Relevant bibliographies by topics / Polish Folk dance music

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  2. Dissertations / Theses
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Academic literature on the topic 'Polish Folk dance music'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Polish Folk dance music"

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Nowak, Tomasz. "The Myth of Polishness in Polish Dances. How Ideologies Interpret Phenomena Related to Music and Movement." Musicology Today 15, no. 1 (December 1, 2018): 62–76. http://dx.doi.org/10.2478/muso-2018-0007.

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Abstract The article discusses the myth of Polishness in the context of dances which gained the social status of ‘national’ ones, i.e. those incorporated into the canon of national culture. I shall start by establishing the terminology and chronology related to the phenomenon of ‘national dance’, and sum up Mieczysław Tomaszewski’s comments on the ways of expressing nationality in music, including dance, and the various aspects of this phenomenon. Methodologically speaking, the present paper is based on the concept of myth as presented by Joseph Campbell, Leszek Kołakowski and Maria Janion, as well as on the findings of Jan Berting, Christiane Villain-Gandossi, Maria Janion and Jan Stęszewski concerning the phenomenon of stereotypes, which are crucial to defining a myth. The main body of my text has been dedicated to the conditions in which the myth of Polish dance was born, its form and relation to the ideology of Sarmatism then current among the Polish nobility, and to its subsequent transformations. Further transformations took place mainly under the influence of a specifically conceived Romanticism, in which the nation’s struggle for liberation took pride of place, accompanied by the cult of the family as a bastion of national culture, in which women played a prominent role as model wives and mothers, as well as by an interest in folk culture, which attracted the upper social strata to folk dances and led to the emergence of the claim (unsupported by existing sources) that the nobility’s dances had folk origins (this myth was particularly popular among the adherents of chłopomania, i.e. the intelligentsia’s fascination with, and interest in, the peasantry). In the final section I point to the durability of the myths concerning Polish national dances, which – thanks to educational efforts and to broadly conceived artistic work – are universally present in the social consciousness also today.
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Dumnic, Marija, and Danka Lajic-Mihajlovic. "Institutionalization of ethnochoreology in Serbia: The legacy of Ljubica Jankovic at the Institute of musicology SASA." Muzikologija, no. 17 (2014): 259–72. http://dx.doi.org/10.2298/muz1417259d.

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Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Jankovic, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939-1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Nacrt za rad u Otseku narodnih igara pri Etnografskom muzeju u Beogradu] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Program rada u Odeljenju za duhovnu kulturu sa Otsecima: 1) za narodne igre i narodnu muziku; 2) za narodnu knjizevnost; 3) za narodnu likovnu umetnost i ornamentiku; 4) za narodne obicaje i veru; 5) za narodnu medicinu] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Jankovic concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Jankovic. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia.
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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.

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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique system of relations between folklorism and folklorisation in an attempt to illustrate Hungarian and Romanian socio-economic factors and cultural policy underlying the transformation of these dances.
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Goldberg, Halina. "Nationalizing the Kujawiak and Constructions of Nostalgia in Chopin's Mazurkas." 19th-Century Music 39, no. 3 (2016): 223–47. http://dx.doi.org/10.1525/ncm.2016.39.3.223.

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The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections—that he modeled these episodes on the kujawiak, a Polish folk dance from Kujawy region — is plagued by contradictory statements. Re-evaluation of source material reveals that the kujawiak, as it is understood in relation to Chopin's mazurkas, is largely a creation of Polish nationalism after Chopin's time. In Chopin's own time, the term kujawiak is used only sporadically and appears to be interchangeable with mazur; by the end of the nineteenth century, however, the kujawiak becomes an important marker of Polishness for which authors offer specific but widely diverging musical characterizations. It is around this time that writers also begin to emphasize the kujawiak's impact on Chopin's mazurkas, forging a persistent link between this imagined “national dance” and his compositions. In place of these vague and conflicting constructs, it is proposed that Chopin used the slow mazurka—the kind widely but anachronistically called the kujawiak—to summon nostalgia for the spatially and temporally distant (and mythical) Poland, through musical styles and gestures that include reminiscence and allusion; auditory distancing; disruptions of form and genre; and surface distortions. Nostalgia as a cultural and medical concept also provides a prism through which his contemporaries perceived Chopin's illness, his experience in exile, and his music.
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Cseh, Fruzsina. "Folk Artisans and Dissidence in the Nomadic Generation of the 1970s and 1980s." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 227–54. http://dx.doi.org/10.1556/022.2020.00009.

