Global ETD Search

1	The Folk-Song Society wax cylinder recordings in the English Folk Dance and Song Society wax cylinder collection : context, history, and reappraisal King, Andrew Stewart January 2016 (has links) No description available. 900 M1627 Folk ; national and ethnic music
2	Syn på världsmusik och etnisk musik i svensk kulturskola : Intervjustudie på tre kulturskolor som erbjuder världsmusik och etnisk musik / Perception of World Music & Ethnic Music in the Swedish Culture School : Interview study of three culture schools that offer world music and ethnic music Awad, Humam January 2011 (has links) Detta arbete handlar om synen på världsmusik och etnisk musik i tre svenska kulturskolor. Syftet med arbetet är att undersöka hur dessa kulturskolor ser på och arbetar med genrenvärldsmusik och etnisk musik. Av intresse är också att studera hur eller om de följer ellerkänner till kulturrådets rekommendationer och riktlinjer. I arbetet tar jag upp världsmusikenoch dess plats i Sverige, begreppet världsmusik samt teorier om hur kulturer förändras ochutvecklas hela tiden. Datamaterialet utgörs av tre kvalitativa intervjuer med tre enhetschefer från tre olika kulturskolor som erbjuder världsmusik och/eller etnisk musik i undervisningen.Deltagande respondenter hade olika åsikter om ämnet, särskilt angående terminologin inom området såsom exempelvis begreppet världsmusik. En av respondenterna var motståndare förbegreppet världsmusik medan de andra respondenterna inte hade några problem att accepteradetta begrepp. Två av kulturskolorna använder världsmusik och etnisk musik för att nåinvandrargrupper. I diskussionen fokuseras på terminologin, influenserna utifrån samt förändringen i kulturen. / This essay deals with the perception of world music and ethnic music based on three of Sweden’s culture schools. The purpose of the study is to examine how these culture schools view this genre and how, or whether they follow/ know the Council of Culture's recommendations and guidelines. In this essay, I present world music in Sweden and theconcept of world music, and assume that cultures change and evolve constantly. The datamaterial consists of three interviews with three headmasters from three different cultureschools that offer world music and/or ethnic music. Participating respondents had different opinions regarding the subject, especially terminology such as the concept of worldmusic. One of the respondents was opposed to the concept of world music, while theother respondents had no problem accepting the concept. Two of the culture schools use world music and ethnic music in order to reach immigrant groups. The discussion focuses on the terminology, influences from abroad and the cultural changes. Culture World music Ethnic music culture schools kultur världsmusik etnisk musik kulturskolan
3	A Postcard from Cairo Luis, Paul R. (Paul Reinaldo) 12 1900 (has links) A Postcard from Cairo is a chamber work for three performers (flute/soprano saxophone, vibraphone/conga, and electric guitar) supported by stereo tape and two digital sequencers. The musical content is a montage of Arabian, Indian, Spanish, and Moroccan ethnic music, combined with avant-garde sounds. The score reflects a mixture of traditional and contemporary elements featuring extensive use of improvisation and repetition. Each player is required to coordinate his responses in a variety of ways. Cues are governed by an analog clock, and pulses are provided by the tape/sequencer background. chamber music Moroccan ethnic music Arabian music Indian music Spanish music Electronic music. Musique concrète.
4	Chinese ethnic cultural expression in national music textbooks Zhang, Wenzhuo 03 October 2015 (has links) The People’s Republic of China (PRC) is comprised of fifty-six ethnic groups that inherent diverse cultural traditions. The largest of these ethnic groups is the 汉［Han］and the remaining fifty-five ethnic groups are given the name 少数民族, [ethnic minority]. The Communist government describes China as a unified multinational country. On the one hand, Chinese scholars and national policies advocate presentation of cultural diversity in China’s education system; on the other hand, they emphasized that diverse ethnic minorities contribute to a single united Chinese nationality as a whole, which is given the term Chinese nationality--中华民族. The purpose of this study is to examine the K1–9 music textbooks—a series of texts titled simply 音乐 [Music]—designed by the Curricula and Textbooks Designing Centre at the Ministry of Education of the PRC. The study aims to understand how China’s government and scholars frequently represent China’s ethnic musical traditions by these widely used music textbooks in the mainland of the PRC. This central issues are addressed by the research question include: 1. How are ethnic musical traditions introduced to students in the textbooks? 2. How are musical and cultural differences between ethnic minorities and Han-Chinese represented in the textbooks? 3. Whose cultural values and ideologies are signified in the selected ethnic musical materials and subjects of the textbooks? This study applies the methodology of document analysis; research findings are discussed based on relevant theories of liberalism along with authenticity in cultural representation. The study concludes that Communist China is very concerned by ethnic separatism so that Chinese nationality (as a whole) and political unity of the country is enforced in education. The curriculum reflects the core value of socialism and patriotism. The ethnic music materials represented in those nationally used, government-designed textbooks enhance ethnic integration and cultural unity of the Chinese nationality as a whole. As a result, the textbook contents mostly reflect values of moral education emphasized in many national education policies, which address patriotism and national unity rather than authentically present ethnic music and cultures. / 2017-10-02T00:00:00Z Music education Chinese ethnic minorities Chinese ethnic music Chinese music education Chinese national music textbooks Cultural diversity in music education Multicultural education
5	"Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent Oyarzún Sepúlveda, Inti January 2015 (has links) Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value. / <p>Numera Inti Oyarzun-Jonsson.</p> flamenco electric bass bass guitar Nuevo Flamenco New Flamenco Carles Benavent Paco de Lucía jazz popular music ethnic music world music jazz bass. flamenco elbas elektrisk bas basgitarr nuevo flamenco new flamenco Carles Benavent Paco de Lucia jazz populärmusik etnisk musik world music jazzbas fusion Spanien jazzflamenco flamencorock Musicology Musikvetenskap

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