Relevant bibliographies by topics / Western Apache Folk songs

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Western Apache Folk songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Western Apache Folk songs"

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Kang, Sangmi, and Hyesoo Yoo. "Effects of a Westernized Korean Folk Music Selection on Students’ Music Familiarity and Preference for Its Traditional Version." Journal of Research in Music Education 63, no. 4 (2015): 469–86. http://dx.doi.org/10.1177/0022429415620195.

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The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs ( n = 18) or listening to Western arrangements of the same Korean folk songs ( n = 22); a second intact class served as a control group with no listening ( n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western cl
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Xu, Hong. "The Application of Multi-modal Discourse in English Translation of Tujia Folk Song Long Chuan Diao in Western Hubei Province." MATEC Web of Conferences 232 (2018): 02010. http://dx.doi.org/10.1051/matecconf/201823202010.

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Nowadays, multi-modal discourse, including language, picture, audio and video play a very important role in the translation of folk songs. Under the comprehensive framework of Delu Zhang, this paper analyses the application of multi-modal discourse in the translation of Tujia folk song Long Chuan Diao from four aspects: cultural level, context level, content level and expressive level. The study can better understand Tujia folk songs and transmit Tujia culture. Multi-modal discourse analysis plays an important role in translating and spreading Tujia folk songs in Western Hubei province.
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Wei, Sun, and Krisada Daoruang. "An Analysis of Music Composition Techniques of Bao Yuankai: Case Study of “Little Cabbage”." SHS Web of Conferences 183 (2024): 03005. http://dx.doi.org/10.1051/shsconf/202418303005.

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The composition techniques of the folk song “Little Cabbage” within Chinese composer Bao Yuankai's “Yan Huang Feng Qing” are analyzed as research subjects. The concept of symphonic Chinese folk songs and musical creation techniques are investigated. The manner in which the composer incorporates Chinese and Western music theories in his compositions through the application of musical theory techniques is analyzed. The results of the research findings were: 1) The Chinese pentatonic scale 2) The use of Chinese folk melody in Western orchestra and 3) 3 Music texture: polyphonic technique and Chin
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TÜRKMENOĞLU, Ömer. "TURKISH FOLK SONGS ACCOMPANIED BY SYMPHONY." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (2021): 277–86. http://dx.doi.org/10.46291/zfwt/130214.

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In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement init
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Lin, Kang. "Folk songs in the content of general music education in China." Science and School, no. 5 (October 29, 2023): 203–10. http://dx.doi.org/10.31862/1819-463x-2023-5-203-210.

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The article is devoted to the problem of increasing the role of folk songs in the content of general musical education. This problem is relevant not only for China, but also for Russia. It is connected with the tasks of the modern state educational and cultural policy of these countries, aimed at educating the younger generations in the context of their own national and cultural traditions and spiritual and moral values. The purpose of the article is to reveal the role of Chinese folk songs in the content of modern general musical education in China. The article reveals certain aspects of the
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Dangaura, Mohan. "Spatial Memory and Ecologically Displaced Subjectivity in Western Tharu Folk Songs of Nepal." Literary Studies 35, no. 01 (2022): 57–67. http://dx.doi.org/10.3126/litstud.v35i01.43675.

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This paper critically examines the folk dance songs of Dangaura Tharu fromthe perspective of space, memory, and performance. The paper establishes the relationship between Tharu subjectivity and conscience of their past topography inherent intheir folk dance songs. In one aspect where the overall folk performance of Tharu reflects their lifestyle, in another aspect, their folk songs and rituals assist them to connect with the natural environment where they inhabit. This paper has brandied their performance as the art reflecting their bucolic lifestyle and melancholic memory. The songs have bee
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Richter, Pál. "The Harmonization of Folk Songs in Kodály’s Workshop." Studia Musicologica 60, no. 1-4 (2020): 265–79. http://dx.doi.org/10.1556/6.2019.00013.

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When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song
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Meng, Yumeng Liu Minghua. "National Cultural Heritage Through Hebei Folk Song Education among School Choir: Psychological Well-being Survey." Multicultural Education 8, no. 12 (2022): 98. https://doi.org/10.5281/zenodo.7434346.

