Dissertations / Theses on the topic 'Volkslist'

Thesis (PhD)--Stellenbosch University, 1991.
ENGLISH ABSTRACT: A song has to be accepted by the community, must form part of the oral tradition and be handed over from one generation to the next, before it can be called a folk song. In the process of oral tradition, variants usually develop. A folk song is therefore never complete the moment it is created, but is formed gradually through a process of changes. The Afrikaans folk song sung by the coloured people has the same characteristics as the folk song in general. The fact that oral tradition is the major way of spreading songs, is evident from the many variants that occur and from the examples of transformation of words and melody ("Umsingen"and "Zersingen"). Simplicity, the use of the major key and the avoidance of modulation are prominent characteristics. Suggestiveness and coarse language are fairly common. Melismata are very rare and usually occur in songs which probably have their origin in old Afrikaans records. Most of the songs collected amongst coloured children are used to accompany games. The children seldom sing without playing or play without singing. Most variants are found amongst children's songs. Dancing songs are without a doubt the most popular amongst the songs of adults. The form of the stanzas is very simple and usually the songs consist of many stanzas. A small percentage of the songs collected, more or less 5%, presumably originate from old Afrikaans grammophone records. Most of these songs have been transformed by popular usage and even amongst them variants have been found. The main themes of this group of songs are love, parting, grief and death. Picnic songs, work songs, war songs and drinking songs have been found. Humoristic and mocking songs contribute to the entertainment value of the folk song and are also found amongst the coloured people. Because there is so much interaction between sacred songs and secular songs, especially where the melodies are concerned, the two groups cannot always be separated from each other. The sacred songs of the coloured people are mostly of the "refrain"-type. When a group of coloured people perform the sacred songs, they usually harmonise spontaneously and most beautifully. The fact that so much has been said and written on the subject of the folk song, and that even in recent years substantial research projects have been carried out, is proof enough that the folk song has not yet died out. The Afrikaans folk song features strongly amongst coloured people, though noticeably influenced by the English language, modern technology and urbanisation.
AFRIKAANSE OPSOMMING: 'n Volkslied is 'n lied wat deur die gemeenskap aanvaar is, mondelings versprei word en op dieselfde wyse van geslag tot geslag oorgelewer word en waarvan daar in die prosesse variante ontstaan. 'n Volkslied is dus nie voltooi die oomblik dat die eerste vorm geskep is nie, maar word deur 'n langsame proses geleidelik gevorm en omvorm. Die Afrikaanse volkslied wat deur die bruinmense gesing word, toon dieselfde kenmerke as die volkslied in die algemeen. Daar is tekens van mondelinge oorlewering wat veral weerspieel word deur die baie variante wat aangetref word, sowel as talle voorbeelde van verbrokkeling en ver~ vorming ("Umsingen" en "Zerzingen"). Eenvoud in woord en melodie is opvallend. Die majeurtoonaard, met vermyding van modulasie, kom feitlik deurgaans voor. Suggestiwiteit en growwe taal is redelik algemeen. Melismes kom selde voor en dan meestal by liedere wat waarskynlik van ou Afrikaanse plate kom. By die opnames onder bruin kinders is gevind dat die oorgrote meerderheid liedere wat hulle sing, een of ander vorm van spel begelei. Hulle sing selde sonder om te speel, en hulle speel selde sonder om te sing. Die meeste variante van liedere word ook by die kinders aangetref. By die liedere van volwassenes is die danslied ongetwyfeld die gewildste. Die meeste daarvan bestaan uit kort, eenvoudige strofes met baie strofes in een lied. 'n Klein persentasie van die liedere wat versamel is, ongeveer 5%, is vermoedelik van ou Afrikaanse grammofoonplate afkomstig. Die meeste daarvan het baie vervorm in die volksmond en selfs daarvan is variante aangetref. Die temas van hierdie groep liedere handel hoofsaaklik oor die liefde, afskeid, hartseer en die dood. Voorbeelde van piekniek-, arbeids- en oorlogsliedere, sowel as enkele drinkliedere en doprympies is aangetref. Die humoristiese lied en spotlied dra by tot die vermaaklikhiedsfunksie van die volkslied en kom ook by die bruinmense voor. Die gewyde of geestelike lied kan nie altyd streng van die wereldlike lied geskei word nie. Daar is te veel wisselwerking tussen die twee groepe, veral wat wysies betref. Die gewyde liedere wat by die bruinmense,aangetref is, is meestal van die sogenaamde "koortjie"-tipe. 'n Kenmerk van hulle gewyde sang is dat wanneer dit deur 'n groep gesing word, dit altyd meerstemmig is met pragtige harmoniee wat op natuurlike wyse gedoen word. Die feit dat daar al so baie oor die volkslied geskryf is en selfs onlangs nog omvatteride studies daaroor die lig gesien het, is bewys dat die volklied nog nie uitgesterf het nie. Daar is bewys dat die Afrikaanse volkslied onder die bruinmense baie sterk staan, hoewel Engelse invloed duidelik merkbaar is en tekens van moderne ontwikkeling en verstedeliking onmiskenbaar waargeneem kanword.

