book, especially Chapter 6, with the discourse of popular songs of the early nineteenth-century song-and-supper rooms. Both continue to address questions of readership, both contemporary and more recent. 'The Cheek of the Young Person: Sexualized Popular Discourse as Subtext in Dickens' overturns assumptions about the canonical respectability of Dickens's earlier work. "'With Mike Hunt I Have Travelled Over the Town": the Norms of "Deviance" in Sub-respectable Nineteenth-century Song' uses popular but critically outlawed material to problematize the position of the literary critic and to offer an alternative to Raymond Williams' model of ideological development.

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Hsu, Cheng-Jen. "Pedagogical vignettes of Chinese and Taiwanese folk songs suitable for late-elementary-upper intermediate level piano students." Kansas State University, 2014. http://hdl.handle.net/2097/17647.

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Master of Music
Department of Music, Theater, and Dance
Virginia Houser
Folk songs are songs of unknown authorship passed down orally generation to generation, and often found in variants of words and tunes in different parts of a country or in different countries. They often represent the culture, the tradition, the life style and the music style in their era. Although there are many folk songs are still popular, they are rarely played during the piano lessons in Taiwan. In today’s piano lessons, the teaching mainly focuses on Western music and theory, like the major-minor system. The student begins to learn piano by the methods such as John Thompson or Nancy & Faber Piano Adventures. These methods build the foundation of their playing technique and the music theory. As their level goes up, they might have some opportunities to play the folk songs that are sung in different countries, such as the Hungarian folk music arranged by Bela Bartok. In the meantime, the piano teacher in Taiwan should not forget that they may have the responsibility to help the next generation to preserve the folk songs which present their culture. My research consists of an examination and performance of sixteen Chinese and Taiwanese folk songs in two collections: Piano Pieces on Chinese Folk Tunes for Children by Shui-Long Ma and Piano Pieces on Taiwanese Folk Tunes by Ching-Yi Lin. Each piece will be carefully graded into five levels: Elementary; Late Elementary/Early Intermediate; Intermediate; Upper-Intermediate; and Advanced. The features of each level will be discussed as well as the historical background and pedagogical aspects in particular piece of each level.

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Li, Belinda. "Folk Songs and Popular Music in China: An Examination of Min’ge and Its Significance Within Nationalist Frameworks." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/162.

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This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many different ethnic groups in China. This transformation has established min’ge as an important extension of the Chinese Communist Party’s (CCP) cultural policy, and the manipulation of folk music has asserted the CCP’s cultural hegemony. Ultimately, this cultural hegemony has important implications on Han-minority relations and highlights certain dynamics within Chinese nationalism. Despite its limited and distorted representation of minorities, however, the popularization of min’ge has also inspired minority musicians to reclaim their identities through music. Therefore, this paper explores both the cooptation and contestation of state-promoted identities through the medium of popular folk music.

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Shin, Jackie Kyung A. Shin. "Illumination: On Korean folk songs." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=449777&T=F.

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HSU, HAI-LUN, and 徐海倫. "Ethnic Consciousness in Hakka folk songs–A case study of "Taiwan Hakka Folk Songs Heritage"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/05916699800161845519.

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Ching-Shih, Hsiao, and 蕭靜詩. "A study on ESO’s Symphonization of Taiwanes Folk Songs─ Based on “The Night of Folk Songs”." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/11559241127327194945.

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碩士
國立臺灣藝術大學
表演藝術研究所
97
This research is to analyze “The Night of Folk Songs” concert of ESO , and through the analysis to see the significance and value of folk songs symphonization in Taiwan. This study is based on Symphonization of Folk Songs by Evergreen Symphony Orchestra, and focuses on the phenomenon of Taiwanese folk songs recomposition duration and the changes on music, performing instrument, listening of audience and incidental music. The relation between music and language of Taiwanese folk songs symphonization is also analyzed in theory. The folk songs have changed with the living of folk. The folk songs which are hummed are symphonized and performed in concert hall consequently. The change of performing “field” brings other meanings. There is no better-and-worse between folk songs and symphony. The Symphonization of Folk Song is just the combination of folk songs and symphony. Thus, the Symphonization of Folk Song emits another level of transition in Taiwan. The Symphonization of Folk Song can be set into three phases of implementation. The first phase is to increase the amount of recomposition and performance of Taiwanese folk songs. The second phase is to dig into recomposition, and bring the content with deeper meanings and more diversity. The third phase, the reservation of Taiwanese ethnic spirit and combination of Taiwanese customs and cultures could be utilized for the element of music creation of Taiwanese folk songs. It will broaden the concept of Symphonization of Folk Songs in Taiwan.

