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Relevant bibliographies by topics / Turkish Folk dance music / Dissertations / Theses

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Dissertations / Theses on the topic 'Turkish Folk dance music'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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

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2

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,

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Senturk, Sertan. "Computational modeling of improvisation in Turkish folk music using Variable-Length Markov Models." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42761.

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The thesis describes a new database of uzun havas, a non-metered structured improvisation form in Turkish folk music, and a system, which uses Variable-Length Markov Models (VLMMs) to predict the melody in the uzun hava form. The database consists of 77 songs, encompassing 10849 notes, and it is used to train multiple viewpoints, where each event in a musical sequence are represented by parallel descriptors such as Durations and Notes. The thesis also introduces pitch-related viewpoints that are specifically aimed to model the unique melodic properties of makam music. The predictability of the

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Balkilic, Ozgur. "Kemalist Views And Works On Turkish Folk Music During The Early Republican Period." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606528/index.pdf.

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The main aim of this thesis is to examine the characteristics of Kemalist views and works on Turkish folk music during Early Republican Period. Kemalism, as a modernization project, aimed to transform the Turkish social formation totally. In this respect, one of the indispensable dimension of this project was cultural reforms. The music policies, as a part of the cultural reforms, were given considerable attentions by the Kemalist cadres since the music, according to them, was one of the area to reflect the developmental level of a society. Their views and efforts on Turkish folk music were a

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5

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 ord

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6

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 qualitati

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7

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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8

Sönmezler, Ahmet. "Turkish Musical Influences upon Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306145.

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The structure and content of Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba are heavily influenced by Turkish folk music. A stylistic and accurate performance of these pieces becomes possible through the study of Turkish folk music and its performance practices. This document provides information that may help the reader understand what some of the aspects of Turkish folk music are and show how Italian composer and guitarist Carlo Domeniconi (b. 1947) used them in two of his most popular solo classical guitar compositions. This document not only serves as an informativ

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9

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

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10

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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11

Davey, Mervyn Rex. ""As is the manner and the custom" : folk tradition amd identity in Cornwall." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3377.

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The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an

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12

García, Peter J. "La Onda Nuevo Mexicana multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3031600.

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13

Carter, Jennifer. "An integrative approach to style analysis of folk dance melodies with classification using inductive learning." Thesis, University of Derby, 2004. http://hdl.handle.net/10545/621840.

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This thesis investigates the issue of the application of cognitive analysis techniques for Western art music to folk dance melodies for violin, with a view to enabling the development of a computer tool that can aid in the identification and exploration of the stylistic characteristics of the origin of the melodies. The following questions are addressed: Can cognitive music analysis techniques for Western art music be applied successfully to folk dance melodies for violin? Is it possible to define an integrative analysis approach in this context drawing from existing approaches? To what extent

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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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Jensen, Kirstine Nurdug. "Fremstillingen af en familietradition : en hermeneutisk tolkning." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-682.

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The description of a family tradition – a hermeneutic interpretation The purpose of this thesis is to deepen the knowledge of the description of a family tradition and how it can be analysed and interpreted as well as what a family tradition can consist of. The conclusion is that it can consist of more than just dance and music. The family members’ life circumstances, the social contexts, the use of the body, and the content of the repertoire are also described as important aspects of the family tradition according to my interpretation. To fulfil the purpose of the study, I have used a hermene

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Lorenson, Zachary Steven. "An examination of works for wind band: an english folk setting arranged by John Edmondson, a childhood hymn by David r. Holsinger, Mister Joe by Harold Bennet arranged by Larry Clark, and Celtic Air and Dance arranged by Michael Sweeney." Kansas State University, 2011. http://hdl.handle.net/2097/10719.

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Master of Music<br>Department of Music<br>Frank C. Tracz<br>This report will present a detailed analysis of An English Folk Setting arranged by John Edmondson, A Childhood Hymn by David R. Holsinger, Mister Joe by Harold Bennett arranged by Larry Clark, and Celtic Air and Dance arranged by Michael Sweeney. The analyses are modeled on the “Teaching Music Through Performance in Band” series edited by Richard Miles, and the Macro-Micro-Macro score analysis form created by Dr. Frank Tracz. Chapter 2 will discuss the importance of music education as part of a well-rounded curriculum. Chapter 3 will

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Martina, Aileen. "The Traditional Bambuco in Nineteenth and Twentieth-Century Colombian Composition." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500243/.

