Syftet med föreliggande kvantitativa enkätstudie är att undersöka vilka förutsättningar som finns för att lära sig folklig sång i sångundervisning Detta gjordes genom att undersöka sångpedagogers förtrogenhet i att undervisa i svensk folkmusik, hur vanligt förekommande folklig sång är i undervisningen och genom att kartlägga repertoarområden i sångundervisningen. Tidigare forskning visar att rock och pop dominerar musikundervisningen i grundskolan. Resultatet visar att folklig sång sällan förekommer och att äldre traditionella visor och ballader är det vanligaste repertoarområdet. Nära 80% av sångpedagogerna uttrycker att de saknar eller att de delvis har förtrogenhet för folklig sång. Resterande, strax över 20%, uttrycker att de till stor del eller helt har förtrogenhet för folklig sång. I diskussionen lyfts de stilistiska dragen fram i förhållanden till repertoarområden vilket mynnar ut i att förutsättningen att möta vissa av folkmusikens stilistiska drag är betydligt lägre än andra. Där diskuteras också resultatet i förhållande till skolans styrdokument och tidigare forskning. / The purpose of the present quantitative survey study is to investigate the prerequisites for learning folk songs in singing education today. This was done by examining singing educators' familiarity with teaching Swedish folk music, how common folk songs are, and a mapping of traditional folk music repertoire areas in singing education. Previous research shows that rock and pop dominate music education in elementary school. The result showed that folk songs rarely occur and that older traditional songs and ballads are the most common repertoire area. Nearly 80% of singing teachers say they lack, or have some familiarity with traditional singing. The remaining 20% of report that they largely or completely familiarize themselves with traditional singing. In the discussion, stylistic elements are discussed in relation to various areas of repertoire. Furthermore, the lack of prerequisites for meeting the traditional features in folk music is discussed in relation to the tendency of overemphasizing some repertoire areas. Finally, the result is discussed in relation to governing documents and previous research.

This dissertation has the afoxés sergipanos as the object of study, we seek to understand it relation to the partisan politics. To do so, we anilyze the political context in wich the afoxé emerged, the relation between this context and the political leadership and how it is vinculated to the politicians, such as afoxés and candomblé s relation showing thru rituals that there is an inequality between the afoxés and the sergipe political partisan. The central question of this study consisted in discovering wich relations exist between the afoxés and the sergipe political partisan. Thus, the central teme of this work is the relation between the sergipeans afoxés and municipal and state partisan politics. I analyse the process of emergence and development of the afoxés in Sergipe among the political context of brazilian democratization and the political oportunities that were criated by this context enabling the emergence of the afoxés in this state. The research had as a teorical and methodological orientation the use of reference that combine assumptions of anthropology and theoris of social movements, as well as the use of ethnografy as the major factor for the development of this analysis providing the participant observation, enterviews and the aprehension of the existing rituals in the afoxés. The results demonstrate the favorable conditions for the emergence of the afoxés among the sergipean politics relations, namily, the political oportunities and the social relations network that make possible the needed articulation for this process. / Esta dissertação tem por objeto de estudo os afoxés sergipanos, sobretudo no que se refere às suas relações com a política partidária. Para tanto, analisamos o contexto político em que surgiram os afoxés, a relação desse contexto com as lideranças e os vínculos que elas possuem com os políticos, assim como as relações dos afoxés com o candomblé evidenciando através dos rituais a existência de uma desigualdade na relação entre os afoxés e a política partidária sergipana. A questão central do trabalho consistiu em analisar quais as relações existentes entre os afoxés e a política partidária sergipana. Assim, o tema central deste trabalho é a relação entre os afoxés sergipanos e a política partidária municipal e estadual. Analiso o processo de surgimento e desenvolvimento dos afoxés em Sergipe em meio ao contexto político de redemocratização brasileira e as oportunidades políticas que foram criadas por estes contextos. A pesquisa teve como orientação teórico-metodológica o uso de referências bibliográficas que combinam pressupostos da antropologia e das teorias dos movimentos sociais, assim como o uso da etnografia como estratégia principal para o desenvolvimento dessa análise. Os resultados demonstram as condições favoráveis para o surgimento dos afoxés em meio às relações políticas sergipanas, a saber, as oportunidades políticas e as redes de relações sociais que possibilitaram as articulações necessárias para este processo.