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Hsiao, Man-ju, and 蕭曼茹. "Taiwanese Folk Songs and State Ruling." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/muq3cg.

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碩士
國立中山大學
中山學術研究所
96
The development of Taiwanese folk songs comprises not only cultural implication of Taiwan, but also the reflection of social phenomenon. The research of Taiwanese folk songs is the same as Taiwan history research. Through the meaning of those songs, we can comprehend the different ideologies and policies between each authority. In the research, we also can understand there are a lot of difficulties for Taiwanese in pursuing the democracy and seeking the belonging and identification. This research analyzed the Taiwanese folk songs with the political history in the background. There are various types of Taiwanese folk song in the history. For the research, I separate it into 3 periods: the Japanese colonization period (1895-1945), the Martial law period (1946-1986), and the rescind martial law up to the party turn-over period (1987-2000). This essay aims to understand the relevance between the Taiwanese folk songs and the state ruling, including constitutional order and policies. We also try to account for the effect of the state ruling as well as the surveillance and pacification on the society. Following this proposition, this studying can help us to understand the difference between the various regimes’ organization and the cultural policies. What is the figuration of the development of Taiwan society? How the state affects the lives of people? How people question the legitimacy of state and expression their challenge in folk songs?

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范姜淑雲. "Folk Culture and Metaphor: Plant’s Image of Taiwan’s Hakka Folk Songs." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/38745926610929700691.

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碩士
國立臺灣師範大學
台灣語文學系
100
Plant’s image is an major material of Taiwan’s Hakka folk songs, not only representing the content of Hakka folk culture, but also creating the metaphorical language for Taiwan’s Hakka folk songs. The purpose of such language is to reflect all levels from individual life to the dreams, feelings, and wishes of the whole Taiwan’s Hakka population. From the viewpoint of language performance, the plant’s image of Taiwan’s Hakka folk songs is to explain abstract ideas by metaphorical and structural language, and the function of metaphorical language is based on daily life, so to state partial understandings of abstract ideas. When Taiwan’s Hakka people use plant’s image as metaphorical source materials, they usually focus on the life cycle of plants, especially on blossom and fruit. Because such images are very clear and closely connected to life experiences, so they can generate tight links to the metaphor of lyrics. After analyzing the metaphorical language formed by plant’s image at language cognition level, we found the lyrics of Taiwan’s Hakka folk songs actually reflect all views of traditional Hakka culture, including the emphasized part and the omitted parts. That is, when we look into the two characteristics in plant’s image of Taiwan’s Hakka folk songs: metaphorical language and partial mapping, both of them reflect the thinking logics of Taiwan’s Hakka population, they also reflec the daily activities and decisions of Hakka population. Finally, the plant’s image in Taiwan’s Hakka folk songs reflects the material, spiritual, and social contents of Taiwan’s Hakka folk culture and represents the actual process of Taiwan’s Hakka people in environment adoption and utilization. When Taiwan’s Hakka people choose specific plant’s image to explain abstract ideas, the basis of cognition is strongly affected by the material, spiritual, and social contents of Hakka folk culture.

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Shih-Ning, Chen, and 陳式寧. "Life History in Folk Songs,Via folk songs by Wu Ze-i of Tulik village of Amis tribe." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/x64zvr.