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The dance house and folk artisans movements have developed into such a youth subculture in the cultural scope of the socialist Hungary, which the Kádárian cultural policy could support only partially, it was rather placed at the borderland between the ‘tolerated’ and ‘banned’ categories. The so-called Nomadic Generation was attached to the developing domestic dissident opposition just as well as to the cross border Hungarian intelligentsia through many threads, which seemed to be undesirable for those in power. This study outlines a general picture on the characteristics of the folklorist-movement of the 1970s and 1980s, thought to be dissident in nature, then it will show through examples of different life courses and case studies how the search for new paths materialized in folk handicrafts, and what impact this era exerted on the folk artisanship in the period after the political transition.
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Nwauzor, Uzoma Hyacinth. "Agbacha Ekuru Nwa Dance: A Study of Performance Ethics for Music Students in Colleges of Education." Journal of Education and Practice 5, no. 1 (June 2, 2021): 36–48. http://dx.doi.org/10.47941/jep.581.

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performances and providing the theoretical framework for the study of general music education by students in colleges of education. To promote the baseline from which dance performance is produced to enhance cultural heritage and the structure with which all aspects of social events are finally understood. The need for increased awareness and participation in dance is apparent. In tertiary institutions, the study of dance as an academic course virtually does not exist. Dance should be given the attention it deserves in the curriculum for the promotion of sustainable development in creating jobs for the youths. Methodology: Participant observation-adopting this survey is very necessary due to the nature of the research, it is a practical performance that involved dance groups. There are varieties of approaches to research in any field of investigation. Using the descriptive method is aimed at obtaining information concerning the current status of Agbacha ekuru nwa dance as it is expressed in the traditional setting. This is important in understanding the dance similarities among the groups selected from each of the 3 local government areas in Mbaise. The data collected for this project are obtained through oral interviews, observation, personal contact, and participation. Observation and participation in dance rehearsal are very necessary for future performance with the students. Uzoigwe (1998) explained that the descriptive method allows for better acceptance and understanding of all music elements discovered during research. Results: Traditional dance is a part of life evolution, memory, and history, it is integral with the communities of the peoples' culture. And because communities re-shape and re-model folk music in line with changing tradition, ideals, and social interaction, it should be used to educate the people on the ills and goodwill of the society. Given the multiplicity of social performances in Nigeria, it will be possible to agree that the people's total culture is subsumed with music and dance and that it has become very important in promoting and developing our cultural heritage. Unique contribution to theory, practice and policy: There is the need for us to revive our cultural heritage by ensuring that those subjects which teach and safeguards morals, norms and value system are given attention in school curriculum to revamp the fallen standard of education, cultural ideologies, and judgment regarding the way we see ourselves. This will lead to a drastic change in our attitude and behaviour. To better attract the interest of learners, the curriculum has a part to play; this is by designing a solid structure for the dance program in all levels of education in Nigerian schools. The nature of dance, as well as students' interest, will be captured and aimed at revitalizing general music education in our schools providing a balance between intellectual tasks and social interaction. This will be a way of expanding knowledge and skills for future use as a form of integrating cultural heritage into our educational system. Using Agbacha ekuru nwa dance as a case study will be beneficial to students because if all organizational principles are applied to teaching and learning it will provide structured performance ethics towards achieving collective objectives. Dance is teamwork and should be organized as such. One of the benefits is creativity in performance; talent development could be formed where students, lovers of music, and the larger society can function very well in creating dance. This will be one of the most valuable courses to enhance human personality.
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Wang, Ying-Fen. "IFMC, Masu Genjiro, Kurosawa Takatomo, and Their Recordings of Taiwanese Music." Yearbook for Traditional Music 50 (2018): 71–90. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0071.