Please read the abstract in the section 03back of this document / Dissertation (MA (Biblical and Religious Studies))--University of Pretoria, 2007. / Biblical and Religious Studies / unrestricted

The Quebec City festivals of 1927 and 1928 represent a unique instance of close collaboration between prominent figures in Canadian musical and cultural history, John Murray Gibbon and Marius Barbeau. Based on Anglocentric concerns for a unique Canadian identity and corresponding school of composition, the festivals served as points of contact between many artists and performers, including Juliette Gauthier and Florence Glenn. An analysis of specific performances at the CPR festivals and over the course of Glenn and Gauthier’s respective careers showcase how racialized attitudes towards Indigenous populations, and the static conceptualization of French-Canadian folk culture were navigated to perform “Canadian folksong.”

Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.

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 hermeneutic approach to examine the content of two texts (a magister thesis and a film) in relation to the research context, in which they were made, and to my preunderstanding. The thesis contributes to the field of dance pedagogy by offering an example of how a dance pedagogue can obtain knowledge about a repertoire and/or a tradition and thereby develop their understanding of what they pass on through their teaching.

MAAS / Department of Music

I detta arbete skapar jag nya låtar för att undersöka och förmedla olika låttypers kännetecken inom svensk folkmusik, vilket kan betraktas som etyder. Etyder kan vara övningsstycken avsedda att ge möjlighet att lära ut en instrumentalteknisk konst, en vanlig form inom västerländsk konstmusik men inte alls lika etablerat inom svensk folkmusik, där det inte finns en lika formaliserad skolbildning. Med utgångspunkt från deskriptiva studier och egen analys av ett urval av typlåtar, har jag med skapande som metod utvecklat en tolkning av vad jag undersöker där tolkningen och låten vuxit fram iterativt, därför kan detta betraktas som en kvalitativ och explorativ undersökningsprocess. Målsättningen har varit att efterlikna de traditionella melodierna med fokus på stilistiskt karaktäristiska egenskaper, men där låtarna/etyderna samtidigt ska kunna stå på egna ben konstnärligt. I processen har jag utvärderat och delvis utvecklat nya kompositionsmetoder och inlärningsmetoder i ljuset av vad som haft kreativ potential. Arbetet beskriver olika metoder för skapande inom folkmusik och den kreativa potentialen i olika metoder diskuteras mot bakgrund av erfarenheterna från projektet. / In this work, I create new tunes to investigate and convey the characteristics of different tune types in Swedish folk music, which can be considered as etudes. Etudes can be exercises intended to provide an opportunity to teach an instrumental art, a common form in western art music but not at all as established in Swedish folk music, where there is no equally formalized schooling. Based on descriptive studies and my own analysis of a selection of tune types, I have with creation as a method developed an interpretation of what I examine where the interpretation and tune has emerged iteratively, in what can be considered a qualitative and exploratory research process. The aim has been to imitate the traditional melodies with a focus on stylistically characteristic features, but where the tunes / etudes should at the same time be able to stand on their own artistically. In the process, I have evaluated and partly developed new composition methods and learning methods in the view of what had creative potential. The work describes different methods for creation in folk music and the creative potential in different methods is discussed in the light of the experiences from the project. / <p><strong>Rättvikspolska av Tommy Lundgren</strong> - Tommy Lundgren, fiol</p><p><strong>Farfars Reinlender av Tommy Lundgren </strong>- Tommy Lundgren, fiol - Fanny Källström, basfiol - Ingrid Rodebjer, fiol</p><p><strong>Vals av Tommy Lundgren </strong>- Tommy Lundgren, fiol</p><p><strong>Drill-Experiment av Tommy Lundgren </strong>- Tommy Lundgren, fiol</p><p><strong>Kungsgården av Tommy Lundgren </strong>- Tommy Lundgren, fiol - Fanny Källström, fiol</p><p><strong>Orsapolska, Orsapolska2 av Tommy Lundgren</strong> - Tommy Lundgren, fiol</p><p><strong>Triolpolska av Tommy Lundgren, Porland (trad)</strong> - Tommy Lundgren, fiol</p><p><strong>Springlek och Finnskogspols av Tommy Lundgren </strong>- </p><p>Tommy Lundgren, fiol - Alice Evensen Landström, fiol - Albin Myrin, klarinett</p><p><strong>Den sista brudmarschen av Tommy Lundgren </strong>- Tommy Lundgren, fiol - Fanny Källström, fiol - Ingrid Rodebjer, fiol</p>

