Thesis (M.A.)--York University, 2005. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves150-154). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11735

This study seeks to understand a particular genre, folk music, in terms of identifying the social factors that give it coherence. It stresses the need to understand social action. The performance of music is dependent upon a whole range of musical, para-musical and non-musical actions from which and through which it derives meaning. This study has examined the pre-determinants of musical events focusing upon the construction and meaning of performance, staging, and sound, and the association of these with social identity. The central questions posed were: Is the central appeal of folk music a certain organisation of musical sound, or is it something beyond this? If so, what is it and how does this relate to the nature of the musical event? Is the music doing something other for a folk audience than 'simply' providing musical enjoyment? Is the link with the past which is affirmed in the notion of revival, an aspect which audiences directly relate to and identify with? A variety of methodologies are applied including: (i) A historical examination concentrating upon the changing ideological functions of the folk revival; (ii) An in-depth audience survey examining: (a) attitudes to the musical content, (b) socio-economic profile of attenders, (c) dispositional and attitudinal correlates of adherence to folk music; (iii) Semi-structured interviews with performers and those involved in organising folk events; (iv) A qualitative and participatory study of folk events in terms of musical and other social dynamics. The folk scene is found to be highly atypical of Western musical subcultures and articulates features such as: informality, participation, historical continuity, and the suppression of overt forms of staging, all in highly specialised ways. The findings are used to contribute to understanding the defining criteria of musical genres.

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.

Thesis (Ph. D.)--Göteborg universitet, 1992. / Abstract (1 leaf) in English, inserted. Some articles include summaries in English. Includes bibliographical references and discographies.

Thesis (M.Dev.Stud.)--Victoria University of Wellington, 2008. / Includes bibliographical references.

Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Accompanied by 3 compact discs with preliminary examples and village music, Bulgarian wedding music, and choral and instrumental obrabotki. Includes bibliographical references (leaves 527-529) and discography (leaves 529-531). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

Thesis (Ed.D)--Teachers College, Columbia University, l988. / Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 253-267.

Thesis (Ph. D.)--Indiana University, 1979. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. [298]-308).

Thesis (M.M.)--University of Wisconsin--Madison, 1950. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [i]-iv at end).