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1
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.
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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
2
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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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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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 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
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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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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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 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.
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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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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.
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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-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.
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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.
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Thomson, Matthew Paul. "Interaction between polyphonic motets and monophonic songs in the thirteenth century." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:4230a588-2359-4ac3-bd87-59c0e4ce775a.
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Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.
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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) 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.
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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.
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Perry, Shirley Mercedes. "Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.
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The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs unique to the Doukhobor tradition. The second limitation of the study was then applied, which was to select those Old Verses and Spiritual Songs believed to exist prior to the beginning of the twentieth century. Forty-five melodies, comprised of 11 Psalms, 18 Old Verses and 16 Spiritual Songs were included in the study. The notation of each example is accompanied by one verse of Russian text and transliteration and by documentary information stating the genre, the Doukhobor song text collection reference number, the singers' names, and a tape source in the researcher's private collection. Full and/or partial translations of the texts are provided.
16
Micic, Peter 1965. "School songs and modernity in late Qing and early republican China." Monash University, School of Asian Languages and Studies, 1999. http://arrow.monash.edu.au/hdl/1959.1/7654.
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Fung, Wai-man Iris, and 馮慧敏. "The use of English in canto-pop songs in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2684333X.
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Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.
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555 pagesThis 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.
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Chiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.
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This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.
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Page, James A. (James Allen) 1946. ""These Whigs are Singing Songs Again!" Whig Songs as Campaign Literature Prior to the 1844 Presidential Race." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277889/.
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Whig campaign strategists in the presidential election of 1840 developed new campaign tactics that included widespread use of campaign songs. They used these songs to sing the praises of their own candidate and policies while at the same time attacking the opposing party's candidate and policies.
As early as 1842 these songwriters began writing songs in anticipation of the campaign in 1844. Prior to the nomination of candidates in May, 1844, the Whigs had published several songbooks including hundreds of song titles. In addition to supporting the candidacy of Henry Clay as the Whig candidate, the songs ridiculed several potential Democratic candidates including Martin Van Buren, John C. Calhoun, James Buchanan, and others. Whigs also used imagery to support their candidate and attack the foe.
Despite extensive efforts to influence the election with campaign songs, no hard evidence exists that documents the effect of campaign songs, either positively or negatively.
21
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.
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Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.
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Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.
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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.
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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.
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Bright, Kimberly J. "The History and Importance of Welsh Art Song: The Soprano Repertoire of Dilys Elwyn Edwards." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237834773.
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DeJardin, Kathleen Rose. "The accompanied vocalise and its application to selected baroque, classical, Romantic and twentieth century songs and arias." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185928.
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The accompanied vocalise has been a vehicle for voice training since the "golden age of 'bel canto' thinspace". These vocalises or exercises enable the student to concentrate on using pure tone and to develop various aspects of technical skill and musical style. The use of these accompanied vocalises can detect perceived problems or weaknesses before the students encounters them in songs and arias. The pedagogical and instructional value of the selected vocalises are examined for their possible efficacy in strengthening a student's perceived weakness. In order to determine the relevance of these accompanied vocalises, arias of five representative composers have been chosen. These songs and arias are examined to identify bel canto characteristics, some of which may be problematic for students. Passages reflecting these stylistic characteristics are paired with specific vocalises of similar musical construction. For each example, there are excerpts from three different vocalise composers. The examples contain only a few measures, but it is assumed that the repeated practice of the entire composition will further the acquisition of the desired vocal trait. The five bel canto characteristics examined in depth are: agility, long legato phrases, ornamentation, co-ordination of the registers, and strength and control of the tonal range. The vocalises utilized are limited by the availability of printed sources. A compilation of the instructional vocalises examined is provided in an addendum to the study.
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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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Klinck, Anne L. (Anne Lingard). "Women's songs and their cultic background in archaic Greece." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26286.