The tradition of protest songs in the United States is a continuum, which began in colonial times with the British Broadside Ballads, was nurtured in the 19th century through the Negro spirituals, and throughout the 20th century by performers such as Joe Hill, Woody Guthrie, Pete Seeger, and Bob Dylan. Out of necessity, blacks developed strategies of veiled protests to a fine art during the 19th century. The perennial cause of the black protest was the status forced on them by white supremacists. The spirituals encouraged them to persevere in their efforts to free themselves from the shackles of slavery. Many of the spirituals were modified in the 1950s to accommodate the needs of the Civil Rights Movement. This appropriation of the Southern rural folk music tradition was the genesis of a phenomenon which has become known as the American folk music revival. The foremost figure of the movement was Woody Guthrie, the author of "This land is Your Land." Guthrie is cited as major influence on his disciple Bob Dylan, who was pronounced the folk messiah of the folk circles. This paper seeks to determine whether Dylan was, in contrast to his assertions, a topical songwriter writing about particular events or whether he was in fact an apolitical artist, whose personal insight and feelings simply happened to fit the...

Detta arbete syftar till att undersöka hur inre medvetenhet samt kunskap om melodin inverkar på min upplevelse och förmåga att lära mig, samt att uppfatta, stämmor utifrån inspelade förlagor. I studien plankar jag tre stycken stämmor från inspelningar med tre olika duokonstellationer från Dalarna, där jag för varje stämma som plankas har olika grader av inre medvetenhet samt kunskap om melodin. I bakgrunden tas begrepp som gehör och plankning upp och en redogörelse görs för vad jag menar med inre medve- tenhet och kunskap om melodin. Vidare förklaras stämspel inom svensk folkmusik och forskning om människans förmåga att uppfatta tonhöjder och harmonier i arrangemang tas upp. I resultatet framkommer att min uppfattning av de valda låtarna som helhet har förändrats efter att jag plankat stämmorna. I efterhand har jag mycket enklare för att uppfatta dem och kan välja att fokusera mitt lyssnande på olika aspekter av musiken i större grad än innan. Min förmåga att lära mig stämmorna påverkades av hur mycket jag kunde melodin till en början. / This study is aiming towards investigating how inner awareness and knowledge about the melody affects my ability and experience of perceiving and learning second voices from a source of recorded sound material. In the study I learn three second voices by ear from recordings of three different duo constellations from the county of Dalarna. For every second voice different levels of inner awareness and knowledge about the melody are applied. In the background the concept of learning by ear is explained and an illus- tration about inner awareness and knowledge about the melody is made. Furthermore, harmony lines in Swedish Folk Music is explained and research about human’s ability to perceive pitch and harmonies in arrangements is described. In the result it is shown that my perception of the pieces of music studied has changed after learning the second voic- es. Afterwards I find it easier to perceive the second voices in the arrangements and show a higher grade of ability to focus my awareness to different aspects of the music. My ability to learn the second voices was affected by my knowledge of the melody from start.