Percy Grainger collected English folk song only for a short period between 1905 and 1909 as part of the revival of interest in all things English among antiquarians, folklorists, and nationalists. Grainger’s publication of his transcriptions and analysis in the Journal of the Folk Song Society in 1908 is considered one of the most insightful and groundbreaking examinations of English folk song of its time, far removed from the dilettante activities of many other collectors. His article was, however, harshly criticized by the Editorial Committee of the Journal, and Grainger subsequently never again published any significant transcriptions of English folk music. Grainger’s English folk song transcriptions have received their fair share of attention from ethnomusicologists. Thus far, however, no one has examined the connections between this aspect of his musical activities and his modernist philosophy of music. I contend that Grainger’s article contains the seeds of what would eventually become his mature, though never fully realized, musical aesthetic, and that it was this aesthetic that allowed him to examine English folk song in a manner never before imagined by other collectors. This dissertation follows the thread of his aesthetic throughout his numerous musical interests in order to demonstrate the potency of his philosophy as manifest in his examination of folk song in the Journal. To this end, I bring to bear a wide range of critical methodologies, including those of ethnomusicology, aesthetics, and critical theory. Grainger never spelled out with any clarity the fundamental tenets of his aesthetic, but I believe that such an aesthetic can be reconstructed through a broad examination of his writings and his music. Grainger shares his role in this dissertation with many other characters including Benjamin Britten, Evald Tang Kristensen, Cecil Sharp, Bela Bartok, Ferruccio Busoni, and even Jacques Derrida, often even ceding his place in the spotlight to them. This is, however, a crucial occurrence, for as my examination demonstrates, this fully realized version of his aesthetic means that Grainger emerges as a far more important and revolutionary thinker in the history of music than he has thus far been considered.

Percy Grainger collected English folk song only for a short period between 1905 and 1909 as part of the revival of interest in all things English among antiquarians, folklorists, and nationalists. Grainger’s publication of his transcriptions and analysis in the Journal of the Folk Song Society in 1908 is considered one of the most insightful and groundbreaking examinations of English folk song of its time, far removed from the dilettante activities of many other collectors. His article was, however, harshly criticized by the Editorial Committee of the Journal, and Grainger subsequently never again published any significant transcriptions of English folk music. Grainger’s English folk song transcriptions have received their fair share of attention from ethnomusicologists. Thus far, however, no one has examined the connections between this aspect of his musical activities and his modernist philosophy of music. I contend that Grainger’s article contains the seeds of what would eventually become his mature, though never fully realized, musical aesthetic, and that it was this aesthetic that allowed him to examine English folk song in a manner never before imagined by other collectors. This dissertation follows the thread of his aesthetic throughout his numerous musical interests in order to demonstrate the potency of his philosophy as manifest in his examination of folk song in the Journal. To this end, I bring to bear a wide range of critical methodologies, including those of ethnomusicology, aesthetics, and critical theory. Grainger never spelled out with any clarity the fundamental tenets of his aesthetic, but I believe that such an aesthetic can be reconstructed through a broad examination of his writings and his music. Grainger shares his role in this dissertation with many other characters including Benjamin Britten, Evald Tang Kristensen, Cecil Sharp, Bela Bartok, Ferruccio Busoni, and even Jacques Derrida, often even ceding his place in the spotlight to them. This is, however, a crucial occurrence, for as my examination demonstrates, this fully realized version of his aesthetic means that Grainger emerges as a far more important and revolutionary thinker in the history of music than he has thus far been considered.

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The development of Taiwanese folk songs comprises not only cultural implication of Taiwan, but also the reflection of social phenomenon. The research of Taiwanese folk songs is the same as Taiwan history research. Through the meaning of those songs, we can comprehend the different ideologies and policies between each authority. In the research, we also can understand there are a lot of difficulties for Taiwanese in pursuing the democracy and seeking the belonging and identification. This research analyzed the Taiwanese folk songs with the political history in the background. There are various types of Taiwanese folk song in the history. For the research, I separate it into 3 periods: the Japanese colonization period (1895-1945), the Martial law period (1946-1986), and the rescind martial law up to the party turn-over period (1987-2000). This essay aims to understand the relevance between the Taiwanese folk songs and the state ruling, including constitutional order and policies. We also try to account for the effect of the state ruling as well as the surveillance and pacification on the society. Following this proposition, this studying can help us to understand the difference between the various regimes¡¦ organization and the cultural policies. What is the figuration of the development of Taiwan society? How the state affects the lives of people? How people question the legitimacy of state and expression their challenge in folk songs?