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This thesis applies to Archaic Greek literature the medievalist's concept of "women's songs," that is, love-poems given to a female persona and composed in a popular register. In the Greek context a distinct type can be recognised in poems of women's affections (not necessarily love-poems as such) composed in an ingenuous register and created for performance, choral or solo, within a women's thiasos. The poems studied are those of Sappho, along with the few surviving partheneia of Alcman and Pindar. The feminine is constructed, rather mechanically by Pindar, more subtly by the other two, from a combination of tender feeling, personal and natural beauty, and an artful artlessness.It is not possible to reconstruct a paradigmatic thiasos which lies behind the women's songs, but certain characteristic features merge, especially the pervasiveness of homoerotic attachments and the combination of a personal, affective, with a social, religious function. In general, women's groups in ancient Greece must have served as a counterbalance to the prevailing male order. However, while some of the women's thiasoi provide a vehicle for the release of female aggression, the function of the present group is essentially harmonious and integrative.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional music and ethnicity : a study of Hakka shange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.
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This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component.
Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.published_or_final_version
Music
Doctoral
Doctor of Philosophy
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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.
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Borschel, Audrey Leonard. "Development of English song within the musical establishment of Vauxhall Gardens, 1745-1784." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26033.
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This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections.
During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook.
In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental
process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the
Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry.
Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall GardensArts, Faculty of
Music, School of
Accompanied by cassette in Special Collections
Graduate
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Fu, Lok-yi Alice, and 傅樂怡. "Contemporary Cantopop: reception of crossovermusic in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634334.
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Rodenberg, David. "Text/music relationships in five posthumous songs by Alexander Zemlinsky." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286426.
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This study centers on a 1907 collection of art songs for voice and piano composed by Alexander Zemlinsky. Although his small cycle of five songs was not published during the composer's lifetime and has not been given the scholarly attention that other pieces in his oeuvre have, it is well crafted and carries a high degree of expressive and emotional weight. The cycle sets the poetry of Richard Dehmel; a contemporary of Zemlinsky and the inspiration behind works of Arnold Schoenberg, Anton Webern and Richard Strauss as well. In these 1905 settings Zemlinsky experiments with an extremely chromatic language while exploring themes of love and betrayal in the poetry of Dehmel. This study examines this chromatic style and how it relates to the themes in the text. Through the detailed analysis of each of the songs the reader will see how, in spite of the free succession of harmonies that often obscure the tonal orientation, a central underlying tonic/dominant relationship is at the core of each song except the first. In this manner the songs display a subtle yet powerful exploitation of tonal ambiguity that brings out many of the nuances of Dehmel's poems.School of Music
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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
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Robertson, Patricia C. "Artsong : a brief survey of artsong literature, composers and musico-poetic structure accompanied by a performance-based interpretation workbook." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118240.
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This dissertation, which takes the form of a creative project as is sanctioned by the Doctor of Arts Curricular Program, is an investigation of artsong literature, composers and musico-poetic structure. The work is a textbook designed for an undergraduate course in song literature and is accompanied by a performance-based interpretation workbook. The author's approach to the artsong is a threefold one: the artsong is considered as a unique performance idiom and is examined for the characteristics common to all; distinctive features are examined which identify specific sub-genre classifications within the body of artsong; specific artsongs are investigated from a performance aspect in order to develop an appropriate methodology for the interpretation of an individual song. This work includes information about historical analysis, performance practice, translation, phonetic transcription and the characteristics of versification unique to each language covered.The unique contribution of this work, however, is the workbook of sixty-five artsongs.In the workbook, the student is guided through a systematic approach to the interpretive process. The student is asked to examine the poem for type, mode of address and imagery and is asked to consider elements of rhyme, meter and poetic structure. The student is guided through an investigation of the characters both present and implied in the poetry; the student is asked to consider the structural elements of the musical setting in order to better discern the composer's response to the poem. Additionally, the student is asked to place the speaker-the person whose voice he or she is bringing to life-in time and location as well as construct a profile of the speaker's character. At the beginning of the workbook the entire process is demonstrated for the student; as the student progresses through the workbook, he is expected to perform more and more of the tasks until he can independently create a performance-based interpretation.The work contains copious musical examples as well as a source guide to instructional materials (scores, translations, recordings) and a brief glossary.School of Music
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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
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Reiss, Nicole S. (Nicole Susanne). "Universal fairy tales and folktales : a cross-cultural analysis of the animal suitor motif in the Grimm's fairy tales and in the North American Indian folktales." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24103.
