Originally presented as the author's thesis, Teheran, 1968. / Includes bibliographical references (p. 255-258).

Originally presented as the author's Thesis (doctoral --Universität Wien) under the title: Das serbische Volkslied in der deutschen Literatur. / Includes bibliographical references (p. [169]-189) and index.

Thesis (M.A.)--University of California. / Bibliography: l. 139-149.

Thesis (M. Phil.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Thesis--Munich. / Bibliography: p. 519-549.

Thesis (doctoral)--Universität Wien. / Bibliographical essay: p. 201-220.

Two modes of singing were evident in narrative performances recorded by Scots travellers: singing set melodies to memorized or re-created texts, and improvising on a variable melody to a memorized or a variable text. In travellers' society both modes are acceptable but the majority of travellers today prefer set melodies. The improvisatory mode was traditional and used by the older travellers born before World War I, five of whom became my informants or Ewan NacColl's, re. Travellers' Songs from England and Scotland (1977). The tradition of narrative improvisation appears to be obsolete with the death of Mrs Martha Johnstone (Perthshire), 1980. But her 108 sung performances, 66 songs and 34 narratives recorded between 1955 and 1978, by four fieldworkers, provide valuable material for the study of strophic variability -- its function in the singer's interpretation of an essential story (Lord, 1960 and Buchan, 1972) in performance. Strophic variability is related to the Danish ballad singers' usage of variable intonations, and the author's musical analysis of the diachronic variants of Martha Johnstone's improvisatory ballads follows Thorkild Knudsen's theory of ballad melody or "melodic idea" (1967, 1976). The majority of travellers' performances, however, do not exhibit such extreme structural variations. Their ballads feature regularity manifested in a "standard strophe." In performance the regularly recurring standard strophe is fluid, composed of musical equivalents or structural options at the level of pitch, figure, motive, phrase or strophe, which the singer may or may not choose to realize. Explanations for the presence or absence of variation or variants (musical equivalents) are discussed, particularly memory failure and uncertainty on the part of the singer. A high frequency of irregular strophes is evident in travellers' narrative songs. It can be shown that irregular strophes are often "fixed" in singers' versions. According to the author's thesis on variation as a process of volition and cognition, such irregular strophes are viewed as intentional and purposeful e.g., for expressing the climax or denouement of a narrative, or for heightening a particular dramatic or narrative episode within the singer's story. Testimonies from singers, their explanations and definitions bear out the truth of the analysis. Fifty-three examples of narrative performances by seven of the author's informants and six of MacColl's are featured in the work; thirty-nine are complete song transcriptions; fourteen are included on an accompanying cassette. Three especial singers, are from different "homeground areas" of the travellers in Scotland, are the subjects of the study - Martha Johnstone (Perthshire), Duncan Williamson (Argyllshire) and Johnnie Whyte (Angus). The work is the result of ten years' fieldwork among the Scots travellers and four years' continuous travelling with one extended family.

Master of Music / Department of Music, Theater, and Dance / Virginia Houser / Folk songs are songs of unknown authorship passed down orally generation to generation, and often found in variants of words and tunes in different parts of a country or in different countries. They often represent the culture, the tradition, the life style and the music style in their era. Although there are many folk songs are still popular, they are rarely played during the piano lessons in Taiwan. In today’s piano lessons, the teaching mainly focuses on Western music and theory, like the major-minor system. The student begins to learn piano by the methods such as John Thompson or Nancy & Faber Piano Adventures. These methods build the foundation of their playing technique and the music theory. As their level goes up, they might have some opportunities to play the folk songs that are sung in different countries, such as the Hungarian folk music arranged by Bela Bartok. In the meantime, the piano teacher in Taiwan should not forget that they may have the responsibility to help the next generation to preserve the folk songs which present their culture. My research consists of an examination and performance of sixteen Chinese and Taiwanese folk songs in two collections: Piano Pieces on Chinese Folk Tunes for Children by Shui-Long Ma and Piano Pieces on Taiwanese Folk Tunes by Ching-Yi Lin. Each piece will be carefully graded into five levels: Elementary; Late Elementary/Early Intermediate; Intermediate; Upper-Intermediate; and Advanced. The features of each level will be discussed as well as the historical background and pedagogical aspects in particular piece of each level.

