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1

Phimmasone. Lam khō̜n savan =: Chants alternés de cour d'amour du Laos. s.n.], 1995.

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2

Liu, Chuan. Min ge lao ge da jia chang. Nei Menggu ren min chu ban she, 1999.

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3

Jian, Shangren. Taiwan Fu lao xi min yao: Lao zu xian de Taiwan ge. Han guang wen hua shi ye gu fen you xian gong si, 1998.

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4

Kīangkhamsō̜nni, Kavin. Khap ngưm: Sinlapa vannakhadī phư̄nmư̄ang Lāo. Kom Vannakhadī læ Vatthanatham Mahāson, 1997.

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5

ʻŌ̜nmanīsō̜n, Thō̜ngkham. Lam Sī Phan Dō̜n. Hōngphim Nakhō̜n Lūang, 1998.

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6

Kasēmphonkun, ʻAphilak. Lamnam kham wān: Rư̄ang lao phān phlēng phư̄nbān čhāk Sālāyā. Sākhā Wichā Phāsā Thai, Khana Sinlapasāt, Mahāwitthayālai Mahidon, 2009.

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7

Sīdāvong, Khamphā. Nangsư̄ kō̜nlam læ phēng Lāo: Vannakhadī Lāo Lān Sāng. Sidavong and Associates, 1999.

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8

Liu, Caizhen. Ningbo lao ge yao yan jiu: Ningbo laogeyao yanjiu. Zhejiang da xue chu ban she, 2014.

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9

Miller, Terry E. Traditional music of the Lao: Kaen playingand mawlum singing in Northeast Thailand. Greenwood, 1985.

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10

Li, Qingnian. Ma lai ya yue ou da quan. Jin gu shu hua dian fa xing, 2012.

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11

Politēs, Nikolaos G. Eklogai apo ta tragoudia tou Hellēnikou laou. Ekdoseis Hekatē, 2002.

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12

Xērotyrēs, Zachos. To dēmotiko tragoudi stis ekdēlōseis tou laou. Ekdosē Syllogou Kastaniōtōn Phthiōtidas, 1986.

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13

Rattanakhunnasāt, Phim. Phim kawī Sī ʻĪsān, Dō̜rō̜. Phim Rattanakhunnasāt: Ramlưk bō̜rommakhrū phūpraphan klō̜n lam phư̄a mō̜lam nai dindǣn ʻĪsān. Samnak Songsœ̄m Sinlapawatthanatham, Mahāwitthayālai Khō̜n Kǣn, 1997.

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14

Polykretēs, Stephanos Matthaiou. Hē Apeiranthos Naxou mesa ap' ta tragoudia tou laou tēs. [S.M. Polykretēs?], 2008.

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15

Quý, Lâm. Xịnh ca Cao Lan: Đêm hát thứ nhất : song ngữ Việt-Cao Lan. Nhà xuất bản Văn hóa dân tộc, 2003.

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16

Somchai. Lak tham thāng Phra Phutthasātsanā thī prākot yū nai botphlēng lūkthung Thai =: Principle of Buddhism as found in Thai folk songs, phleng luk thung. Mahāčhulālongkō̜nrātchawitthayālai, 1995.

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17

Rig-ʼdzin-bsam-ʼphel. Sṅon maʼi Zaṅs-dkar La-dwags yul ljoṅ kyi lam lugs srol bzaṅ poʼi mthog nas dgaʼ ston byed paʼi glu dbyaṅs bźugs so: Rig-ʼdzin-bsam-ʼphel = Collection of traditional folk songs. Punchok Tashi Padum Executive Councilor, 2013.

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18

Ngô, Văn Trụ. Dân ca Cao Lan ở Bắc Giang. Nhà xuất bản Đại học quốc gia Hà Nội, 2010.

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19

Ngô, Văn Trụ. Dân ca Cao Lan. Nhà xuất bản Văn hóa dân tộc, 2006.