This creative thesis comprises a book length collection of poems entitled Box Of Chalks, and an accompanying prose commentary exploring issues of research, drafting and the forming of a narrative sequence of poetry. The book of poems is based on the experience of Polish boys and men forcibly conscripted into the German Army by National Decree, 4th March 1941. This enforced conscription remains a little acknowledged fact which I discovered is still refuted in some Polish communities. The poems are written from the viewpoint of one conscript. They consist of dramatic monologues, a duologue and a voice of the Valksliste. The poems cover a period from boyhood to old age. The accompanying prose commentary on the process of researching the historical material and the artistic drafting of the poems is formed of six chapters. Chapter One explores the genesis of the poems in the historical events of German conscription in Silesian Poland. Chapter Two discusses the ethics of using another's voice and the painful experiences. In this chapter, I trace the creative choices made from composite experiences as the voice of the sequence gradually developed. In Chapter Three, I show how facts, memories and experiences were gleaned through interviewing survivors and one survivor in particular. This chapter further examines the history of the Polish war experience and shows how oral reminiscence is linked to historically recorded events. The chapter shows how gleanings from these 'rememberings' formed the basis of individual poems and discusses the difficulties of opening up delicate matters linked to emotions of shame and guilt in the surviving community. Chapter Four examines the difficulties and rewards in finding the most appropriate opening for the narrative. I aim to demonstrate how the sequence of poems benefited from structuring techniques and a 'layering of imagery and sound', which, although discovered late in the process, helped to form a cohesive narrative. Chapter Five discusses the drafting of key poems and the challenge of unexpected inconsistencies encountered when designing the poetic sequence. Here, I explore the demands of forming a longer narrative out of individual poems, for example the need for bridging poems, continuity and telling the larger story mainly through one voice. Chapter Six demonstrates how a large part of the sequence was written transposing some of my own historical and cultural experiences through corresponding physical detail. Here, I explore experiments in creating characters and physical details to develop the world of the narrative and its accumulative progression. I conclude this thesis by acknowledging that the consequences of conscription continued long after the war had ended and has had an effect on later generations.

Die vorliegenden Sätze für vierstimmigen Männerchor a cappella komponierte Matthias Drude für den Männerchor Misburg von 1905, dessen Chorleiter er von 1983 bis 1993 war. Es handelt sich um folgende Lieder: 1. Auf, auf zum fröhlichen Jagen 2. Bunt sind schon die Wälder 3. Wem Gott will rechte Gunst erweisen Mit freundlicher Genehmigung des Concertino-Musikverlags.

zwei Sätze zum weltberühmten Weihnachtslied 'Stille Nacht, heilige Nacht' 1. dreistimmig gemischter Chor (S, A, Bar.) 2. vierstimmiger Männerchor (zu 1.): Mit freundlicher Genehmigung des Concertino-Musikverlags

Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise. Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.

碩士
國立臺灣師範大學
音樂研究所
90
In responding to the enforcement of the New 1-9 Curriculum in September of 2002, in conjunction with the essence and the concept of educational reform, this study attempts to design the curriculum integration of “arts and humanities” and “social studies” through Volkslied. The main purpose is to appreciate the music which projects to the geographic environment, and to go deep into the recognition of humanities. Promoting and encouraging students to concern with the humanities, the researcher aim to introduce and prepare those with multi-cultural acceptance and a vision of the world. In addition, it is an attempt to advance music teaching through team teaching of overstriding domains or teaching design of curriculum integration that focuses on unit topics. In Chapter One of this study, it explores Volkslied and German historical events of that time. By looking into the differences of human geography in northern, middle and southern German, the researcher discover how they contribute to the unique styles in these local Volkslied. Chapter Two is to analyze the geographical influences from their birthplaces on the eleven German composers, and to study the Volkslied they’d been quoted. Chapter Three is aimed to design the complete structures of curriculum integration, teaching activity propositions, learning goals, teaching plans and learning lists according to the discoveries of the previous chapters. Through the test of teaching experiments, this research is to prove the feasibility of curriculum integration between music and geography, guided by Volkslied. The results of this study would offer the teaching modes of overstriding domains for “arts and humanities” and “social studies” of the New 1-9 Curriculum and serve as the reference for the publishing companies of textbooks or those teachers who attempt to develop and design the curriculum integration of overstriding domains. The results indicate that this approach could connect widthwise with different fields, stimulate students’ motives in active learning, as well as advance the learning effects, however, it would consume longer time. With regard to “social studies”, which are frequently under pressure of curriculum progress and entrance examination, it’s indeed not easy to practice. Consequently, a normalized teaching is the only answer to implementing the essence and concept of the New 1-9 Curriculum.

Die drei vorliegenden Sätze zu bekannten Weihnachtslieder hat Matthias Drude bereits in der 1980er Jahren für den Männerchor Misburg von 1905 (Hannover) bearbeitet. Mit freundlicher Genehmigung des Concertino-Musikverlags.:1. Lieb Nachtigall, wach auf 2. Was soll das bedeuten 3. Zu Bethlehem überm Stall

Das Wirken von Josef Pommer, der bis in jüngste Zeit als 'Ikone der österreichischen Volksmusikforschung' von nationaler Bedeutung gefeiert worden ist, wird auf seine politischen und ideologischen Aspekt hin analysiert und Pommers deutschnationale Einstellung einschließlich ihres Antisemitismus als eine unlösbare Verbindung seines weithin verschwiegenen politischen Wirkens mit seiner Tätigkeit als Volksliedsammler verstanden.

Volksliedbearbeitung von 'Kein schöner Land' (Anton Wilhelm von Zuccalmaglio, 1838) in drei verschiedenen Versionen 1. Männerchor und gemischter Chor gemeinsam 2. Männerchor allein 3. gemischter Chor allein