Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis--Freiburg im Breisgau. / Includes bibliographical references (p. 181-202).

Thesis--Greifswald, 1930. / At head of title: Deutsche Philologie. Vita. Includes bibliographical references (p. 289-290).

Thesis--Cologne. / Extra t.p. with thesis statement. Vita. Bibliography: p. 275-295.

Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 1982. / Typescript (photocopy).

Thesis -- Indiana University. / Vita. Photoreproduction. Ann Arbor, Mich. : University Microfilms International, 1979. -- 22 cm. Includes bibliographical references.

Thesis (doctoral)--Universite Laval, 1961. / Description based on print version record. Includes bibliographical references and index.

In the last forty years, there has been a steady increase in research on Scottish traditions of music and song. Growing from its roots in ‘collection’, the field (in Scotland) has been dominated by rather limiting methodological approaches. The study of Scottish folk music has seriously neglected post-­‐1960s cultural practices and the influences of hybridisation, professionalisation and commercialisation. These and related areas of the field are largely uncharted in departments of Music and Scottish Studies. One result, stemming from this problem, is a continuing confusion in the use of descriptive and ideological terms. ‘Folk music’ is the most widely used concept and its problematic and elusive meaning, its function for and understanding by industry professionals, is the focal point of this thesis. The aims of this thesis are to position current understandings of ‘folk’ as a term and a practice in the wider social and historical contexts of British folk music and to investigate the ways in which the discursive history of folk music informs contemporary cultural practices. My objective was to uncover, in particular, what, according to today’s performers and other industry participants, gives Scottish folk music its contemporary meaning. My thesis is designed to shed new light on the ideological and aesthetic constructions of folk music in Scotland.

Thesis (Ph. D.)--Wesleyan University, 1978. / Description based on print version record. Includes bibliographical references (leaves 667-670).

This thesis aims to take a small body of folk art material and place it in its broadest social, economic and cultural context. The items on which this discussion is based are the domestic folk textiles of Crete. This material was chosen for several reasons; Crete has always been a cross-roads in the Mediterranean and as a result of its varied history it is likely to show clearly any influence which historical and social background may have on folk art. The thesis begins with a discussion of folk art in general and Greek folk art in particular. It is suggested that folk art is above all the product of the environment in which it was produced and that it is made in essentially traditionalr ural societiesb y thoseb y whom it will be used. This theory is then applied over five chapters to Cretan folk textiles, beginning by taking the objects in their broadest possible context and homing in on the more specific aspects of their function and use. First the varied history of Crete is examined and it is deduced that the foreign governors of Crete during the Modem period exercised considerable control over the native population, their influence permeating throughout society. The origin of the raw materials involved in the production of textiles is then examined with special reference to the availability and movement of the materials concerned. They are found to come predominantly from very close to their site of use. The textiles are examined as artefacts in their own right and found to serve practical, decorative and social functions. In the last case they appear in large quantities as dowry goods and as such are capable of representing skill, wealth and status. Finally, the techniques and designs on both weavings and embroideries are examined. The result is a combination of native and foreign devices, together with many of those features which are found on folk art all over the World. In this way it is argued that folk art is reflection of its environment in its broadest sense and to remove such artefacts from their context is to risk misunderstanding their character, function and appearance.