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Masu Genjiro (1904-1995) and Kurosawa Takatomo (1895-1987) were two Japanese musicologists who were commissioned by the Government-General of Taiwan to form the Formosan Folk Music Investigation Team with Yamagata Takayasu, then recording engineer of Victor Company of Japan (hereafter Nippon Victor), to carry out a comprehensive survey and make recordings of Taiwanese music and musical life in the spring of 1943. The purpose of the survey was to establish a music cultural policy that adapted to the wartime needs of the people on the island, which became Japan's first colony in 1895, and could also be applied to Japan's newly acquired colonies in Southeast Asia and the Pacific after the outbreak of the Pacific War in December 1941. The team received full support from Taiwan's Government-General and was assisted by local experts, police officers in Aboriginal villages, and filming crews from both Japan and Taiwan. During its three-month stay in Taiwan, the team first conducted fieldwork around the island and then recorded and filmed Han Chinese and Aboriginal music and dance as well as rituals and ceremonies. They also collected data about Aboriginal musical instruments through questionnaires filled out by police officers in 155 Aboriginal villages.
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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.
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Khai, Mykhailo. "Musical and instrumental culture of Ukrainians as a component of the formation of national outlook." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.

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Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musical-instrumental component (herdsman’s folklore, calendarian-ritual chanting and dance). The aim and methods of the research. This article examines the phenomenon of traditional instrumentalism from the point of view of its fundamental influences on the worldviews regarding the formation and functioning of the ethnic sound of Ukrainians based on the longtime field-type, theoretical, pedagogical and practical (scientific and reconstructive musical performing) the experience of the author. The research results. Especially effective and such that, in recent years, was involved in the processes of salvation and “strengthening” (the term by S. Hrytsa) of traditional musical aesthetics, is the method of scientific and executive reconstruction of old folk music genres and forms. Systematic scientific-theoretical and structural-typological analytical work aimed at reproducing prototypes and structural details of reconstructed objects, forms, genres and actions of traditional Ukrainian musical culture, including instrumental, was reflected primarily in the research of S. Hrytsa (2000; 2002; 2015), A. Ivanytskyi (2007), I. Matsiievskyi (2012), B. Kindratiuk (2012), V. Yarmola (2014) and the author of these lines (Khai, M., 2011a; 2011b; 2013 and others). The author of the article thoroughly considers special issues of indexing musical instruments according to the system of E. Hornbostl – K. Sachs with the principle of division into classes, subclasses, categories, subdivisions; for the first time in Ukrainian ethnoorganology he carrys out a complete and consistent grouping of Ukrainian folk musical instruments. It is stated that the most important criteria of all classifications are: form, construction, structure, way of playing, repertoire, manner of performance. The criteria of traditionalism and functioning of folk instruments are determined separately (see: Khai, M., 2011a: 145–261). Based on this, Ukrainian folk musical instruments are considered in the following groups: 1) folk idiophones (self-sounding), 2) folk membranophones; 3) folk chordophones (strings); 4) folk aerophones (wind). Analyzing the existing classifications of national instrumental music, the author puts forward the thesis: areas of distribution and “density of ingrowth” of non-ethnic and authorial elements in the traditional centers of Ukrainian national instrumental music are mostly related to factors of geographical proximity, of natural extinction and administrative-repressive planting of alluvial and so-called “parallel” culture. Experiments on the instrumental traditions of Ukrainians, along with the autochthonous traditional instrumental repertoire, testify to the active functioning at the level of reception / ingrowth of works of other national origin. The interethnic and inter-genre transformation of the folk-instrumental style is connected with the spread of the Moscow, Polish, Romanian and Jewish intonation elements on the territory of the country. Touching the extremely complex and topical problems of archetypal traditional culture, interethnic relations of nations in the modern kaleidoscope of globalization processes, the article focuses on the negative (forced, administrative-aggressive absorption and destruction) and the positive (diversity, enrichment) interactions of the mentioned cultural elements. Characterizing from the positions mentioned here the main features of the ethnic sound ideal in the instrumental tradition of Ukrainians, the author defends its “European model” (tendency to cantilena sound of violin and flute ) as opposed to the type, which dominates the ethnosonic aesthetics of East – tremolo on one string. For the first time in these studies, the thesis is asserted that sounds that imitate the human voice or complement it predominate in Ukraine: flute cantilena, bandura-kobza and partly cymbal arpeggio, which differ significantly and fundamentally from the “Asian” coloristics of one-string tremolo. Conclusions. The final outcome of the study, about the cathartic function of traditional instrumentalism and musical culture in modern social-sublimation processes of human development and, conversely – about neglecting it as a manner to the complete destruction of human civilization as such, steers away from pessimism, inspiring hope for survival in the cataclysms of nature and society as a whole.
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Loutzaki, Irene. "Greek Folk Dance Music." Yearbook for Traditional Music 26 (1994): 168. http://dx.doi.org/10.2307/768264.

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Dissertations / Theses on the topic "Polish Folk dance music"

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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.