鄭燕虹. / "2005年9月". / 論文(哲學碩士)--香港中文大學, 2005. / 參考文獻(leaves 97-108). / "2005 nian 9 yue". / Abstracts in Chinese and English. / Zheng Yanhong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves 97-108). / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 研究背景及研究目的 --- p.1 / Chapter 第二節 --- 研究動機 --- p.2 / Chapter 第三節 --- 研究焦點與研究限制 --- p.3 / Chapter 第四節 --- 研究角度 --- p.4 / Chapter 第五節 --- 文獻回顧 --- p.6 / Chapter 第六節 --- 研究方法 --- p.8 / Chapter 第七節 --- 内容簡述 --- p.10 / Chapter 第二章 --- 新疆漢族人的身份危機 --- p.11 / Chapter 第一節 --- 新疆的史地和民族現況概述 --- p.12 / Chapter 第二節 --- 民族意識在新疆 --- p.16 / Chapter 第三節 --- 導致新疆漢族身份危機的社會、文化和歷史因素 --- p.17 / Chapter 小結 --- 新疆漢人的身份危機 --- p.21 / Chapter 第三章 --- 王洛賓現象在新疆 --- p.23 / Chapter 第一節 --- 王洛賓生平概述 --- p.23 / Chapter 第二節 --- 有關歌曲的改編或再創作過程 --- p.28 / Chapter 第三節 --- 王洛賓現象在新疆 --- p.34 / Chapter 第四節 --- 新疆維吾爾族人對王洛賓及有關作品的看法 --- p.39 / Chapter 第五節 --- 新疆的漢族人對王洛賓的看法 --- p.42 / Chapter 小結 --- 王洛賓作為新疆漢人身份認同的重要媒介 --- p.44 / Chapter 第四章 --- 音樂與身份認同：新疆漢族人與新疆民歌的想像 --- p.55 / Chapter 第一節 --- 資料的選擇´ؤ´ؤ王洛賓改編歌曲的音像產品 --- p.55 / Chapter 第二節 --- 以音樂建構形象：新疆漢族人對音樂想像的意識 --- p.55 / Chapter 第三節 --- 音像產品的風格與新疆形象的想像 --- p.59 / Chapter 小結 --- 音樂作為一個超越時空的想像空間 --- p.65 / Chapter 第五章 --- 結論 --- p.72 / 附錄 --- p.76 / 參考資料及相關文獻 --- p.97 / 鳴謝 --- p.109

Thesis (M. A. (African languages)) -- University of Limpopo / Ndzavisiso lowu wu kongomanile ni mitlangu ya mindhavuko ya xintu, ngopfungopfu ya Xitsonga. Eka xiyenge lexi rito xintu ri tirhisiwile hikuva mitlangu leyi ya xakelana hikuva tinxaka ta ka ntimeni ti ni swo tala leswi ti hlanganaka eka swona, xikombiso swinsin’wana leswi hi swi kumaka eka mintsheketo yo fana na Jelani wa Jelani swi ngo hambana hi matsalelo kambe hungu ra swona i rin’we. Hambiswiritano, eka tsalwa leri, ku ringetiwa ku xopaxopa swinsin’wana swa vana leswi tikombaka swi tshuriwile hi vatsonga. Xikongomelo xa tsalwa leri i ku hlayisa na ku kambisisa hi ta swinsin’wana na mitlangu ya vana va Vatsonga leyi ngo nyamalala ku nga ri na laha yi nga hlayisiwaka kona. Tsalwa leri kombisa nkoka wa swinsin’wana na mitlangu ya vana, leswi vana va swi dyondzaka ni ku pfuneka hi ku endla swilo leswimbirhi. Emakumu ndzi tiyisa leswaku hi ku vona hilaha swinsin’wana na mitlangu ya vana va Vatsonga swi nga hangalaka hakona, ndza ha ta ya emahlweni ndzi lavisisa na ku tsala hi swinsin’wana na mitlangu ya ndhavuko wa vana va Vatsonga leswaku swi nga fi na ku nyamalala kambe swi hlayiseka, eka malembe lawa ya taka leswaku yi va ndhaka ya rixaka ra vana va Vatsonga leri nga ha ta tumbulukaka.