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碩士
國立臺東大學
兒童文學研究所
96
The purpose of this research is to obtain the life history represented in the form of folk songs via the exploration of the creations of an Amis song-writer, Wu Ze-i. Wu is an Amis indigene who has spent his whole life in his hometown, Tuilik village, Taidong County. Apart from doing farming and fishing as his way of life-surviving, Wu does music accompaniment as a sideline occasionally, and his creation has thus grown. Wu’s inspiration has always been what he has observed close by, especially the changing of time and circumstances that he witnessed. The research first gives a description of the natural region, social and cultural circumstances that have constructed the song-writer’s background. This introduction prepares for the further detailed analysis of Wu’s works and how Amis life history has merged within, analyzed from 5 different aspects as follows: 1. Daily life of Amis indigenes in Tulik. 2. How Wu has displayed in his works the way his tribe people confronted impacts of "the exterior culture" and "the modernization". 3. How Wu’s works have recruited the “deterioration” of the traditional Amis life culture resulted from “the modernization” and “the industrialization.” 4. Whether Wu’s works acquire the quality of “making usual daily life exceptional.” 5. The descriptive style and the sarcastic tone adopted in Wu’s creation. Through profound discussion, it can be seen that in his works, Wu shows his observation his keen sense of social tendency, the transit of his states of mind and the transit of his values. Above all those mentioned, Wu gives us a trace how the life culture of Tulik Amis indigenes has changed. The trace, which consists the “the chain-reaction and the changes” taking place in his time, is the most significant feature of Wu’s creation; the fruit of his creation has meanwhile proved that the transit and integration of culture is inevitable. All the features of Wu’s creation can be recognized in some particular themes, From the overview Wu provides in his works, the vivid images of people constantly trying to accommodate to the unfamiliar exterior impacts could be easily revealed－ Wu’s tribe people have gone through the process of making choices, adjusting values and adapting to the impacts along came with modernization so as to fulfill their material lives and to maintain the basic balance, physical and mental. The unique virtue of Wu’s works, to sum up, is contributed by his illustrative reflection of time and of Amis life culture. On the other side, Wu Ze-i’s works have provided an option of releasing fealings and expressing thoughts for his contemporary tribe people. Added to his contribution as a song-writer, what Wu has persistently pursued while confronted by modernization and industrialization is to revive the deleting traditional Amis culture, to refresh the exhausting minds of his tribe people, and to recover the original spiritual strength inhered in the traditional Amis culture. To conclude, Wu Ze-i is a life artist nurtured by the Amis culture itself.

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Wu, Chuan-ling, and 吳川鈴. "The analysis of Taiwan’s Hakka Folk Songs." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/27358413006397348859.

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碩士
國立屏東教育大學
文化創意產業學系
99
Since the ancient times in Taiwanese history, the migration of the Hakka ancestors was usually along the natural environment that had a close relationship with the mountain, which also provided lots of chances for them to study the climate changes. Therefore, since that time they understand the climate and cultivation of tea and crops, etc. and thus developed a thrift-working spirit. As the Hakka ancestors live in the mountain, they often sing Hakka folk songs in order to reduce the tediousness and fatigue which come from works, and the Hakka folk songs become an important spiritual food for them. Watching the “Hakka tea-picking opera” and “Group performance of trick” are the best entertainment for the ordinary people in Hakka country life. Moving house is very ordinary after the marriage of Hakka couple. Whenever there is a party, people will celebrate with each other by eating millet cake and singing folk songs, this is the best way to recall their life scene of their hometown in the past. A folk song contains 7 words, 4 sentences and 8 sections that there are 28 words in each section. Moreover, each sentence in the section is formatted with phrases by four and three words separately. Each sentence should be symmetric, meaningful to link up and rhythmic, otherwise, it cannot become a Hakka folk song. Words inserted outside melodic form prescribed in a poem, lots of ingenious skills on sound, including linking, turning, pulling and dragging of sound, can produce a sweet and agreeable Hakka folk song. Especially the words inserted outside melodic form prescribed in a poem can help in forming a genuine folk song with Hakka’s accent. These kinds of tremendous and highly artistic elements in the folk songs are admired by lots of people, and thus Hakka folk songs can be survival until now. This article introduces “The analysis of Taiwan’s Hakka Folk Songs” as the research topic, and divided into six chapters: The first chapter, “Introduction” – introduces the research by lots of categories that includes the motivation, purpose, expectations, content and methods adopted, research scope and limitations. The second chapter, “Literature review” – describes the origins of Hakka, migration of Hakka through Taiwan, usage of Hakka language of Taiwan Hakka, Hakka folk songs and other literature’s studying. The third chapter, “The formation and development of Taiwan Hakka folk songs” – investigates and discusses mainly on the formation, features and development of Taiwan Hakka folk songs. The fourth chapter, “The application of Taiwan Hakka folk songs” – contains a comparative analysis, collocation and application of lyrics like commodities. The comprehensive content of Taiwan Hakka folk song, ordinary life’s topic, rich variations and features of vocabularies are also the focuses of this chapter. The fifth chapter, “The presentation of Taiwan Hakka folk songs” – introduces a lot of traditional performers of Taiwan Hakka folk songs which the following people are the examples. 1. Taiwan Hakka folk song that is introduced by Xu A Cai who is a Taiwan’s Hakka tradition folk song. 2. The process of how Lai Bi Xia takes a fancy on Hakka folk song. 3. Tradition and impromptu of Hakka folk song’s performance of Xu Mu Zhen, just like the singing queen of Hakka folk song, Liu San Mei. 4. Hakka folk songs are not only limited to solo and duet, Lin Pei Jun and Hu Quan Xiong compiled a Hakka folk choir which presents a different way of Hakka folk songs. 5. There are lots of variations of Hakka folk songs. Chen Shuang Xiong tunes the melody on the Hakka folk song’s book and produces lots of beautiful creations. 6. Experience shared by Hakka artists Ye Xiang Lan and Ceng De Yin who have performed the “Hakka tea-picking opera” and “Group performance of trick” extremely well and exciting. 7. Hakka folk songs can be performed with simple traditional musical instruments which are memorable, Xie Qi Guo’s pay lots of effort on teaching of musical instruments. 8. Xu Yun Fang, who produced film and television podcasting on Hakka cultural programs for more than forty years, has a very deep expectation on Hakka culture. The sixth chapter, “Conclusion” – summarizes the content and focus of the research. As a member of Hakka, we should have an obligation and responsibility to spread the Hakka culture, including the language and folk songs, etc.