Full textAbstract:
The primary objective of this M. A. thesis is to correct some false assumptions found in both older and more recent secondary literature on North American Indian narratives. Many folklorists base their folktale criteria on terms of cultural differences instead of similarities which results in an ethnocentric point of view that holds the Grimms' Kinder- und Hausmarchen as a standard against which all other folktale collections falls short. If we want to strive for a world view that will embrace all types of literature, while respecting the individuality of each culture, then we must focus on the essential similarities among world literatures and not the differences. The purpose of using another culture as a comparison, such as that of the North American Indians, is to question the ethnocentric definitions of folktales and fairy tales which have often been too rigid. Perhaps those cultural values exhibited by North American Indian folktales could prove to be beneficial to the world's multi-cultural society, in that these values could enrich and rejuvenate some Western values, such as respect for animals and the environment. These values may offer solutions to urgent contemporary world problems. Through a comparative analysis of the animal suitor motif found in the Grimms' fairy tales and North American Indian folktales, I hope to call attention to the stark cross-cultural similarities in universal folklore and to bring to light the multiplicity of cultural values which are deeply rooted in fairy tales and folklores around the world.
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Magomani, Hlekulani Violet. "Nxopaxopo wa tinsimu ta vanhwanyana va xikhale va Vatsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1795.
Full textAbstract:
Thesis (M .A. (African Languages)) -- University of Limpopo, 2014This research “Nxopaxopo wa tinsimu ta vanhwanyana va xikhale va Vatsonga wu kongomisa eka manghenelo, xitatimendhe xa xipiqo, xikongomelo, nkoka wa maendlelo ni tinhlamuselo ta matheme lama nga tirhisiwa” deals with path which was paved by young girls of the older generations before married. In our discussion in this research I will touch some few things about their songs like the teaching of the nation, good behaviour for themselves even as adults and culture in totality etc. The other thing is language which the girls used when performing their songs. This research consists of six chapters. Chapter 1: It outlines the research proposal as follows. The introduction, statement of problem, aim of the study, the significance of the research, definition of terms, methods used and literature review. Chapter 2: This chapter explains the upbringing of young girls of the olden generation. Secondly, it outlines the stages that they undergo and the relationship between these stages. Furthermore it brings forth norms and values to be followed when these girls get married. Chapter 3: The chapter deals with the analysis of the chosen songs by young girls of the olden generations. Emphasis is based on the sense of the poem and the usage of figurative language. Chapter 4: Firstly it deals with the meaning of the word “theme”. It also outlines the theme of young girls of olden generations as per their varying categories, involves life in general, like unfaithfulness to their brother in law, love one another, for the love of culture etc. Chapter 5: Deals with the findings which this research discovered about the songs of the young girls of the olden generations. It also deals with the suggestion and recommendations. Chapter 6: It provides a list of various references used in this research
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Hall, Damara L. 1977. "Ken Price's "Happy's Curios" (1972--1978): A critical history." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11272.
Full textAbstract:
ix, 100 p. : ill. (some col.)In 1972 ceramist Ken Price (b. 1935) embarked on Happy's Curios , a six-year long project that he described as an homage to Mexican folk pottery. It ended with a 1978 exhibition of the same name held at the Los Angeles County Museum of Art. The project and the related exhibition integrated and critically investigated three common classifications of cultural objects: fine art, folk art, and craft. This thesis argues that the Happy's Curios project deploys these categories in a manner that challenges and deconstructs how they are used. The thesis offers a critical history of the Happy's Curios project and its reception in order to interrogate how the project engages the taxonomy of fine art, folk art, and craft, as well as its relevance to a broader art historical context.
Committee in charge: Kate Mondloch, Chair; Sherwin Simmons, Member; Brian Gillis, Member
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Mpolweni, Nosisi Lynette. "The orality - literacy debate with special reference to selected work of S.E.K. Mqhayi." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
Full textAbstract:
The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.