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20

Wen hua bu min zu min jian wen yi fa zhan zhong xin (China), ed. Zhongguo min zu min jian wen yi ji cheng zhi shu gai lan =: Introduction of Chinese folk and ethnic culture and arts collections. Zhongguo qing nian chu ban she, 2004.

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21

Hội văn nghệ dân gian Việt Nam, ред. Ca thư: Những câu hát của người Sán Chay : phiên âm, dịch nghĩa, giới thiệu. Nhà xuất bản Từ điển bách khoa, 2010.

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22

Beltrán, Juan Mari. Txalaparta eta beste aldaera zaharrak: Lan erritmoetatik musikara = La txalaparta, antecedentes y variantes : de los ritmos de trabajo a la música = The txalaparta, forerunners and variants : from work rhythms to music. Herri Musikaren Txokoa, 2004.

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23

Ėrdėnėchimėg, D., and Ch Pu̇rėvzhal. Mongol ardyn duu. Zhikom Press, 2007.

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24

A, Fataliev R. Muzykalʹnyĭ folʹklor lakt︠s︡ev: Notnye rasshifrovki i kommentarii. Inst. I︠A︡LI DNT︠S︡ RAN, 2008.

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25

Symposium "Sacred and Profane in the Dialogue of Cultures" (2002 : Tartu, Estonia), ed. Peoples' lives: Songs and stories, magic and law. Tartu University Press, 2004.

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26

Chaikhunphon, Nikhom. Kānsưksā sinlapa banthœ̄ng phư̄nbān Lānnā: Bot sathō̜n phūmpanyā chāobān læ kānplīanplǣng = A study on traditional Lan Na songs : a reflection of folk wisdom and changes. Sathāban Wičhai læ Phatthanā, Mahāwitthayālai Phāyap, 1994.

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27

Aniyar, Daniel Castro. El entendimiento: Historia y significación de la música indígena del Lago de Maracaibo. 2nd ed. Universidad del Zulia, Ediciones del Vice Rectorado Académico, 2008.

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28

(Korea), Kugyŏl Hakhoe, ed. Hanmun tokpŏp kwa Tong Asia ŭi muncha. Tʻaehaksa, 2006.

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29

1961-, An Tae-hoe, ред. Chosŏn hugi sopʻummun ŭi silchʻe. Tʻaehaksa, 2003.

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30

Tʻae-jin, Yi, ed. Sŏul sangŏpsa. Tʻaehaksa, 2000.

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31

Kŏn'guk Taehakkyo (Korea). T'ongil Inmunhak Yŏn'gudan., ed. Sot'ong, ch'iyu, t'onghap ŭi t'ongil inmunhak. Sŏnin, 2009.

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32

Kŏnʼguk Taehakkyo (Korea). T'ongil Inmunhak Yŏnʼgudan., ed. Sot'ong, ch'iyu, t'onghap ŭi t'ongil inmunhak. Sŏnin, 2009.

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33

Kŏn'guk Taehakkyo (Korea). T'ongil Inmunhak Yŏn'gudan., ed. Sot'ong, ch'iyu, t'onghap ŭi t'ongil inmunhak. Sŏnin, 2009.

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34

"Min guo cong shu" bian ji wei yuan hui., ed. Min guo cong shu. Shanghai shu dian, 1991.

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35

Lundstrom, Hakan, and Kam Raw Tayanin. Kammu Songs: The Songs of Kam Raw (Kammu Worlds). Nordic Institute of Asian Studies, 2006.

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36

Shay, Anthony. LADO, the State Ensemble of Croatian Folk Dances and Songs. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.009.

