This thesis asks what transcriptions of old-time fiddle tunes might tell us about their underlying purposes and the nature of transcription. How could differing approaches to transcription reflect the intentions of the author, and what are those intentions? What does this suggest about how aural information is prioritized? Through a comparative analysis of three transcriptions of the same recording—Tommy Jarrell’s “Devil in the Strawstack”—this thesis examines how musical information is prioritized and how transcribers have adapted their methods to better reflect the nuances of old-time music. The three transcriptions come from Clare Milliner and Walt Koken (The Milliner-Koken Collection of American Fiddle Tunes), Drew Beisswenger (Appalachian Fiddle Tunes), and John Engle. The analysis of these transcriptions suggests new frameworks for interpreting old-time fiddling, further conversations about the possibilities and limitations of transcription, and provides insight into the underlying purposes of transcription.

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Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts, School of Music,1958 / The tribes that fall under the Northern Sotho or Pedi language group are found in the area more or less bounded by Middelburg, Pilgrims Rest, Malopene, the Blaauwberg and Hamanskraal . No print can adequately describe the vital panorama of Pedi life. In surveying the musical practices of the Pedi I soon realised that their music was not an isolated entity but an integral unit of their whole pattern of living, both socially and ceremonially. It is from this essentially ' alive' standpoint, rather than as a scientific analysis of scale systems, etc., that I approached the subject of Pedi music. [Abbreviated Abstract. Open document to view full version] / WS2016

This study presents a theory of melodic creation, transmission, memory, and recall within the Anglo- and Celtic-American culture of lower Appalachia, from the time of the earliest European settlers until the present. This theory and its attendant hypotheses draw upon earlier published ideas, current theories of memory and recall, and the results of applying a computer-supported analytical system developed by the author. Sources include previous studies of folksong melody, song collections, and earlier investigations of the psychology of memory. Also important are portions of an anonymous treatise on traditional Celtic musical scales and an authoritative, modern interpretation of this document. A final body of sources is a small group of sound-recordings.

Syftet med denna uppsats är att undersöka hur sångpedagoger inom genren ”svensk folklig sång” använder trall i sin undervisning och om de eventuellt använder den som ett redskap för att förbättra sångteknik. Tre kvalitativa intervjuer med sångpedagoger ligger till grund för undersökningen och ett sociokulturellt perspektiv har varit teoretisk utgångspunkt. Studiens resultat visar att alla informanter använder sig mycket av trall i undervisningen och att de dessutom använder den som ett sångtekniskt redskap. Informanterna anser att trallen har en mängd egenskaper som gör den till ett praktiskt verktyg när de vill öva sångteknik och exempel på områden i vilka trallen kan tjäna som övning är rytm- och puls, andning, artikulation och röströrlighet. Informanterna anser också att trallen har vissa sociala parametrar som gör den till ett bra hjälpmedel för att bli en del av den folkmusikaliska diskursen. / The purpose of this essay is to examine how singing-teachers, within the Swedish folk music-genre, use trall when they teach and if they eventually use it as a tool to improve singing technique. The foundation of the research is three qualitative interviews. The socio-cultural perspective has served as the study´s theoretical basis. The result of the study shows that all of the interviewees use trall a lot in their teaching and that they also use it as a tool. The interviewees think that trall has a lot of qualities that makes it a practical tool for practicing singing-technique. Examples of areas where trall can be used as practise is rhythm and pulse, breathing, articulation and movability within the voice. The interviewees also think that trall has social parameters which makes it a good tool for becoming a part of the folk-music discourse.

The main aim of this thesis is to provide the reader with the overview of the work of female authors of lyrics and show the topics they are mainly interested in. The partial aim is to find out if some specific female topics and specific female expression and language exist. The core of the work is commented antology of texts. There are included texts of authors who are authors of music and interprets concurrently, who have been working in ten last years and released at least one CD. I come to the conclusion that women are writing mostly about partner relationships, love as a special kind of emotion, family and maternity and also their own position in world, faith and sexuality. Typical of female authors is that they view at the things as if men could not understand the same topics. Specific is also language of female authors and motives they use as the means of expression: they are particulary delicate and tender images and metaphores, intuitive and playful puns. In some texts women try to oppose the stereotype of women putting the text into typicaly mens ambience and using "mens" dictionary.