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Madding, Carol Ann. "Singing for Blaine and for Logan! Republican Songs as Campaign Literature in the 1884 Presidential Race." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2710/.
Full textAbstract:
During the presidential contest of 1884, Republicans used singing as a campaign tactic at rallies, meetings, and parades. Their songs may be divided into several categories, such as rally songs, songs of praise for the party and its candidate, "bloody shirt" songs, mudslinging songs, and issue-based songs. Songs provide a perspective on the overall tenor of the campaign, while a lack of songs on certain topics, such as temperance, reflects the party's reluctance to alienate voters by taking a strong stand on controversial issues. Although the campaign has often been called one of the dirtiest in American history, this negativity is not reflected in the majority of the songs.
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De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.
Full textAbstract:
A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Hatter, Jane Daphne. "Marian motets in Petrucci's Venetian motet anthologies." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112398.
Full textAbstract:
Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies. The final chapter looks at settings of the most common devotional prayer of the early sixteenth century, the Ave Maria. This thesis thus proposes a new context---the Venetian scuole---for the consumption of printed motet books and the performance of motets, with a special emphasis on their role in lay Marian devotions.
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"香港西貢及其鄰近地區歌謡硏究." 1989. http://library.cuhk.edu.hk/record=b5887244.
Full textAbstract:
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
46
"廣府話說唱本木魚書的硏究." 1989. http://library.cuhk.edu.hk/record=b5895423.
Full textAbstract:
吳瑞卿.Thesis (Ph.D.)--香港中文大學, 1989.
Manuscript (Reprint of computer reprint)
Includes bibliographical references (leaves 314-324).
Wu Ruiqing.
Thesis (Ph.D.)--Xianggang Zhong wen da xue, 1989.
導論
Chapter I´Ø --- 選取木魚書作硏究對象的意義 --- p.1
Chapter 一´Ø --- 作為地方文學的 --- p.1
Chapter 二´Ø --- 作為俗文學的一種 --- p.2
Chapter II´Ø --- 本論文的硏究目的
