There is no abstract available for this thesis. / School of Music

Thesis (M. Ed.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 62-69).

This creative project has compared specific ethnic folk dances to choreographed folk dances. Ball State University's Folk Dance Repertory "The Banevolks" in their concert "Folklore '74", provided the material for the choreographed dances. The background material for the ethnic folk dances has been researched by the author. The paper discusses the similarities and differences between arranged or choreographed and ethnic folk dances.The countries researched were Yugoslavia, Bulgaria, Russia and Israel. The following dances were discussed: Cetvorno Oro, Na Uskres Sam Se, Pirot Medley, Starobosansko Kolo from Glamoch, Zhora Bar, Venzelia, Hoppa Hey, Orcha Bamidbar and Mishal.The project has explored the dances in accordance with: style, basic steps, formations, types, costumes and history. Diagrams, musical notes and dance write-ups have been added to outline the dances in a more realistic form.

Thesis (M.A.S.A.)--Ohio State University, 1950. / Includes bibliographical references (leaves 114-115). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 226-249). Available also in a digital version from Dissertation Abstracts.

Thesis (M.Ed.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 62-69). Also available in print.

Thesis (Ph. D.)--University of Florida, 1956. / Vita. "16,360" on added t.p. of photocopy. Includes bibliographical references (leaves 266-282).

Diss. Univ. Bern, 2002. / Includes bibliographical references (p. [307]-328) and index.

This thesis examines historical developments in Scottish dance over the past two hundred years and considers how they combined to shape the current traditional dance and music culture in Scotland. This work examines the effects of increasing regulation and standardisation during the twentieth century through an assessment of the experiences, viewpoints and opinions of present-day practitioners. The business practice and increasing professionalisation of nineteenth-century dancing masters active in the North-East of Scotland, and that of A. Cosmo Mitchell in particular, is considered in relation to the formation of the regulatory societies. The introduction of standardisation is examined through a comparison of nineteenth- and twentiethcentury published sources for the 'Highland Fling'. Tensions and contrasts in traditional dance and music are assessed by a consideration of the approach taken by influential traditional music education establishments such as Fèisean nan Gàidheal and by examining the relationship between Highland dancing and Highland piping. Reactions to regulation such as the (re)introduction of percussive step dance to Scotland and the growth in popularity of informal, 'called' ceilidh dancing are evaluated. The relationship between traditional dance and music in Scotland today is considered in the light of recurring themes such as professionalisation, regulation, authority, reactions to the status quo and the revival of an approach to or concept of dance rather than the revival of an historically verifiable style.

Thesis (MGeront)--University of South Australia, 1997