This essay compares the figurative language of Bob Dylan’s albums The Times They Are A-Changin’ (1964) and Highway 61 Revisited (1965), with a focus on how Dylan remained engaged with societal injustices and human rights as he switched from acoustic to fronting a rock ‘n’ roll band. The essay argues that Dylan kept his critical stance on social issues, and that the poet’s usage of figurative language became more expressive and complex in the later album. In the earlier album Dylan’s critique, as seen in his use of figurative language, is presented in a more obvious manner in comparison to Highway 61 Revisited, where the figurative language is more vivid, and with a more embedded critical stance. / Uppsatsen jämför det figurativa språket i Bob Dylans skivor The Times They Are A-Changin’ (1964) och Highway 61 Revisited (1965), med ett fokus på hur Dylan fortsatte vara engagerad inom samhällsfrågor och mänskliga rättigheter när han gick över från akustisk solomusik till att leda ett rockband. Uppsatsen argumenterar för att Dylan behöll sin kritiska syn på samhällsfrågor, och att poetens användning av figurativt språk blev mer expressivt och komplext i det senare albumet. I det tidigare albumet är Dylans kritik, som den framstår i hans användning av figurativt språk, presenterad mer direkt i jämförelse med Highway 61 Revisited, där det figurativa språket är mer levande och innehåller en mer förtäckt kritik.

Master of Music / School of Music, Theater, and Dance / Virginia Houser / Alexander Tikhonovich Gretchaninoff (1864-1956) was a prolific composer from Russia’s Romantic age who explored the art of musical writing within an extensive number of genres and forms and showed an unusually strong interest in the creation of solo piano pieces for and about children. It is important that musicians in general and pianists in particular investigate his compositions and gain an understanding of their nature and potential usefulness as teaching pieces and as works worthy of public performance. My research consisted of an examination of Gretchaninoff’s autobiography, the study of numerous secondary accounts of his life and personal analysis of piano scores written by the master. My investigation uncovered the almost hidden existence of a large number of attractive musical works which Gretchaninoff wrote for solo piano as well as insightful details concerning the circumstances and motives that inspired the master to compose within the parameters of this genre. The following pieces are performed as part of this presentation: (from Children’s Album, Op. 98) A Tale, In the Camp of the Lead Soldiers, Lead Soldiers on the March, Hobby-Horse, Nurse Is Sick, Lullaby, Little Dance, Dreadful Event, After the Ball, On a Travel Tour, The Little Would-be Hero; (from 12 Little Sketches for Children, Op. 182) Sunrise, With the Fishing Rod, On the Swing, A Country Lad; (from A Child’s Day, Op. 109) Morning Prayer, The Broken Toy, The Happy Return Home; (from The Grandfather’s Book, Op. 119) My Dear Mommy, Swallow Dance, Pussy Is Ill, On the Swing; (from Glass Beads, Op. 123) Morning Promenade, On a Bicycle, Difficult Work; (from Andrusha’s Album, Op. 133) The Dance of the Gold Fishes, My Little Dog Joujou; (from Album Leaves, Op. 139) After Walking; (from Nina’s Album, Op. 141) After Mass, Dreaming, At the Wheel; (from Arabesques, opus number in dispute) Russian Folksong, A Sad Little Story; Sonatina in F major, Op. 110, #2 – 1. Allegro giocoso, 2. Menuet (Moderato grazioso) and Trio, 3. Finale – Allegro.