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<em>Hebei folk songs refer to the folk music spread in Hebei Province. Their representative works include &quot;Little Cattle Release&quot;, &quot;Going Back to Her Mother&#39;s Home&quot; and &quot;Little Cabbage&quot;. Hebei folk song is an ancient kind of Han folk music. Is plain, honest, or solemn, and stirring desolate, or melodious, and other characteristics. It shows the simple and honest temperament of the working people of all nationalities in Hebei Province. Most are to depict real life, but also some are to praise historical figures. For thousands of years, tens of thousands of folk
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Duan, Siyu, and Jinyan Li. "Corpus－Based Study on the Translation Methods of the Figures of Speech in Zhuang’s Folk Songs of Napo." Asian Journal of Current Research 9, no. 4 (2024): 95–106. http://dx.doi.org/10.56557/ajocr/2024/v9i48907.

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The figures of speech in Zhuang’s Folk Songs of Napo exhibit distinct cultural characteristics compared to mainstream Chinese folk songs or Western literary traditions, and their translation requires careful attention not only to the figures of speech but also to the effective transmission of Zhuang culture. Based on a self-built bilingual corpus, this paper examines the translation methods of figures of speech in the English translations of Zhuang’s Folk Songs of Napo. The study reveals that translators predominantly use literal translation to preserve the cultural features of figures of spee
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Kazakevich, Olga. "The anticipation of love and death in Western Evenki personal folk songs." Rodnoy Yazyk. Linguistic journal, no. 2 (December 2024): 247–59. https://doi.org/10.37892/2313-5816-2024-2-247-259.

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Evenki musical folklore has long attracted the attention of researchers. The earliest publication of traditional Evenki song texts was produced by G. Hut at the beginning of the 20th century. The first audio recording of Evenki songs was made using a phonograph by L. Y. Sternberg in 1910. The Phonogramme Archive of the Pushkin House in St. Petersburg includes extensive collections of traditional Evenki personal and shamanic songs, which were recorded in the first quar­‑ ter of the 20th century and still need to be transcribed and analyzed. Since then, a number of articles and monographs dedica
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Dissertations / Theses on the topic "Western Apache Folk songs"

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Winebrenner, Terrence Calvin. "My heroes have always been cowboys : the rhetorical vision of country-western popular songs, 1970-1979 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487264603218088.

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Gibbs, Levi Samuel. "Beyond the Western Pass: Emotions and Songs of Separation in Northern China." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248745393.

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Kanaridis, Mina. "Investigating a singing voice in diverse genres and styles : a discussion of context and process." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and se
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Williams, Joseph. "Rhizomatic thinking and traditional music as difference-in-itself : a virtual historical revision of England's Victorian/Edwardian folk revival." Thesis, 2019. http://hdl.handle.net/1959.7/uws:54511.

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This dissertation problematizes the principle of identity in the contemporary understanding and evaluation of traditional music in international contexts. Through a virtual historical revision of England’s folk revival of the late nineteenth and early twentieth centuries, I ask whether it is possible to rethink the concept of traditional music in terms of what Gilles Deleuze called difference-in-itself. The orientation of my historical revision is informed by Deleuze’s concept of the virtual, which concerns the relationship between the past, as it exists in the present without being actual, an
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Musungu, Gabriel Joseph. "Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite." Thesis, 2010. http://hdl.handle.net/10500/3680.

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Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The
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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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Books on the topic "Western Apache Folk songs"

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Harnisch, Wilson Ruth Longcor, and Burton Bryan 1948-, eds. When the earth was like new: Western Apache songs & stories. World Music Press, 1994.

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Thomas, Allan. Report on survey of music in Tokelau, Western Polynesia. Dept. of Anthropology, University of Auckland, 1988.

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1840-1926, Tolmie Frances, ed. One hundred and five songs of occupation from the Western Isles of Scotland. Llanerch, 1998.

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Gunderson, Frank D. Sukuma labor songs from Western Tanzania: We never sleep, we dream of farming. Brill, 2010.

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Jasta, Hariram. Himācala Pradeśa ke lokaprīya gāthāgīta. Sanmārga Prakāśana, 1997.