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40

Tseng, Jui Yuan, and 曾瑞媛. "Research on Rhythms of Hakka Folk Songs." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/51508843476177470639.

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博士
國立臺中教育大學
語文教育學系碩博士班
100
Research on Rhythms of Hakka Folk Songs Rhythms of Hakka folk songs contain two fields: literature and music. We can explore the beauty of literature as well as music of Hakka folk songs via the combination of literature and music. The current research trend is interdisciplinary explorations. Although music and literature are different fields, they can mutually annotate through the perspective of “rhymes” owing to the base of the variation of rhythms, showing their common essence of art. The dissertation contains nine chapters. The first chapter is introduction, describing the motivation and the purpose of the study, the scope and the methodology of the study, as well as previous research. The second chapter is the origin and the development of Hakka folk songs, containing the definition of Hakka folk songs, the origin of Hakka folk songs, the legend of the origin of legend and the research profiles of Hakka folk songs. The third chapter is the definition of rhyme, including the overview of rhyme, the performance of rhythm in language and the performance of rhythm in music. The forth chapter is the phonological rhythm of Hakka folk songs, discussing four aspects: rhythmic arrangement, the difference of level and oblique tones, the forms of syllables, and the analysis of rhyme of the elements of syllables. The fifth chapter is the rhythm of rhetorical figures of Hakka folk songs, describing rhyme forming via adding characters, rhyme forming via reducing characters, rhyme forming via repeating characters, and rhyme forming via the variation of character order. The sixth chapter is the structure of rhyme of Hakka folk songs, including structure overview, the performance of the rhythm of structure of Hakka folk songs, and the meaning of the rhythm of structure of Hakka folk songs. The seventh chapter is the music rhythm of Hakka folk songs, including tune classification and analysis explanation of Hakka folk songs, tune analysis of Hakka folk songs and conclusion. The eighth chapter is the research on language and music rhythm of Hakka folk songs, containing two researches: same lyrics but different name of tune and same name of tune but different lyrics. The ninth chapter is conclusions. The conclusions of the dissertation are as follows: Rhythms in all fields share some characteristics in common: a certain period of time, periodicity and repetitions. The rhythmic arrangement of Hakka folk songs is mainly end rhymes. Among them, the first, second and forth sentences rhyme most. Rhyming every sentence contains the most intensive rhythm. Rhyming the first and forth sentence seems to be weak and contains less obvious rhythm. The effects on the rhythm of rhetorical figures are mainly “adding characters, reducing characters, repeating characters and changing character order” which cause the effects of rhythm variation of rapidity and relaxation of language. “Structural unit” of easy rhythm does the most displacement on structure. Finding out phrase structure and music section contain regular and repeated rhythm, same with the rhythm of rhetorical figures and structure rhythm from musical form. Key words: Hakka folk songs, rhythm, rhetorical figures, structure, tune