Chapter A´Ø --- 整理及分析一種地方文學遺産 --- p.2
Chapter B´Ø --- 以木魚書為例論證俗文學的特徵範圍
Chapter 一´Ø --- 俗文學研究的回顧 --- p.3
Chapter 二´Ø --- 俗文學的特徴和領域問題 --- p.7
Chapter 三´Ø --- 木魚書與俗文學 --- p.8
Chapter III´Ø --- 木魚書研究在其他方面能提供的貢獻
Chapter 一´Ø --- 中國相類性質的文學比較硏究 --- p.11
Chapter 二´Ø --- 中、外通俗文學比較 --- p.11
Chapter 三´Ø --- 社會發展史研究 --- p.12
Chapter IV´Ø --- 資料範圍及前人研究回顧
Chapter A´Ø --- 前人硏究的回顧
Chapter 一´Ø --- 敘錄及研究 --- p.12
Chapter 二´Ø --- 文獻筆記 --- p.14
Chapter 三´Ø --- 短文 --- p.14
Chapter 四´Ø --- 其他硏究 --- p.14
Chapter B´Ø --- 本文所用資料範圍 --- p.15
Chapter C´Ø --- 輔助資料
Chapter 一´Ø --- 輔助錄音資料 --- p.18
Chapter 二´Ø --- 殘存曲目 --- p.19
Chapter D´Ø --- 資料的捜集和處理
Chapter 一´Ø --- 資料來源 --- p.19
Chapter 二´Ø --- 資料處理 --- p.20
Chapter V´Ø --- 硏究的局限
Chapter 一´Ø --- 資料的限制 --- p.21
Chapter 二´Ø --- 木魚書年代考証的困難 --- p.22
Chapter 三´Ø --- 文字與口頭間的距離 --- p.23
Chapter 第一章 --- 木魚書的體製與源流
Chapter I´Ø --- 木魚書的體製
Chapter 一´Ø --- 外型 --- p.24
Chapter 二´Ø --- 编制 --- p.25
Chapter 三´Ø --- 出版形式 --- p.27
Chapter II´Ø --- 《木魚》釋名
Chapter 一´Ø --- 《木魚》、《木魚書》和《木魚歌》的定義 --- p.29
Chapter 二´Ø --- 《木魚》名稱的來源 --- p.31
Chapter III´Ø --- 木魚歌起源的論爭
Chapter 一´Ø --- 源於踏歌之說 --- p.33
Chapter 二´Ø --- 源於摸魚歌之說 --- p.34
Chapter 三´Ø --- 源於蜑歌之說 --- p.36
Chapter 四´Ø --- 源於江浙彈詞之說 --- p.38
Chapter 五´Ø --- 源於變文、寶卷之說 --- p.40
Chapter 六´Ø --- 其他說法 --- p.40
Chapter IV´Ø --- 木魚書與廣東說唱曲藝的關係 --- p.41
Chapter 一´Ø --- 木魚曲藝的特徴和源流 --- p.42
Chapter 二´Ø --- 龍舟曲藝的特徴和源流 --- p.43
Chapter 三´Ø --- 南音曲藝的特徴和源流 --- p.44
Chapter V´Ø --- 木魚書的歴史一一發源、興盛與衰落 --- p.45
Chapter 第二章 --- 木魚書的結構和格式
Chapter I´Ø --- 句式
Chapter A´Ø --- 句數 --- p.51
Chapter B´Ø --- 基本句型及組織 --- p.52
Chapter 一´Ø --- 句律平仄 --- p.52
Chapter 二´Ø --- 對句 --- p.53
Chapter 三´Ø --- 音步節奏 --- p.56
Chapter C´Ø --- 起式和煞尾
Chapter 一´Ø --- 起式 --- p.57
Chapter 二´Ø --- 煞尾
Chapter D´Ø --- 雜句 --- p.60
Chapter II´Ø --- 韻式
Chapter A´Ø --- 韻系 --- p.60
Chapter B´Ø --- 押韻
Chapter 一´Ø --- 偶句 --- p.63
Chapter 二´Ø --- 奇句 --- p.66
Chapter 三´Ø --- 換韻 --- p.66
Chapter 四´Ø --- 重覆押韻字 --- p.66
Chapter III´Ø --- 襯字 --- p.67
Chapter 一´Ø --- 襯字的作用 --- p.69
Chapter 二´Ø --- 襯字與曲詞内容 --- p.69
Chapter 三´Ø --- 襯字的規律 --- p.71
Chapter 第三章 --- 木魚書的題材與内容
Chapter I´Ø --- 前人研究的回顧 --- p.78
Chapter II´Ø --- 故事性木魚書的内容結構
Chapter A´Ø --- 引首
Chapter 一´Ø --- 引首的内容 --- p.81
Chapter 二´Ø --- 引首的作用 --- p.88
Chapter B´Ø --- 結尾 --- p.88
Chapter C´Ø --- 故事内容 --- p.90