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Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro pre

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VanGilder, Chris R. "An examination of works for wind band: They led my Lord away arranged by Fred J. Allen, English folk song suite by Ralph Vaughan Williams, Variation overture by Clifton Williams, Dance of the rose maidens by Aram Khachaturian, arranged by James Truscello, Prelude and rondo by David R. Holsinger, And valdres marsj by Johannes Hanssen, arranged by Loras J. Schissel." Kansas State University, 2007. http://hdl.handle.net/2097/360.

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Master of Music<br>Department of Music<br>Frank C. Tracz<br>The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Chris R. VanGilder. The recital, performed by the Arkansas City High School Concert Band, was given in two parts at the Arkansas City High School Auditorium. Part one, presenting the two pieces They Led My Lord Away as arranged by Fred J. Allen and English Folk Song Suite by Ralph Vaughan Williams was given on April 12th, 2007 at 7:00pm. Part two, presenting the four pieces Variation Overture by

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Caplat, Jacques. "Quand le geste technique transforme l'intention : l'évolution de l'accordéon diatonique en Bretagne." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH139/document.

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Ce travail vise à comprendre pourquoi et comment l'accordéon diatonique breton a connu une profonde transformation organologique et stylistique au cours des dernières décennies. L'évolution de l'instrument est ici le témoin des dynamiques historiques et sociales, que l'accordéon présente la particularité d'avoir intégrées dans sa forme-même du fait de sa rare plasticité, et qu'il permet d'éclairer. Statut des musiciens professionnels au sein d'une pratique restée massivement amateur, rôles et mécanismes de l'apprentissage d'un savoir traditionnel initialement basé sur l'oralité, fluctuation de

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20

McCarthy, Leonard Joseph. "The significance of corporeal factors and choreographic rhythms in Jamaican popular music between 1957-1981 (Ska, Rocksteady, Reggae), with an historical and critical survey of all relevant literature dealing with Jamaican folk, religious and popular musics and dance /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR32078.

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Thesis (Ph.D.)--York University, 2007. Graduate Programme in Higher Education.<br>Typescript. Includes bibliographical references (leaves 668-689). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR32078

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21

Hoeppner, JoAnna. "The importance of preserving American folk culture a guide to the cooperative teaching of folk dance in physical education and music /." 2003. http://www.oregonpdf.org.

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22

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

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

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23

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

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24

"Three Facets of Fazil Say in His Selected Piano Compositions." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55584.

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abstract: Beginning around the 1820s, the refinement of the piano mechanism increased the expressiveness of the instrument’s sonority and further attracted the composers’ attention and curiosity about the instrument. Concentration on piano music became a trend for composers between the mid to late nineteenth century. During this period, the massive output of music for piano and extremely developed keyboard techniques resulted in classical composers searching for fresh ideas. Starting in the twentieth century, composers became increasingly interested in music outside the classical world and new

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Khosa, Hanyani Aubrey. "An investigation into Ku Thawuza music and dance as an indigenous art form." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001487.

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M. Tech. Dance<br>Knowledge of cultural dances and songs is one of the key aspects necessary for a comprehensive understanding of the customs of any cultural group. This includes indigenous cultural practice of a particular cultural group, which in themselves have a plethora of different performance practices and categories that are extensive and unique in their own right. The indigenous music and dance of Vatsonga is no exception. It is against this background that this study was undertaken. This study seeks to collect, document, promote and preserve the Xitsonga indigenous art form, namely,

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Vansteenburg, Jessica. "Understanding folk dance and Gypsy style in selected pieces for clarinet and piano by 20th century Hungarian composers an interpretive guide /." 2009. http://proquest.umi.com/pqdweb?did=1923173201&sid=2&Fmt=2&clientId=14215&RQT=309&VName=PQD.

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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009.<br>Title from title screen (site viewed February 25, 2010). PDF text: xi, 116 p. : music ; 658 K. UMI publication number: AAT 3380449. Includes bibliographical references. Also available in microfilm and microfiche formats.

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Onyeji, Christian. "The study of Abigbo choral-dance music and its application in the composition of Abigbo for modern symphony orchestra." Thesis, 2002. http://hdl.handle.net/2263/29002.

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This thesis is divided into two main parts. Part one is the presentation of the ethnomusicological research study on Abigbo choral dance music, and indigenous music type found in the Mbaise area of Ibgo land in Nigeria. This part is made up of three chapters. Chapter one present the research out line for this work, which contains the Background of the study, personal motivation for the study, need for the study, methodology and value of the study. Chapter two presents a study of Abigbo music and the musicians. In this chapter, the researcher discussed the socio-cultural and creative milieu of

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

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

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Massey, Rachel Helen. "Landscapes of Participation and Tradition: The Australian Folk Festival as Process and Public Event." Thesis, 2021. https://hdl.handle.net/2440/135373.