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Godula, Olga Dominika. "Echoes and Memories of Poland: Music and Dance in the Polish Community of Toledo, Ohio." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213008130.

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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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Kiddy, Paul. "Social dance and wellbeing : an ethnographic study of two folk social dance settings." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2052839/.

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Sociable folk dancing in the UK is an organised group activity in which a significant number of people take part, often practising folk styles which have their origins in other countries. These groups are generally not run for profit, operate under the radar of media attention, and consequentially their activities remain largely hidden from view. This thesis addresses the fact that there have been no in-depth studies of these groups. It reports on the findings of a detailed ethnographic research project, to offer in-sights into the practices and motivations of participants in social dance. The thesis answers the key question: ‘What is the meaning and significance of participation in these folk music and social dance styles to those taking part?’. An interdisciplinary and ethnographic research approach was adopted to investigate two such folk styles: Cajun and Zydeco, and Scandinavian. This approach allowed research participants to make a significant contribution to the focus of the research, and to inform the subsidiary questions: ‘What are the concerns and interests of those involved in social folk dance?’, ‘What is it that makes involvement in these dance practices so appealing?’, and ‘What are the overall benefits of being involved?’ The research produced an interpretive account of these practices, through investigating sites of participation in these dance styles in the UK, which were explored by means of immersive involvement in their dance practices. This gave an insight into the way in which participation was organised and managed, and allowed for introductions to be made which were followed up with thirty in-depth interviews. The study revealed that despite the stylistic differences between the two dance styles and how they are practised, both nevertheless benefitted participants in similar ways. That dance events are organised on a not-for-profit basis was particularly important to participants, and encouraged loyalty and cooperation, promoting feelings of empowerment and ownership. An atmosphere of supportive inclusion was also built in to the loose organisation of events and activities, which allowed a consensus to develop where social attitudes and ideas could be negotiated, cultivated, and shared. This created a sense of belonging to an unboundaried, and fluid community or social network, a safe environment in which participants were able to experience dance as a communicative and expressive dialogue between individuals and within the group. This thesis argues that participants found their involvement in these dance styles socially and personally satisfying, and that this made a considerable contribution to their individual wellbeing. The research found that sociable folk dancing served as a vehicle for community, improving participants’ sense of self-worth, supporting creativity, and well-being. These findings complement clinical research that champions dance, and social dance in particular, as a healthy and worthwhile leisure activity. This thesis supports the results of such scientific studies into the benefits of dance by providing supporting evidence from within a social setting. This has implications for further research, and for policy and practice, whether dance activities are pursued formally or informally and whatever their aim.
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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.

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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
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Genet, Coline. "Dialogues between a violin and a body : How to be a dancing musician on stage ?" Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4217.

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The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.
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Rodhe, Agnes. "Dansens relevans i folkmusikutbildningar." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-581.

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The Relevance of Dance in Folk Music Education The aim of this study was to investigate why and how dance and dance teaching can be relevant in educational programmes in folk music in Sweden. Many of these programmes include dance within them and that fact, in combination with my observation that there is an underlying cultural assumption that dance and music belong together, inspired this research. I wished to look at the function of dance within folk music programmes, and music teachers’ observations of how dance affects their students’ playing. The study has been conducted through qualitative interviews with four music teachers from different institutions, covering three themes: the purpose(s) of including dance in this kind of education, if and how they can see that the students have use for the dance knowledge in their playing, and how they look at the connection between dance and music in this genre. The result shows that there are several reasons for teaching dance as a part of educational programmes in folk music and also that the music teachers themselves use references to dance in their music teaching. These reasons can give dance pedagogues information about how some music teachers think dance is relevant and can be used in the planning of dance teaching. In conclusion, there is a discussion of how this study can be a part of understanding and developing pedagogy within the folk music genre.
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Choi, Yun Jung. "The use of the Polish folk music elements and the fantasy elements in the Polish fantasy on original themes in G-sharp minor for piano and orchestra, opus 19 by Ignacy Jan Paderewski." Thesis, Lecture recital, recorded Mar. 6, 2006, in digital collections. Access restricted to the University of North Texas campus connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3690.

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Schmidt, Hans. "Die Sardana Tanz der Katalanen /." Hamburg : [s.n.], 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645743.html.

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King, Andrew Stewart. "The Folk-Song Society wax cylinder recordings in the English Folk Dance and Song Society wax cylinder collection : context, history, and reappraisal." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61113/.