Chapter 一´Ø --- 才子佳人戀愛奇緣故事 --- p.92
Chapter 二´Ø --- 通俗民間歷史故事 --- p.98
Chapter 三´Ø --- 勸善佛道故事 --- p.106
Chapter 四´Ø --- 仙凡奇緣故事 --- p.108
Chapter 五´Ø --- 神怪故事 --- p.110
Chapter 六´Ø --- 民間公案故事 --- p.112
Chapter 七´Ø --- 家庭倫理故事 --- p.115
Chapter III´Ø --- 非故事類木魚書 --- p.119
Chapter 一´Ø --- 故事摘錦 --- p.120
Chapter 二´Ø --- 有關婦女生活 --- p.120
Chapter 三´Ø --- 有關方土習俗和生活 --- p.127
Chapter 四´Ø --- 勸世文 --- p.128
Chapter 五´Ø --- 諷剌時弊 --- p.129
Chapter 六´Ø --- 關懷國是 --- p.133
Chapter 七´Ø --- 純供娛樂 --- p.134
Chapter 第四章 --- 木魚書的流行情況及其傳播型態
Chapter I´Ø --- 木魚書的流行情況 --- p.136
Chapter 一´Ø --- 現存木魚書的數量 --- p.137
Chapter 二´Ø --- 同書異名的現象 --- p.138
Chapter 三´Ø --- 從出版商的數目反映木魚書流行的情況 --- p.139
Chapter II´Ø --- 木魚書的傳播型態 --- p.142
Chapter A´Ø --- 傳播方式
Chapter 一´Ø --- 口頭傳播 --- p.143
Chapter 1. --- 群眾聚集欣賞藝人的演唱 --- p.143
Chapter 2. --- 藝人沿門賈唱 --- p.144
Chapter 3. --- 家庭内的傳唱 --- p.145
Chapter 4. --- 文人間的酬唱 --- p.146
Chapter 二´Ø --- 文字傳播 --- p.146
Chapter B´Ø --- 傳播型態的特色
Chapter 一´Ø --- 口頭與文字傳播並行 --- p.147
Chapter 二´Ø --- ¨ёł離口頭傳播的局限 --- p.148
Chapter 三´Ø --- 橫跨讀書人與民眾的世界 --- p.148
Chapter III´Ø --- 推廣的概念一一雛型廣告的出現 --- p.149
Chapter 第五章 --- 木魚書的作者、傳播者和受眾
Chapter I´Ø --- 社會背景：明清社會階層結構的改變 --- p.153
Chapter II´Ø --- 木魚書的作者
Chapter A´Ø --- 作者的類別 --- p.156
Chapter 一´Ø --- 文人 --- p.156
Chapter 二´Ø --- 藝人 --- p.158
Chapter 三´Ø --- 職業编撰人 --- p.159
Chapter B´Ø --- 作者的創作對象 --- p.159
Chapter C´Ø --- 作者的創作動機
Chapter 一´Ø --- 表面動機 --- p.160
Chapter 二´Ø --- 現實動機 --- p.161
Chapter 三´Ø --- 潛藏動機 --- p.161
Chapter III´Ø --- 木魚書的受眾
Chapter 一´Ø --- 說唱曲藝的觀眾和聽眾 --- p.163
Chapter 二´Ø --- 憑曲自娛的受眾 --- p.164
Chapter 三´Ø --- 說唱藝人 --- p.165
Chapter 四´Ø --- 讀者 --- p.165
Chapter 五´Ø --- 其他 --- p.166
Chapter IV´Ø --- 木魚書的傳播者一一出版商和藝人 --- p.166
Chapter A´Ø --- 出版商
Chapter 一´Ø --- 出版商的興起 --- p.167
Chapter 二´Ø --- 木魚書的出版情況 --- p.170
Chapter 三´Ø --- 木魚書出版商的角色 --- p.171
Chapter B´Ø --- ¨®Ơ唱藝人 --- p.172
Chapter V´Ø --- 作者、“守門人´ح和受眾間的關係 --- p.174
Chapter 一´Ø --- 從商業活動的角度 --- p.174
Chapter 二´Ø --- 從大眾娛樂的角度 --- p.175
Chapter 三´Ø --- 從教化的角度 --- p.175
Chapter 四´Ø --- 矛盾和協調 --- p.176
Chapter 五´Ø --- 方言與作者、受眾的關係 --- p.177
Chapter 六´Ø --- 作者、守門人和受眾間關係的特性
Chapter 1. --- 實用性 --- p.179
Chapter 2. --- 商業性 --- p.179
Chapter 第六章 --- 木魚書的思想意識
Chapter I´Ø --- 前人的論說 --- p.182
Chapter A´Ø --- 傳统木魚書的思想意識 --- p.183
Chapter 一´Ø --- 世界觀的構成