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Every year, more than eighty self-designated ‘folk festival’ events are staged throughout Australia. Mainly held in regional and rural towns, these are leisure events characterised by the presentation of formal folk music concerts, the staging of folk dance events as well as oral performances, street performance, and both formal and informal opportunities for music-making and folk engagement with a significant emphasis on attendee participation. Australian folk festivals are modern ‘public events’ – grounded phenomena in their own right, with internal structures of intentionality. This thesis

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YU, CHAN-YU, and 余展輝. "The Research of Taroko Folk Music Dance performance - United Harvest Festival of Taiwan Indigenous People in Hualien County in 2013 as Example." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/nue4zh.

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碩士<br>國立臺灣體育運動大學<br>體育舞蹈學系碩士班<br>103<br>Hualien Aboriginal United Harvest Festival which held by Hualien County Government in mid-July annually for many years had brought both positive and negative influence at different level towards the traditional music and dance culture of the local tribes.In order to match with research attribute of tourism festival, Taroko music and dance performance which participated in Harvest Festival (2013) had been selected as research object for the study in depth investigate over the state of affairs for the influence of performance.The study had been conducted i

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

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

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Miranda, Nieto Alejandro. "Mobilities of practice : the circulation of traditional music making across Mexico and the United States." Thesis, 2015. http://hdl.handle.net/1959.7/uws:34441.

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Music making, amongst a myriad of cultural practices, is on the move. This phenomenon has been reflected in the increasing interest of scholarly debates on the production and negotiation of meanings in and across social and geographical spaces. The enthusiasm for the analysis of the spatial dimensions of the production of, and engagement with, cultural practices has often overshadowed the consideration of their temporalities and social rhythms. Drawing on ethnographic research conducted in various locations in Mexico and the United States, this thesis advances the analysis of the mobility of c

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Turková, Nikola. "Lidová kultura na Chodsku a možnosti využití ve výuce na 1. stupni ZŠ." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-434848.

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The thesis focuses on folk culture in Chodsko. The main focus is folk songs and collectors. It provides an insight into the differences between the Upper and Lower Chodsko region. Reader will find important historical and present personalities for regional folk culture. At the end of the thesis there is a proposal for working with Chodsko's folk culture in the primaey school environment. KEYWORDS Chodsko, folclore, folk culture, folk music, folk dance, Ludvík Kuba, folclore to school, Here we are home

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Vejborová, Petra. "Folklor ve výuce hudební výchovy na druhém stupni základních škol." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-305554.

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The graduation thesis deals with the problem of engagement of Czech folklore into the process of music education at lower secondary schools. It presents theory about Czech folklore and analyzes contemporary offer of music course books intended for lower secondary schools from the point of view of their content of folklore material. It reveals results of the research oriented on the folklore education at lower secondary schools. On the basis of these results, the diploma thesis proposes a project how to integrate Czech folklore into the music lessons as well as into other subjects taught at low

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Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.

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Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dziv

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García, Peter J. "La Onda Nuevo Mexicana : multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico." 2001. http://hdl.handle.net/2152/10476.

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Koerbin, Paul V. "I am Pir Sultan Abdal : a hermeneutical study of the self-naming tradition (mahlas) in Turkish Alevi lyric song (deyiş)." Thesis, 2011. http://handle.uws.edu.au:8081/1959.7/507150.

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The lyric songs of Turkish oral tradition broadly understood by the term deyiş provide one of the richest perspectives on the historical construction, communal perceptions and creative impetus of Turkish Alevi culture. One of the most evident defining characteristics of the deyiş is the convention in which the poetic persona to which the lyric is attributed, known as the mahlas, is incorporated in the final verse. While this convention is ubiquitous in this lyric form it has received little scholarly attention particularly in regards to is role in expressive culture. This study approaches Alev

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Bellaviti, Sean. "Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica Popular." Thesis, 2013. http://hdl.handle.net/1807/35775.

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This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavo

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Izu, Benjamin Obeghare. "Music and associated ceremonies displayed during Ugie (festival) in the Royal Court of Benin Kingdom, Nigeria." Diss., 2012. http://hdl.handle.net/10500/6721.

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This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to th

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