Thesis (M.A.)--University of California, Santa Cruz, 1994. / Typescript. Includes bibliographical references (leaves 110-113).

Thesis (M.A.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaf [24]).

Thesis (EdD)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Priscilla Lund. Includes bibliographical references (leaves 140-146).

Inaug.-diss.--Heidelberg. / Lebenslauf.

The present research utilised five tasks to investigate non-musicians' perception of phrase, rhythm, pitch and beat structure in unaccompanied Gaelic melodies and musical sequences. Perception of phrase structure was examined using: i) a segmentation task in which listeners segmented Gaelic melodies into a series of meaningful units and ii) a novel click localisation task whereby listeners indicated where they perceived a superimposed click in the melody had occurred. Listeners consistently segmented the melodies into units of 2.4 - 5.4 seconds. Clicks which were positioned before and after perceived boundaries (identified by segmentation) were perceptually migrated towards the boundary. These results suggest that listeners perceptually differentiate between phrasal groups in melodies (See Sloboda & Gregory, 1980; Stoffer, 1985, for similar results with musicians). Short term memory for rhythmic structure was examined using rhythm recall of computer generated sequences and Gaelic melodies. Computer generated rhythms with small tonal pitch intervals (1 - 4 semitones) were easier to recall than large atonal intervals (predominantly greater than 4 semitones). Recall of Gaelic melodies, containing repetitive rhythmic units, was better than recall of computer sequences. Pitch reversal of Gaelic melodies did not effect recall. Beat-tapping with three Gaelic melodies revealed that the majority of listeners established the underlying beat 1.5 - 3 seconds (5 - 6 notes) after the start of the melodies. Perception of meaning and content in two note melodic intervals and three Gaelic melodies was examined using an adjective pair two-alternative forced choice task. Responses to musical intervals showed evidence of perceptual similarity based mainly on interval size. Perceived information content in the melodies increased significantly by the fourth note. The results suggest that the amounts of Gaelic melody which are: i) required to establish an underlying beat, ii) remembered after one hearing, and iii) perceptually grouped into a meaningful unit, include the unit of melody which is necessary to establish a basic meaning.

Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified. The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII). The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions: 1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre. 2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora. 3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives. 4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations. Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The primary purpose of this study is to collect and record examples of music of the early inhabitants of Taylor, Arizona, as they are sung and played by their survivors and descendants.

Wanghua Chu (b. 1941) is an outstanding Chinese composer and pianist, who has written extensively for piano. This dissertation offers a pedagogical analysis of Seven Chinese Folk Songs (1999), one of his most famous and well-regarded piano solo works. The present study has two broad and related aims: to introduce Wanghua Chu's Seven Chinese folk songs to a broader community of pianists outside of China; and to provide a pedagogical analysis so that pianists of a late-intermediate level and higher can learn it effectively and teachers can teach it successfully. Chapter 2 provides an overview of Wanghua Chu's artistic career and major works, as well as the composition background of Seven Chinese Folk Songs. Chapter 3 introduces the seven original Chinese folk songs that are used in this work, both the actual songs and the song types. Chapter 4 provides an analysis of the musical form of each movement of Seven Chinese Folk Songs. Chapter 5 analyzes the technical difficulties of this work and provides specific practice methods to solve them. Seven Chinese Folk Songs exposes the pianist to the diversity and richness of Chinese folk songs and offers them a different kind of learning opportunity in which they not only broaden their horizons through learning Chinese folk songs and ethnic cultures but also improve their piano playing techniques, as well as enhance their musical expression and imagination abilities.

Thèse--Universit́e de Paris. / "Bibliographie" at end of each chapter.

葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ... / 稿本(據電腦打印本複印) / Thesis (M.A.)--香港中文大學, 1989. / Gao ben (ju dian nao da yin ben fu yin) / Includes bibliographical references (leaves 253-262). / Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ... / Thesis (M.A.)--Xianggang Zhong wen da xue, 1989. / 嗚謝 --- p.i / 序 --- p.iii / 地圖索引 --- p.v / 歌謠譜例索引 --- p.vi / 歌詞例子索引 --- p.viii / 圖表索引 --- p.x / 音樂例子索引 --- p.xiii / 照片索引 --- p.xiv / Chapter 第一部分： --- 論文 / Chapter 第一章 --- 前言 / Chapter 第一節 --- 研究地區之讓擇 --- p.1 / Chapter 第二節 --- 過去及目前之研究 --- p.2 / Chapter 第三節 --- 研究目標 --- p.5 / Chapter 第四節 --- 資料來源 --- p.6 / Chapter 第二章 --- 歌謠之概念及分類 / Chapter 第一節 --- 歌謠之定義及概念 --- p.10 / Chapter I --- 過往學者對「民歌」所下之定義 --- p.11 / Chapter II --- 筆者對西貢地區歌謠所作之定義 --- p.14 / Chapter III --- 粤省與西貢地區歌謠之稱謂問題 --- p.16 / Chapter 甲 --- 「粤謳」 --- p.16 / Chapter 乙 --- 「粤風」 --- p.17 / Chapter 丙 --- 「粤歌」 --- p.18 / Chapter 第二節 --- 歌謠分類之概念及分類方法 --- p.22 / Chapter I --- 歌謠分類的一些概念 --- p.22 / Chapter II --- 台灣歌謠之一般分類方法 --- p.24 / Chapter III --- 過往國內歌謠之「三分法」 --- p.25 / Chapter IV --- 近期國內歌謠「色彩區」之劃分 --- p.26 / Chapter V --- 廣東省（粤）歌謠的分類 --- p.29 / Chapter VI --- 本港歌謠之分類 --- p.30 / Chapter VII --- 筆者對西貢歌謠之分類方法 --- p.32 / Chapter 甲 --- 歌謠劃分之層次 --- p.32 / 第一級分類： 體系 --- p.33 / 第二級分類： 歌謠方言色彩區 --- p.33 / 第三級分類： 體裁 --- p.34 / 第四級及五級分類歌類及歌目 --- p.35 / 第六級分類： 歌名 --- p.37 / Chapter 第三章 --- 西貢歌謠尋根 / Chapter 第一節 --- 西貢地區人口組成的一些資料 --- p.42 / Chapter 第二節 --- 本地人與蛇歌 --- p.45 / Chapter I --- 「輋」字，「畬」字及類似字之字義 --- p.46 / Chapter II --- 目前國內及廣東省畬族的狀況 --- p.47 / Chapter III --- 西貢地區蛇歌之特色 --- p.49 / Chapter IV --- 福建畬歌之特色 --- p.54 / Chapter V --- 浙江畬歌之特色 --- p.56 / Chapter VI --- 西貢「九龍蛇話山歌」命名之推想 --- p.59 / Chapter 甲 --- 源出於浙江九龍山龍泉縣？ --- p.60 / Chapter 乙 --- 源出於粤北九連（龍）山一帶地區？ --- p.60 / Chapter 丙 --- 源出於粤北九峰山以南之瑤區？ --- p.61 / Chapter 丁 --- 源出於本港九龍城附近一帶地區？ --- p.62 / Chapter 第三節 --- 客家人與客家歌謠 --- p.65 / Chapter I --- 客籍人士之遷徙過程 --- p.66 / Chapter II --- 西貢客家山歌的特色 --- p.68 / Chapter III --- 梅縣地區客家山歌之特色 --- p.71 / Chapter 第四節 --- 蛋家與蛋家歌謠 --- p.77 / Chapter I --- 西貢地區漁民之狀況 --- p.77 / Chapter II --- 「蛋家」與「蛋名」沿革 --- p.79 / Chapter III --- 「蜑」乃「龍蛇」之後？ --- p.81 / Chapter IV --- 廣東蛋民的分佈 --- p.82 / Chapter V --- 西貢漁民所採用之方言 --- p.83 / Chapter VI --- 西貢蛋歌之特色 --- p.84 / Chapter VII --- 客家及鶴佬漁民漁歌之特色 --- p.89 / Chapter 第四章 --- 歌唱場合 / Chapter 第一節 --- 歌唱場合之概念 --- p.94 / Chapter 第二節 --- 本地及客家山歌之歌唱場合 --- p.98 / Chapter I --- 戶外及田間之山歌 --- p.99 / Chapter II --- 攔路歌 --- p.100 / Chapter III --- 情歌及艷情歌 --- p.102 / Chapter IV --- 老人山歌 --- p.106 / Chapter V --- 鬥歌 --- p.107 / Chapter 第三節 --- 圍頭歌之歌唱場合 --- p.110 / Chapter I --- 月令歌 --- p.111 / Chapter 甲 --- 唱古人 --- p.113 / Chapter 乙 --- 唱節氣 --- p.117 / Chapter 丙 --- 唱花木、茶菓及字眼 --- p.120 / Chapter 丁 --- 唱魚名鳥名及十二生肖 --- p.123 / Chapter 戊 --- 唱過番 --- p.124 / Chapter II --- 猜謎歌 --- p.125 / Chapter 甲 --- 猜字眼 --- p.126 / Chapter 乙 --- 猜古人 --- p.127 / Chapter III --- 圍名歌 --- p.127 / Chapter IV --- 節日吉慶 --- p.129 / Chapter 甲 --- 祝壽 --- p.129 / Chapter 乙 --- 中秋 --- p.130 / Chapter 丙 --- 過年 --- p.132 / Chapter 第四節 --- 本地及客家「歌堂歌」及「靈堂歌」之歌唱場合 --- p.135 / Chapter I --- 哭嫁與坐歌堂 --- p.136 / Chapter 甲 --- 開口喊天喊地 --- p.138 / Chapter 乙 --- 第一次哭辭 --- p.139 / Chapter 丙 --- 坐凳頭 --- p.141 / Chapter 丁 --- 上頭 --- p.143 / Chapter 戊 --- 第二次哭辭 --- p.144 / Chapter 己 --- 出閣 --- p.146 / Chapter II --- 「靈堂歌」之歌唱場合 --- p.150 / Chapter 第五節 --- 蛋家之歌唱場合 --- p.153 / Chapter I --- 捕魚及行船歌 --- p.153 / Chapter II --- 蛋家風俗歌謠及其歌唱場合 --- p.158 / Chapter 甲 --- 哭嫁 --- p.159 / Chapter 乙 --- 迎娶 --- p.161 / Chapter 丙 --- 耍歌堂 --- p.164 / Chapter III --- 咸水歌 --- p.166 / Chapter 甲 --- 咸水字眼歌 --- p.167 / Chapter 乙 --- 歎姑妹 --- p.169 / Chapter 丙 --- 艇仔歌 --- p.170 / Chapter 第五章 --- 西貢歌謠音樂及歌詞結構的固定因素與非固定因素 / Chapter 第一節 --- 歌謠中「歌詞」之「固定」與「非固定」因素 --- p.175 / Chapter I --- 歌謠「歌詞」中的「固定」因素、格式、條數規限 --- p.176 / Chapter II --- 有「固定格式歌謠」中的「非固定」因素 --- p.182 / Chapter 甲 --- 七言四句、三句半及五句板的例子 --- p.182 / Chapter 乙 --- 七言四句變五言四句的例子 --- p.186 / Chapter 丙 --- 月令歌的例子 --- p.188 / Chapter 丁 --- 長篇歌謠的例子 --- p.188 / Chapter III --- 「沒有固定格式歌謠歌詞」中之「固定」與「非固定」因素 --- p.198 / Chapter 甲 --- 漁民歌謠的例子 --- p.198 / Chapter 乙 --- 風俗歌謠的例子 --- p.202 / Chapter IV --- 歌謠固定與非固定「襯字」、「襯詞」、及「襯句」 --- p.205 / Chapter 甲 --- 客家歌謠例子 --- p.205 / Chapter 乙 --- 本地歌謠例子 --- p.209 / Chapter 丙 --- 蛋家歌謠例子 --- p.212 / Chapter 第二節 --- 歌謠在「音樂」上的「固定」與「非固定」因素 --- p.215 / Chapter I --- 有固定曲調歌謠的固定與非固定因素 --- p.215 / Chapter 甲 --- 單句式的歌謠例子 --- p.215 / Chapter 乙 --- 雙句式的歌謠例子 --- p.218 / Chapter 丙 --- 三句半、四句式及五句板例子 --- p.222 / Chapter 丁 --- 歌詞次序調換的例子 --- p.225 / Chapter 戊 --- 詩詞句法與音樂句法的配合情況 --- p.228 / Chapter II --- 「沒有基本曲調」中的固定與非固定因素 --- p.234 / Chapter III --- 「襯字」 、「襯詞」、「襯句」與「音樂」之配合 --- p.239 / Chapter 甲 --- 歌謠中「不重要」的「襯字」、「襯詞」和「襯句」 --- p.239 / Chapter 乙 --- 歌謠中「重要」的「襯字」、「襯詞」和「襯句」 --- p.239 / Chapter 第三節 --- 固定與非固定因素於歌謠中之作用及意義 --- p.243 / Chapter I --- 「基本曲調」對歌謠流傳之重要性 --- p.243 / Chapter II --- 「襯字」的功能 --- p.245 / Chapter III --- 歌謠的「版本」問題 --- p.246 / Chapter 第六章 --- 結語 --- p.248 / 中文參考書目 --- p.253 / 英文參考書目 --- p.261 / 第二部份：地圖及歌謠譜例 --- p.262-336