Chapter 1. --- 個人的主體存在 --- p.183
Chapter 2. --- 世界的主宰 --- p.183
Chapter 3. --- 人與人、人與社群的關係 --- p.184
Chapter 二´Ø --- 對生命的觀察與信仰
Chapter 1. --- 人的無自主性
Chapter i) --- 天命不可違 --- p.185
Chapter ii) --- 緣份不可抗拒 --- p.187
Chapter iii) --- 倫理道德不能拂逆 --- p.189
Chapter iv) --- 人生如夢 --- p.189
Chapter 2. --- 人的自主性
Chapter i) --- 因果報應 --- p.191
Chapter ii) --- 至誠可以感天 --- p.194
Chapter 三´Ø --- 木魚書所認同的行為規範與生活態度
Chapter 1. --- 忠、孝、節、義的觀念 --- p.195
Chapter 2. --- 妥協、忍耐、不反抗的態度 --- p.197
Chapter 四´Ø --- 木魚書所隠藏的深層不滿和補償意識 --- p.199
Chapter 1. --- 對天命不滿的補偾´ؤ´ؤ天的人格化 --- p.199
Chapter 2. --- 對人倫關係的不滿一´ؤ女性的強化 --- p.283
Chapter 3. --- 對食官污吏的不滿´ؤ´ؤ清官與皇帝的理想化 --- p.209
Chapter 4. --- 對禮教道德的不谋´ؤ´ؤ大膽的兩性描寫 --- p.212
Chapter B´Ø --- 清末民初短篇木魚的思想意識 --- p.214
Chapter 一´Ø --- 革命及愛國思想 --- p.215
Chapter 二´Ø --- 社會改革思想 --- p.217
Chapter V´Ø --- 從木魚書反映人民的鳥托邦世界
Chapter 一´Ø --- 人民理想中的世界 --- p.219
Chapter 二´Ø --- 理想世界的構成 --- p.221
Chapter 三´Ø --- 理想世界的根源 --- p.223
Chapter 第七章 --- 木魚書的語言和表逹技巧
Chapter I´Ø --- 正统文學與“民間文學´ح之間的灰色地帶 --- p.226
Chapter II´Ø --- 木魚書在語言上所出現的特殊現象
Chapter 一´Ø --- 音字 --- p.227
Chapter 二´Ø --- 錯別字 --- p.229
Chapter 三´Ø --- 俗寫字或創新字 --- p.230
Chapter 四´Ø --- 砌詞就韻 --- p.231
Chapter III´Ø --- 濃厚的地方色彩
Chapter 一´Ø --- 方言的運用 --- p.232
Chapter 二´Ø --- 品物和比喻 --- p.233
Chapter IV´Ø --- 表逹技巧和語言公式化 --- p.236
Chapter V´Ø --- 模倣性超越創造性 --- p.240
結論
Chapter I´Ø --- 俗文學及“民間文學´ح研究發展出現的問題 --- p.243
Chapter II´Ø --- 過去有關俗文學特徴的矛盾 --- p.248
Chapter 一´Ø --- 傳播方式的問題 --- p.248
Chapter 二´Ø --- “大眾性´ح與“群體性´ح的問題 --- p.249
Chapter 三´Ø --- 作者的問題 --- p.250
Chapter 四´Ø --- “新鮮而未經雕琢´ح的問題 --- p.250
Chapter III´Ø --- 從木魚書看俗文學的特徴問題 --- p.251
Chapter 一´Ø --- 民族性和鄉土性 --- p.251
Chapter 二´Ø --- 進步的抑保守的 --- p.252
Chapter 三´Ø --- 新鮮的抑模倣的 --- p.253
Chapter 四´Ø --- 吸收性及融和性 --- p.254
Chapter 五´Ø --- 勸世與社會認可性 --- p.254
Chapter IV´Ø --- 木魚書與“商俗文學´ح --- p.255
Chapter 一´Ø --- 大規模的集體傳播性 --- p.255
Chapter 二´Ø --- 城市化 --- p.256
Chapter 三´Ø --- 商業化 --- p.257
Chapter V´Ø --- 從木魚書研究看俗文學的領域問題 --- p.258
Chapter VI´Ø --- 從木魚書看俗文學研究的重要性及展望 --- p.263
附件目錄
Chapter A´Ø --- 附表
Chapter 附表一： --- 現存主要木魚書藏處目錄 --- p.325
Chapter 附表二： --- 木魚書同書異名表 --- p.346
Chapter 附表三： --- 木魚書出版商及作者資料表 --- p.349
Chapter 附表四： --- 失佚原書之木魚書標題表 --- p.366
Chapter 四A： --- 中山大學風俗硏究室於一九二九年發表所藏廣東唱本目錄 --- p.367
Chapter 四B: --- 《梁氏所藏所見木魚書敘目》 --- p.371