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Unlike many European nations, Croatia has historically used folk dance as a form of representation, according to dance historian and ethnographer Stjepan Sremac. Following World War II, the Yugoslav State established several professional ensembles, among which was Lado, the Ensemble of Folk Dances and Songs of Croatia, under the direction of Zvonko Ljevakovic. Unlike Igor Moiseyev, and in direct opposition to the Moiseyev aesthetic, Ljevakovic employed many authentic details of dance movements, costume, and vocal and instrumental music in his theatricalized folk dance choreographies. Many of t
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37

Nāga sāmbha lai zulafāṃ de: Gīta-saṅgrahi. Cetanā Prakāshana, 2007.

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38

Nacca lai patola bana ke: Boliam te tappe. Warisa Shaha Faundeshana, 2012.

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39

Phull, Hardeep. Story behind the Protest Song. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798216019213.

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Protest songs are united by the fact they all have something to say, something to dispute, or something to rile against, whether it be political, social, or personal.Story Behind the Protest Songfeatures 50 of the most influential musical protests and statements recorded to date, providing pop-culture viewpoints on some of the most tumultuous times in modern history. Among the featured: songs about the Vietnam War, the civil rights movement, the most recent upheaval over policy in the Middle East, as well as teenage rebellion, animal rights, criticisms of mass media, and even protest songs tha
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40

Tian lai xin sheng: Kejia shan ge yan jiu yu chuang zuo. Ji nan da xue chu ban she, 2016.

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41

Colandro, Lucille. There Was an Old Mermaid Who Swallowed a Shark! (There Was an Old Lad). Cartwheel Books, 2018.

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42

Roller, Peter. Hal Leonard Lap Slide Songbook: Play Solo Slide Guitar Arrangements of 22 Country, Folk, Blues and Rock Songs. Leonard Corporation, Hal, 2019.

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43

Roller, Peter. Hal Leonard Lap Slide Songbook: Play Solo Slide Guitar Arrangements of 22 Country, Folk, Blues and Rock Songs. Leonard Corporation, Hal, 2019.

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44

Hal Leonard Lap Slide Songbook: Play Solo Slide Guitar Arrangements of 22 Country, Folk, Blues and Rock Songs. Leonard Corporation, Hal, 2019.

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45

İllâ ki Cemile Cevher söylesin... Kayhan Matbaacılık, 2012.

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46

El entendimiento: Historia y significación de la música indígena del Lago de Maracaibo. 2nd ed. Universidad del Zulia, Ediciones del Vice Rectorado Académico, 2008.

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47

Manuel, Peter. The Trajectories of Transplants. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0002.

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Most of the North Indian music heritage brought to the Caribbean consisted of folk styles and genres that were predominantly text-driven, in that their expressive interest lay primarily in lyric content rather than purely musical dimensions. The vitality of such genres in the Caribbean has been gravely undermined by the decline of the Bhojpuri language. And yet, the fate of these music idioms has not been one of uniform decadence. This chapter discusses three genres of Bhojpuri-region narrative song—birha, the Ālhā epic, and antiphonal Ramayan singing—suggesting how their functions, inherent f
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48

Bei guan yi shi Ye Meijing, Wang Songlai, Lin Shuijin sheng ming shi: The biographies of three beiguan masters' : Yeh Mei-ching, Wang Song-lai, and Lin Sui-chin. Guo li chuan tong yi shu zhong xin, 2005.

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49

Yalppana uttiyokarlaksanak kummi & Yalppana tecavalamai (Tamil vativam). Kulopal Kirapiks, 2011.

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50

Cornelius, Steven H. Music of the Civil War Era. Greenwood Publishing Group, Inc., 2004. http://dx.doi.org/10.5040/9798400688690.

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As divisive and destructive as the Civil War was, the era nevertheless demonstrated the power that music could play in American culture. Popular songs roused passion on both sides of the Mason-Dixon line, and military bands played music to entertain infantry units-and to rally them on to war. The institution of slavery was debated in songs of the day, ranging from abolitionist anthems to racist minstrel shows. Across the larger cultural backdrop, the growth of music publishing led to a flourishing of urban concert music, while folk music became indelibly linked with American populism. This vol
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