Made available in DSpace on 2016-04-26T18:14:57Z (GMT). No. of bitstreams: 1 Juliana da Silva de Paula.pdf: 797008 bytes, checksum: fa3d34a7bfc6777c07f7b267749a7fe7 (MD5) Previous issue date: 2015-02-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this work, we analyze synaesthetic evocations in lyrics of songs from Brazilian Folk Music. We started from the hypothesis that along with the current technological advancements and the confluence of media, we confront ourselves with syncretic feelings which can be surprised, under synaesthetic effects, on the discourse of the songs. The corpus of the research is constituted of the analysis of six lyrics from songs that, in their composition, evoke a mixture of the senses (sound, sight, touch, smell and taste). The theoretical reference involves conceptual definitions about what synaesthesia is and distinguishes this fenomenon from synaesthetic evocations, this one concerning language and poetry, while synaesthesia itself is closer to scientific questions and evidences. The authors used to treat synaesthesia were Simon Baron Cohen and John Harrison, Sérgio Roclaw Basbaum and Antônio Roberto Chiachiri Filho. Regarding the caracteristics and peculiarities of musical language, we used contributions from authors as Oliver Sacks, Murray Schafer and Jota Moraes. To treat the semiotic issues in the analyses of the songs, we count on the authors Lucia Santaella and Luiz Tatit, among others. The textual analyses were concieved under the Peircean semiotic concept, more especifically through the categories of firstness, secondness and thirdness and through trichotomy representamen, object and interpretant. More than classfications, we understand the lyrics of theses songs through meaning relations that emanate from the inner of verbal aspects and poetics, and, therefore, we mainly kept on those constructions that produce synaesthetic evocations, in other words, the ones that bring to memory the presence of feelings to compose a wide range of significations. Under the light of these significations, the analyses are based on the construction of interpretations that also value the global sense through observation of specific elements (concerning the five senses) and also the song as a whole, capable of communicating and conducting to the most miscellaneous sensible experiences / No presente trabalho analisamos evocações sinestésicas em letras de canções da Música Popular Brasileira. Partimos da hipótese de que com os avanços atuais da tecnologia e a confluência das mídias nos defrontamos cada vez mais com sentidos sincréticos que podem ser surpreendidos, sob a forma de efeitos sinestésicos, no discurso das canções. O corpus da pesquisa constitui-se da análise de seis letras de canções que, em suas composições, evocam a mistura dos sentidos (audição, visão, paladar, olfato e tato). O referencial teórico envolve as definições conceituais acerca do que é sinestesia e diferencia este fenômeno da evocação sinestésica, este último mais voltado às questões da linguagem e da poesia, enquanto a sinestesia propriamente dita está mais próxima das questões e comprovações científicas. Os autores utilizados para tratar de sinestesia foram: Simon Baron Cohen e John Harrison, Sérgio Roclaw Basbaum e Antônio Roberto Chiachiri Filho. Para abordar as características e peculiaridades da linguagem musical, utilizamos as contribuições dos autores Oliver Sacks, Murray Schafer e Jota Moraes. Para tratar a questão semiótica nas análises das canções, valemo-nos dos autores Lucia Santaella e Luiz Tatit, dentre outros. As análises textuais realizadas foram pautadas pelo modelo da semiótica peirceana, mais especificamente pelas categorias da primeiridade, secundidade e terceiridade e pela tricotomia representamem, objeto e interpretante. Mais do que classificações, compreendemos as letras das canções por meio das relações de significado que emanam do interior dos aspectos verbais e poéticos, e, portanto, nos detivemos sobretudo naquelas construções que produzem evocações sinestésicas, ou seja, que trazem à memória a presença dos sentidos para compor um amplo leque de significações. À luz destas significações, as análises estão pautadas na construção de interpretações que valorizam também o sentido global, por meio da observação de elementos específicos (no tocante aos cinco sentidos) e também da canção como um todo, capaz de comunicar e de conduzir às mais variadas experiências sencientes

Al laox, is a kind of polyphonic folk song which are sung and widely practiced by parts of Dong people in southern China. As an indispensable component of the non-literary peasant society of Dong ethnic culture, Al laox music tradition has been systematically passed down, with full participation and ritualized performance in Dong people's daily life. / As a case study of "local music tradition", this research will contribute to further research topics, such as the common characteristic of Dong traditional music, sociological meaning of polyphonic folk song and contemporary transformation of traditional music etc. / This dissertation aims to investigate the interaction between "Al laox music tradition and community identity of Dong People". Based on extensive fieldwork and textual analysis, this thesis discusses, on one hand, how Dong people construct their identity with Al laox music tradition, on the other hand, it examines what exactly the Al laox music tradition is and what it means to native people. Thus, this bidirectional concerns not only respond to the general ethnomusicological issue of "how culture shapes music", but also gives an interpretation of "how music function culture". / This dissertation has two methodological concerns: (1) a micro-ethnographical study of village social structure in relation to the Al laox music tradition, and (2) a survey of Al laox as a ritualized communal singing ritual. The former focuses on a typical Dong community as a locus to examine the operation of Gaolao music tradition, whereas the latter illustrates how Dong people construct distinct stratified identities through singing especially in three coorelative rituals. Specifically, this research takes Xiao Huang village in Congjiang county, Guizhou province and the relavant villages around as object and structures around three significant ritualized singing pattern, gabx gongx, xeegnl doul and weex yeek. / 楊曉. / Adviser: Tsao Poon Yee. / Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2944. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 392-418). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Yang Xiao.