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Liu, Chi-yun, and 劉季雲. "The Development of Campus Folk Songs--from Folk Movement to Culture Industry." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/70043106566236993324.

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42

Cleaver, Carrie. "An analysis of Folk songs by Luciano Berio." Diss., 1997. http://catalog.hathitrust.org/api/volumes/oclc/37599019.html.

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43

Guo, Kun-Hsiu, and 郭坤秀. "A Study of the Taiwanese Hakka Folk Songs." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3d5893.

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博士
中國文化大學
中國文學系
104
Abstract The paper is mainly based on the topic of the Taiwanese Hakka Folk Songs discussing the creations of folk songs among the Hakka people from 1950-2010. The study is focused on the firm pattern of the five-words-four lines songs. The lyrics of these folk songs revealed Hakka people’s life experiences in common and reflected Hakka’s culture in Taiwan. This is a nine-chapter article. In chapter one, the research motive and purpose, researching field, data and limits, research method and structure, data analyses are included. The relations of Hakka folk songs of Taiwan and China are discussed in chapter two. In chapters three and four, the development of Hakka folk songs in Taiwan and their tunes and how they were distributed introduced. In chapter five, the inserted words, empty words and lining words are studied. In chapter six, the composition and singing skills are discussed. And from the point of literary views, the equivoques in these songs are also researched. In chapters seven and eight, the different types of songs and oral expressions in lyrics, musicality and the Hakka ethnic group spirits are studied. And chapter nine is conclusion of the dissertation.

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44

Peters, Heather Laurel. "Song of sevdalinka : cultural anthem of Bosnia-Herzegovina /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29299.

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Thesis (M.A.)--York University, 2007. Graduate Programme in Music.
Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29299

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45

Yeh, En-Tsz, and 葉恩慈. "Construction and Transformation of Taiwan Campus Folk Songs’ Culture." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/73635025941762344804.

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碩士
國立臺灣大學
台灣文學研究所
96
During the 1970s in Taiwan, self-examination was the cultural important direction. All kinds of cultural activities were forced to change or found their new ways of theirs own free will. “The campus folk song” was occurred in this period, it not only represents the spirit in 1970s, but expresses how college youths to establish the independent of culture and the national consciousness. The essay through the campus folk song’s social background, compositional origins and ways, center structure and characters, inherits and transforms of spiritual to discuss the process of the campus folk song’s rise, decline, and revive. In the other hand, the essay also through the lyrics and text of campus folk song’s to observe campus folk song’s how to communicate with complex society, the national consciousness, literature, and culture. The essay based on the previous researches, and then expanded and extended this topic. Hope to construct the culture and transformation of Taiwan’s campus folk song. The content of the essay are as follows: Chapter1 “Introduction” explains the views and points of the essay. Chapter2 “The background of the appearance of the campus folk song”, discusses the influence and enlightenment of social culture on the campus folk song. Chapter3 “The composition origin and way of the campus folk song”, discusses the context of the campus folk song and analyzes the way it shows. Chapter4 ” The structure and character of the essence in the campus folk song”, discusses the lyrics of the campus folk song and finds its meanings from the homesickness, the love, and the campus. Chapter5 “The inheritance and transformation of the spirit of the campus folk song”, discusses the literatures that depended on the campus folk song, observes the changes of the campus folk song. Besides, points how the campus folk song revives and becomes the Taiwan culture’s property. Finally, Chapter6 “Conclusion”, unites every chapter and point out the development of this topic.

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46

Tian, Shu-Han, and 田書函. "Local Consciousness Of Taiwanese Campus Folk Songs (1975-1993)." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/45597925931997587958.

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47

Xie, Rei-ann, and 謝瑞安. "The Research of Taiwanese opera and Taiwanese folk songs." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/88952743901571885362.