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Salīma, Lacchī Rāma Gāzaṭā. Hamārā saṃskr̥tika itihāsa: Mahāsuvī lokagāthāeṃ. Lacchī Rāma Gāzaṭā "Salīma", 2001.

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Śrīrāma, Śarmā. Loka sāhitya, svarūpa aura mūlyāṅkana. Nirmala Pablikeśansa, 1997.

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Ṭhākura, Harī Siṃha. Himācala Pradeśa ke loka-saṅgīta tathā vādya-vādana. Nirmala Pablikeśans, 2007.

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Guptā, Camanalāla. Himācalī lokagīta mañjūshā: Kāṅgaṛā, Ūnā, tatha Hamīrapura kshetra meṃ gāe jāne vāle lokagītoṃ kā Hindī rūpantaraṇa sahitya saṅgraha. Nirmala Pablikeśansa, 2010.

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Chaedan, Talsŏng Munhwa, ed. Ch'ŏngbaengni Kwak An-bang kwa Hyŏnp'ung Kwak Ssi 12-chŏngnyŏ. Minsogwŏn, 2021.

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Book chapters on the topic "Western Apache Folk songs"

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Yaxiong, Du. "Social Change and the Maintenance of Musical Tradition among the Western Yugurs." In The Oxford Handbook of Music in China and the Chinese Diaspora. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190661960.013.15.

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Abstract The Yugurs (裕固族) are a minority nationality with a long history and ancient cultural tradition. In the past forty years, due to the rapid development of China’s economy, the production and lifestyles of Yugur people have undergone tremendous changes. Yugur concepts of folk song have changed markedly. Some old folk songs have died out, with compositions called “new folk songs” coming into being. Yugur people realize that the preservation of their traditional culture is of fundamental importance in their national existence, and the preservation of traditional folk songs is a vital part
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Lukin, Michael. "The Traditional Yiddish Folk Song." In The Oxford Handbook of Slavic and East European Folklore. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.44.

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Abstract Eastern European Jews, dwellers of shtetls (small market towns), created a distinctive repertoire of traditional folk songs in eastern Yiddish that flourished from early modern times until the Holocaust. During this prolonged period, its various genres developed interconnections, both poetic and musical. Marked by conservatism and internal inspirations, traditional songs shared a creative adaptation of old western European elements, adopted before the Ashkenazi immigration to central-eastern Europe (i.e., before the sixteenth–seventeenth centuries), to their Slavic surroundings. A com
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Marcus, Scott. "Recycling Indian Film-Songs: Popular Music as a Source of Melodies for North Indian Folk Musicians." In Non-Western Popular Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315090450-15.

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Agócs, Gergely. "Dunának, Amu-darjának egy a hangja. Magyar népzenei dallamtípusok változatai a karakalpak zenefolklórban." In A Magyarságkutató Intézet Évkönyve 2023. Magyarságkutató Intézet, 2024. https://doi.org/10.53644/mkie.2023.1.

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In my study, I describe the related musical forms of Hungarian folk music and Karakalpak music folklore based on the melodies of folk songs recorded between 2021 and 2023 in the settlement area of Karakalpak people living in the delta region of Amu-darya in the western regions of Uzbekistan, and their Hungarian equivalents. Some of the Karakalpak folk songs published here can be regarded as variants of Hungarian folk music melody types belonging to the „Ugric ancestral layer” or even to the descending range of the „Old Turkic ancestral layer” with small and large arches, but various karakalpak
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Volk, Terese M. "Music Teacher Education." In Music, Education, and Multiculturalism. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195179750.003.0010.

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Abstract There is no doubt folk musics have been taught in the schools for many years; many people remember singing European and American folk songs, including spirituals, as elementary or high school students. However, there was little or no training given new teachers in how to teach these musics. Colleges assumed that training teachers in Western music was sufficient to enable them to teach any kind of music. The concept of music as a “universal language” upheld this idea, as did the fact that the first musics ad­ mitted to the curriculum were European, American, and Latin American folk mus
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Brackett, David. "The Corny-ness of the Folk." In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0006.