'Trad.' is a collection of short stories and a critical essay that explores a number of issues involved in the adaptation of stories from one popular medium to another. Some problems of adaptation involve questions of the integrity or authenticity of both the original and adapted works. These problems are often made more difficult when the adaptation is made across different media forms. This thesis explores the transformation from popular song to short story in a popular mode in two ways. The first way is based on the recognition of the problems of determining authenticity when the processes of transmission are subject to such great variety as in popular song. The second way is to explore the question of the available popular forms of narrative for the adapted product. In each case, this thesis attempts its investigation in a practical mode through the variety of stories and the way in which they utilise contemporary narrative strategies.

abstract: The Concerto for Oboe and String by Ralph Vaughan Williams is often described as a pastoral work without any consideration for what makes that an accurate description. This paper outlines the connections to English folk song that create what are considered the pastoral qualities in the work. Vaughan Williams' relationship with English folk song, as collector and arranger, is well-documented, as is his advocacy for their use in compositions. By the time he wrote the Oboe Concerto at the end of his career, folk song elements had completely infused his compositional style. The Oboe Concerto shares many stylistic traits with English folk song. These stylistic elements: mode, melodic structure, form, and rhythm and meter are first analyzed in terms of English folk song, then how these features are utilized in the Oboe Concerto. Another connection to English folk song is in the manner of accompanying the Concerto. Vaughan Williams had firm opinions on how to accompany folk songs and wrote many sample accompaniments, which bear a marked resemblance to the accompaniment for the Oboe Concerto. The same is true for the accompaniment he wrote for a specifically folk song-inspired work, the Six Studies in English Folk Song for Violoncello and Pianoforte. Specific examples from both works are compared to the Concerto accompaniment. Finally, several motives and melodic figures found in folk songs included in the Penguin Book of English Folk Songs, which was edited by Vaughan Williams, are also found in the Oboe Concerto. An understanding of the use of English folk song elements and specific quotes in the Oboe Concerto, as well as the folk song-style treatment in accompaniment provide concrete evidence of the pastoral quality prevalent in many works of Vaughan Williams. Not only can this support a well-informed and more rewarding performance of the Oboe Concerto, but the same analysis can be applied to many of his other works as well, in addition to the works of a generation of English composers whose style he influenced. / Dissertation/Thesis / D.M.A. Music 2013

(in English): This interdisciplinary thesis deals with the relation of oral tradition and somatic terms - words describing specific parts of the human body. The analysis is based on the ethnolinguistics, the theory of term's profile in particular, that deals with the question of which somatic terms serve as the inputs to semantic contexts and what is their dominant meaning. The thesis focuses on general interpretation of folk poetry, while aiming to those poetic methods and characteristics that are coherent to the main subject of the thesis. Next chapter describes ethno-linguistics and explains its methods and theory - the relation of language and culture, language stereotypes and mainly the theory of term's profile. The core of the thesis is the chapter dedicated to somatic terms: hands, eyes, blood, cheeks, mouth and face. Based on the collections Prostonárodní české písně a říkadla (National Czech songs and riddles) by K. J. Erben and Moravské národní písně (Moravian national songs) by F. Sušil, it determines the meaning profiles. In these it describes more closely in what meanings the terms mentioned above appear in folk songs.

The Latvian music does not have a long history. It goes back to the seventies of the last century when one of the first educated teachers of Latvian origin Jänis Cimze (1814-1881) published his collection Dziesmu Rota [Adornment of song] for choir. Four of the eight volumes of this collection were Lauku pulJes [Field flowers]. Those were the first Latvian folk song arrangements. Folk song arrangements for choir have become really important for Latvians - starting with the pupils ofCimze at the teachers' seminar in Valka and lasting until today.

No description available.

Syftet med studien är att få syn på folksångslärares uppfattningar om genrespecifika övningar, om och hur mycket de används, om lärarna ser ett behov av fler sådana övningar och huruvida de tror att dessa övningar har en påverkan på elevers stilistiska utveckling. Tidigare litteratur och forskning berör definitionen av begreppen tradition och sångteknik samt vad som utgör det svenska folkliga sångsättet. Dessutom redogörs för betydelsen av en genrespecifik sångteknik samt avsaknaden av en folksångsmetodik. Studien har en kvalitativ forskningsansats och tar utgångspunkt i det sociokulturella perspektivet på lärande. Semistrukturerade intervjuer har an- vänts som datainsamlingsmetod vilka sedan har transkriberats och analyserats med hjälp av tematisk analys. I resultatet framgår respondenternas syn på det folkliga sångsättet och hur sy- nen på begreppet tradition avspeglar sig i undervisningen. Dessutom framkommer att genre- specifika övningar används och detta främst på detaljnivå. Diskussionen belyser resultatet i relation till tidigare presenterad litteratur där fyra områden diskuteras; Ett uttalat behov skulle leda till förändring, All form av sångteknik tillhör en genre, En uppdaterad lista, När det ”riktiga” är konstruerat. / The purpose of the study is to gain insight into folk song teachers' perceptions of genre-specific exercises, if and how much they are used, if teachers see a need for more such exercises and whether they believe that these exercises have an impact on students' stylistic development. Previous literature and research concern the definition of the concepts of tradition and singing technique as well as what constitutes the Swedish folk way of singing. In addition, the im- portance of a genre-specific singing technique and the lack of a folk singing methodology are explained. The study has a qualitative research approach and is based on the Sociocultural Learning Theory. Semi-structured interviews have been used as a data collection method which have then been transcribed and analyzed using thematic analysis. The results show the respond- ents' views on the folk singing style and how the views on the concept of tradition are reflected in the teaching. In addition, it appears that genre-specific exercises are used, and this mainly at the level of detail. The discussion highlights the results in relation to previously presented lit- erature where four areas are being discussed; A pronounced need would lead to change, All forms of singing technique belong to a genre, An updated list, When the "right way" is constructed.