Chapter 附表五： --- 廣州共和報1922年至1925年間所刊登南音、龍舟、木魚曲詞目錄 --- p.374
Chapter B´Ø --- 附錄
Chapter 附錄一： --- 南音木魚書格律示例 --- p.376
Chapter 附錄二： --- 龍舟木魚書格律示例 --- p.377
Chapter 附錄三： --- 三首演唱曲格律示例 --- p.378
Chapter 附錄四： --- 南音《再生緣》之《上林苑題詩》（唱曲及木魚書比較） --- p.379
Chapter 附錄五： --- 《客途秋恨》（唱曲及木魚書比較） --- p.381
Chapter 附錄六： --- 《紅樓夢》之《夢遊太虛》木魚書曲詞 --- p.383
Chapter 附錄七： --- 《五諫刁妻》木魚書曲詞 --- p.384
Chapter 附錄八： --- 《賢妻諫賭》木魚書曲詞 --- p.387
Chapter C´Ø --- 附圓
Chapter 附圖一： --- 木魚書封面圖 --- p.390
Chapter 附圖二： --- 木魚書封面圖 --- p.391
Chapter 附圖三： --- 木魚書的木刻插圖 --- p.392
Chapter 附圓四： --- 木魚書内文编排圖版例一 --- p.393
Chapter 附圃五： --- 木魚書内文编排圖版例二 --- p.394
Chapter 附圖六： --- 粗劣木魚書刻板示例 --- p.395
Chapter 附圖七： --- 木魚書拼揍成書圖版示例一 --- p.396
Chapter 附圖八： --- 木魚書拼揍成書圖版示例 --- p.397
Chapter 附圓九´Ø一： --- 《丁山打雁》、《二度梅》内文圖版 --- p.398
Chapter 附圖九´Ø二： --- 《生祭李彦貴》、《車龍公子花燈記》内文圖版 --- p.399
Chapter 附圖九´Ø三： --- 《閨諫瑞蘭》、《朝上鶯歌》内文圖版 --- p.400
Chapter 附圃九´Ø四： --- 《盤龍寳扇》、《三棄梨花》内文圖販 --- p.401
Chapter 附画九´Ø五： --- 《金生挑盒》、《梁天來告御狀》内文圖版 --- p.402
Chapter 附圖九´Ø六： --- 《五諫刁妻》、《考世条》内文圖版 --- p.403
Chapter 附圖九´Ø七： --- 《鳳儀亭訴苦》、《五弄琵琶》内文圖版 --- p.404
Chapter 附圔九´Ø八： --- 《梁李爭第一》、《英台回鄉》内文圖版 --- p.405
Chapter 附圖九´Ø九： --- 《石女嘆五更》、《金橋問卦》内文圖版 --- p.406
Chapter 附圔九´Ø十： --- 《天九歌》、《蘇娘嘆五更》内文圖版 --- p.407
47
"香港地水南音初探." 1998. http://library.cuhk.edu.hk/record=b5896292.
Full textAbstract:
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
48
Gruning, Thomas Robert. "Crossroads of the ordinary contemporary singer/songwriters and the post-revival folk /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120297.
Full text
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 textAbstract:
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
50
Caleta, Josko. "Social and musical structure of the klapa singing style, Dalmatia and Vancouver." Thesis, 1994. http://hdl.handle.net/2429/5244.
Full textAbstract:
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, age group or occupations. Festival klapa, on the other
hand, is a formally organized group with regular rehearsals and
performances, whose members, as a rule, are people of various
occupations and diverse musical tastes.
Socially and musically, klapa singing has always been progressive
for its time, which is surely the reason why this folk tradition
has remained successful for such a long period.