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碩士
雲林科技大學
漢學資料整理研究所碩士班
98
Abstract There are many Taiwanese dramas and songs have been handed from generation to generation over the past few centuries in Taiwan, many people can still recited the refrain and also be heard in the streets till now,These Taiwanese opera and folk songs should be traced back to the late Ming and early Ching Dynasty when the Zheng Chenggong move to Taiwan as a base for anti-Ching, a large number of immigrants from Fukien to Taiwan to lead the local cultivation and, therefore, China''s tradition of local drama, opera, Jin-song, folk songs into Taiwan, and gradually evolved into Taiwan Rap art and folk songs, these rap art and folk songs, often become a "Taiwanese Opera," Others include "Song Poems", "Read Song", "Song Poems", " Opera Tune", "4 Alliance", "Seven Words Tune, and other different names, these tunes long after the evolution, and finally evolved into the two systems﹐these are Taiwanese opera music and folk songs. According to lyrics song melody structure type and style of view of these Taiwan Taiwanese opera and folk songs, we would know many of them come from continental ancient poetry and folk music of southern Fukien, So Taiwanese Opera and Folk Songs are Taiwanese story about a people living on this land for many hundreds of years and their many experiences about a variety of life .So the research of rheology and development of Taiwanese opera and folk songs is the study about the Taiwanese people''s life history, but this life history is that Fukien people have emigrated to Taiwan , and this story will be able to understand Taiwan''s social outlook of a period of time, This is the purpose of this paper to explore. Key Words: Song Poems Read Song 4 sentences Alliance SevenWords Tune Taiwanese opera Taiwanese folk songs

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48

Kingston, Deanna M. "Illuweet (teasing cousin) songs as an expression of King Island Inupiaq identity." Thesis, 1993. http://hdl.handle.net/1957/35735.

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This thesis describes how illuweet or teasing cousin songs are an expression of King Island Inupiaq identity. It is based upon ten months of intermittent participation observation and fieldwork. In the summer of 1991, my uncle, Alex Allughuk Muktoyuk, began teaching Inupiaq songs and dances to a group of displaced Inupiat living in Tacoma, Washington. Of the eleven songs that he taught this group, six had occurred between illuweet or teasing cousins. However, a review of the literature on Inupiaq songs rarely mentioned these kinds of songs. By reviewing the literature on ethnic identity, Inupiaq family relations and Inupiaq song and humor, it is concluded that my uncle taught these six songs as a way to express his King Island Inupiaq identity and of proving his connection to the community from which he has been separated for approximately 30 years.
Graduation date: 1994

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Wu, Si-Yao, and 吳思瑤. "The affection of” Zhudong traditional Hakka folk song competition”to the development of traditional Hakka folk songs in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/q4ak63.

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50

Yu-Shiu, Yang, and 楊玉秀. "「Kavalan Folk Songs」An Oil Painting By Yang Yu-Shiu." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/g2k535.

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碩士
華梵大學
工業設計學系碩士班
100
ABSTRACT In the painting Kavalan Folk Style, the painter Yang Yu-Shiu chose a natural landscape as the main subject, and inserted elements from our daily lives for additional visual experience. The oil paint colors helped construct impressionist images, while the painter’s brushing techniques brought the landscape to life. Keeping the balance of Ying and Yang as well as light and dark was important in her painting process. The emphasis on texture and patterns helped illustrate the creative ideas and the thoughts that went behind each brush stroke, and show the view of the world from deep inside her mind. The gradual change in the landscape and its transparency prove that she has mastered the language of creative art. There are five chapters in this research document. First, the introduction will provide approximated description of the purpose, scope, content of this research as well as the methods used to conduct the research. Second, there will be a chapter on the history of Kavalan region, its cultural characteristics, and its customs. Next, there will be an explanation of the geographical significance, environmental attributes, weather and important landscapes of the region. The fourth chapter will present a theory that explores the source of emotions induced by Yang’s creative ideas and collect artists works as the creation of the painting reference. The final chapter indicate the experience of creation and during the study period, in addition, I review of my creation have some imperfections, also wrote the future creative direction and put forward reflects and prospects. Keyword: Kavalan, natural landscape

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