Thesis (doctoral)--Universität Zürich, 1984. / Vita. Includes bibliographical references (p. 203-205).

Thesis (doctoral)--Universität Zürich, 1984. / Vita. Includes bibliographical references (p. 203-205).

Thesis (Ph. D.)--University of Washington. / Bibliography: l. [287]-291.

Thesis (M.M.)--University of Michigan, 1950.

Thesis (M.M.)--University of Michigan, 1950.

Thesis (M.A.)--University of Wisconsin--Madison, 1938. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 91-96).

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).

No description available.

Recent music educational reforms in Hong Kong stress the need to cultivate students??? understanding toward Chinese music. However, research indicates that Hong Kong music teachers lack sufficient confidence and valuing to teach Chinese music. Based on this background, the purpose of this study was to address the need to train teachers with the confidence and skills to teach Chinese music. An indigenous genre, Chaozhou xianshi music was introduced as a focus of study because the genre is considered to be a useful mediator for teachers and their students to understand and appreciate Chinese music. The study comprised two inter-related parts. Part I included fieldwork in xianshi music, semi-structured interviews with xianshi musicians and literature review that investigated the theory, teaching and learning of xianshi and Chinese music. Based on the findings of Part I, Part II involved a Pilot and Main Study that were designed to trial a pre-service teacher education programme at the Hong Kong Institute of Education that would prepare trainees to undertake the teaching of xianshi and Chinese music. A xianshi music ensemble was formed to expose the trainees to practical experiences of the genre. During their final teaching practice session, the trainees were asked to design and teach xianshi and Chinese music in schools. Qualitative data were collected from interviews and an analysis of video-recordings of their teaching. Findings revealed that a sequenced exposure in xianshi music was advantageous for the trainees to develop their potential and competence to teach Chinese music, as was evident in these trainees??? teaching approaches and implementation. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study. Importantly, music teachers should demonstrate their role as transmitters of musical heritage and be capable to design and implement effective lessons, to involve their students to practical experiences in traditional Chinese music, and to develop their students intellectually and artistically so that they become informed consumers of their own and other musical traditions. In the long run, these approaches may help to increase the valuing of Chinese music and culture among students and citizens in the society more generally.