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Books on the topic "Polish Folk dance music"

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Polish folk dances and songs: A step-by-step guide. New York: Hippocrene Books, 1997.

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Bzowska, Lucyna. Folkowa zabawa: Integracyjne formy polskich tancow ludowych. Lublin: Wydawnictwo "Klanza", 2002.

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Kolberg, Oskar. Pieśni ludu polskiego: Suplement do tomu 1. Poznań: Instytut im. Oskara Kolberga, 2003.

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Bzowski, Mirosław. Folkowa zabawa: Integracyjne formy polskich tańców ludowych. Lublin: Klanza, 2002.

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Xin Zhongguo wen hua zheng ce yu shao shu min zu yin yue wu dao yi shu de fa zhan = Cultural policy of new China and the development of ethnic minority music and dance. Chengdu: Xi nan jiao tong da xue chu ban she, 2011.

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Polski Zespół Ludowy Pieśni i Tańca Wileńszczyzna. Polski Zespół Ludowy Pieśni i Tańca Wieleńszczyzna: X-lecie zespołu, Wilno 1991. Lublin: [s.n.], 1991.

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Trochimczyk, Maja. Polish dance in Southern California. Boulder, [Colo.]: East European Monographs, 2007.

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Sam, Sam-Ang. Khmer folk dance. Newington, CT: Khmer Studies Institute, 1987.

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Exploring Irish music and dance. Dublin: O'Brien Press, 1998.

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Country and folk dance. Chicago, Ill: Heinemann Library, 2008.

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Book chapters on the topic "Polish Folk dance music"

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Mazierska, Ewa. "Music and Dance in the Service of Modern Poland: Interwar Musicals." In Polish Popular Music on Screen, 23–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_2.

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Gustafson, Ruth Iana. "Folk Music and Dance: Imaginary Images of Modern Nationhood." In Exploring Diasporic Perspectives in Music Education, 43–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52105-9_3.

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Manning, David. "The English Folk Dance and Song Society." In Vaughan Williams on Music, 283–87. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0064.

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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California, 117–60. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0006.

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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California, 161–96. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0007.

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"Smith’s Amnesia Theater: “Moonshiner’s Dance” in Minnesota." In Harry Smith's Anthology of American Folk Music, 154–81. Abingdon, Oxon ; New York City : Routledge, 2017. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315586250-18.

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"Ritual Music, Dance and Theatre of Shintō Shrines: Kagura." In An Introduction to Japanese Folk Performing Arts, 39–54. Routledge, 2016. http://dx.doi.org/10.4324/9781315566887-9.

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Manning, David. "Appeal on Behalf of the English Folk Dance and Song Society." In Vaughan Williams on Music, 261–62. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0056.

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Mckee, Eric. "Dance and the Music of Chopin: The Polonaise." In Chopin and His World. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691177755.003.0009.

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This chapter discusses how the polonaise served as an emblem of Poland's ruling class or as a template for genteel behavior. It also represented the nation of Poland, its people, customs, and history. Well aware of their shared noble associations, Polish dance commentators often began their discussion of the polonaise by comparing it to the minuet. Their endgame was to show how native Polish elements made the polonaise far superior, in their view, to the more theatrical and artificial minuet. The chapter also explores several of the polonaise's expressive and cultural associations in currency during the last quarter of the eighteenth century and beyond: national identity, otherness, and the Polish nobleman.
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Sironi, Vittorio A., and Michele A. Riva. "Neurological implications and neuropsychological considerations on folk music and dance." In Progress in Brain Research, 187–205. Elsevier, 2015. http://dx.doi.org/10.1016/bs.pbr.2014.11.027.

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Conference papers on the topic "Polish Folk dance music"

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Marolt, Matija, Janez Franc Vratanar, and Gregor Strle. "Ethnomuse: Archiving folk music and dance culture." In IEEE EUROCON 2009 (EUROCON). IEEE, 2009. http://dx.doi.org/10.1109/eurcon.2009.5167650.

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Lu, Qinghua. "The Positioning and Development of Yunnan Folk Music Song and Dance Performances." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.19.

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Guo, Zhenhua, and Jun Yang. "The Folk Custom Projection of Bloodline Heritage of Ethnic Group - Inspection and Analysis of Gejia People's Music and Dance." In International Conference on Education, Management, Computer and Society. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/emcs-16.2016.125.

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