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Country music in the late 1930s was more disconnected from the mainstream than swing. Appearing initially only in cover versions of songs by crooners, or in the recordings of “singing cowboys,” turmoil in the music industry during the war years created an opening for a few extremely successful country recordings exemplified by Al Dexter’s “Pistol Packin’ Mama.” “Hillbilly Music” (as country was usually called during this time) was associated with the concept of “corn,” which allied the music to rural agricultural production and lowbrow, “corny” comedy routines. The popularity of recordings lik
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Lewis, Nora Anderson. "Reena Esmail, Jhula Jhule (2013)." In Notes for Oboists. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197546581.003.0040.

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Abstract This chapter offers historical context and analysis of Reena Esmail’s Jhula Jhule (2013), a work that intricately combines Indian folk music and Western classical music. As a first-generation Indian American composer, Esmail’s compositions often explore and express her dual cultural identity. She received her training in Western classical music at prestigious institutions such as the Juilliard School and Yale University. However, feeling a cultural disconnect, Esmail sought to incorporate her Indian heritage into her music. This led to a year-long study of Hindustani music in India as
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Olsson, Ulf. "Popular Avant-Garde? Renegotiating Tradition." In Listening for the Secret. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520286641.003.0002.

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Throughout the history of the Grateful Dead, their musical practice was marked by avant-garde impulses. But the band was also performing rock standards, electrified folk music, cowboy songs, blues, et cetera. The band’s basic aesthetics were formed in this tension between tradition and avant-garde. At the same time, the band was generating a form of counter-public, reminiscent of the communities formed around bluegrass and avant-garde jazz. Self-organization became fundamental both for the band (in the form of improvisation), and for the community-building the band engaged in. In this way, the
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Rogovoy, Seth. "The Sheik of Araby’s Three Cool Cats." In Within You Without You. Oxford University PressNew York, 2025. http://dx.doi.org/10.1093/oso/9780197627822.003.0003.

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Abstract Chapter 2 of Within You Without You examines two early Beatles recordings. “The Sheik of Araby” was composed in 1921 and had been widely played for over four decades when the Beatles recorded it. The pop number “Three Cool Cats” was originally by the Coasters. These two songs illustrate how Harrison and the Beatles had musical influences far beyond rockabilly, R&amp;B, and early rock ’n’ roll. Harrison and his bandmates were equally well versed in pre-rock pop, novelty tunes, British music hall, vaudeville, jazz, Broadway, operetta, folk, and country and western music. The recordings
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Osei, Adjoa. "Introduction." In Elsie Houston. Oxford University Press, 2025. https://doi.org/10.1093/oso/9780197693179.003.0001.

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Abstract This introductory chapter provides an overview of the legacy of Elsie Houston. In the 1920s and 1930s, black and mixed-race women from across the globe came together in Paris and New York to engage in an artistic, sexual, intellectual, and political revolution. As a Brazilian woman of color who was part of the Parisian jazz age, Elsie became notable for performing restylized Afro-Brazilian and Afro-Cuban folk songs in the operatic mode in elite theatres and cabarets. The chapter explains that Elsie’s narrative highlighted a history of Western culture and society where the artistic wor
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Conference papers on the topic "Western Apache Folk songs"

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Çelikoğlu, Şaban. "GEOGRAPHY IN THE FOLK SONGS OF WESTERN BLACK SEA REGION." In International Scientific Conference GEOBALCANICA. Geobalcanica Society, 2016. http://dx.doi.org/10.18509/gbp.2016.37.

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Brūzgienė, Rūta. "The Musicality of Lithuanian Poetry: Codes of a Different Speaking." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.3.8934.

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Research on the interactions between literature and other art forms, observed since the appearance of syncretic art, took off in the 18th century. These multifaceted and multidisciplinary connections between time-based arts are systematized in W. Wolf’s general concept of intermediality at the end of 20th century. Based on this concept, the paper will provide some aspects of the musicality of Lithuanian poetry. The study is based on works by V. Daujotytė, V. Česnulevičiūtė, O. Juozapaitienė, J. Girdzijauskas, V. Kubilius, Ž. Ramoškaitė, D. Razauskas, W. Wolf, and others; comparative methodolog
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