李潔嫦. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998. / 參考文獻: leaves 99-106. / Li Jiechang. / 撮要 --- p.iii / Chapter 第一章 --- 地水南音源流槪說 / Chapter 一´Ø --- 引言 --- p.一 / Chapter 二´Ø --- 南音的起源和發展 --- p.二 / Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四 / Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代） / Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八 / Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九 / Chapter 三´Ø --- 七十年代 --- p.二五 / Chapter 四´Ø --- 八十年代至今 --- p.二八 / Chapter 第三章 --- 地水南音的音樂風格 / Chapter 一´Ø --- 引言 --- p.四三 / Chapter 二´Ø --- 唱詞結構 --- p.四四 / Chapter 三´Ø --- 板面及過序的處理 --- p.四八 / Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四 / Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八 / Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣 / Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八 / Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三 / Chapter 三´Ø --- 結論 --- p.九十 / Chapter 第五章 --- 結論 --- p.九四 / 參考書目 --- p.九九 / 附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七 / 附錄二 《霸王別姬》的唱腔分析 --- p.一一七 / 附錄三《客途秋恨》的唱腔分析 --- p.一三一 / 表目 / 表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五 / 表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七 / 表2-3 八十至九十年代南音演出和講座資料 --- p.三九 / 表3-1 --- p.五五 / 表3-2 --- p.五七 / 表3-3 --- p.六五 / 表3-4 --- p.六九 / 表3-5 --- p.七二 / 表4-1杜煥生平年表 --- p.八二 / 表4-2唐健垣生平年表 --- p.八八

This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students. The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.

The aim of this study is to present a collection of indigenous African and Indian songs with accompanying activities. While both groups of songs derive from an oral tradition I have notated the songs in order to make them more accessible to teachers in schools. My intention is to provide music educators with teaching material which recognises the inherent value of musical traditions, such as those of India and Africa. In South Africa this is an important means of encouraging intercultural understanding between people. The songs are presented with a brief introduction to the cultural background in which they were created and transmitted. I hope that teachers will share some of this information with their students. This is an important collection of songs because it is the first step towards making two musical cultures of Natal, African and Indian, available to music educators. In the climate of violence and political instability, this music has remained inaccessible to most school music teachers in Natal. / Thesis (M.Mus.)-University of Natal, Durban, 1994.

The thesis builds on the extensive work of bachelor of 2012. It examines the manuscript collection of songs Podstrážišťské Josef Václav Kratochvil. The first part describes the folk songs of Pelhřimov, folk songs in general and describes the development of folk songs in Bohemia and Moravia. This chapter also deals with the division of folk songs by region, collections of these regions and their collectors. These sub-themes also include sources and their gaining. Finally, the thesis refers to the collector Josef Václav Kratochvíl and his manuscript collection Podstrážišťské songs. In the next section the thesis classifies the literary aspect of songs, their themes and types also by the music side. In the following section the thesis discusses in general stylization of accompanied of folk songs. It also includes the possibility of using part of the folk songs and presents some selected examples of folk ensembles, folk institutions and the media which folklore spreads. The final section discusses the specific arrangements of folk songs from our collection and stylized accompaniment which has been discussed in previous chapters. The last chapter of the thesis includes 97 songs transcribed from the manuscript collection of Josef Václav Kratochvíl into a notation software. KEYWORDS: Folk Song,...

The thesis builds on the extensive work of bachelor of 2012. It examines the manuscript collection of songs Podstrážišťské Josef Václav Kratochvil. The first part describes the folk songs of Pelhřimov, folk songs in general and describes the development of folk songs in Bohemia and Moravia. This chapter also deals with the division of folk songs by region, collections of these regions and their collectors. These sub-themes also include sources and their gaining. Finally, the thesis refers to the collector Josef Václav Kratochvíl and his manuscript collection Podstrážišťské songs. In the next section the thesis classifies the literary aspect of songs, their themes and types also by the music side. In the following section the thesis discusses in general stylization of accompanied of folk songs. It also includes the possibility of using part of the folk songs and presents some selected examples of folk ensembles, folk institutions and the media which folklore spreads. Lay stress on the role of a family. Next the folk song is presented as a material that can be used in a pedagogical field. The essential part of the thesis is a supplement that contains 97 songs from the manuscript collection of songs compiled in a notation software.

This thesis utilizes a multi-perspectival cultural and media studies approach analyzing the production, filmic text, and reception of Taarka, the first film about Setos, that is advertised as a (docu)drama. However, the analysis shows that it can also be interpreted as an ethnographic film. It examines which intersecting identities related to Seto women are depicted in the film and whether audiences and critics recognize the power dynamics of these intersections. It also analyses how the Estonian cultural economic environment, the filmic text, audience comments and critics reviews reinforce or challenge hegemonies connected with these intersections. Drawing on the principles of postcolonial feminism, intersectionality, and other critical theories, the thesis concludes that even though the filmic text challenges traditional gender roles, it still reinforces the Estonians’ one-sided portrayal of an exotic, commodified Seto ethnicity. Moreover, the cultural economic environment and reception of the film also bolster this view of Seto ethnicity. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

吳瑞珠. / "2002年7月". / 論文(哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 152-156). / 附中英文摘要. / "2002 nian 7 yue". / Wu Ruizhu. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 152-156). / Fu Zhong Ying wen zhai yao. / 致謝 --- p.iv / 摘要（中文） --- p.v / 摘要（英文） --- p.vi / Chapter 第一章 --- 導論 --- p.1 / 人類學與民族音樂學 --- p.6 / 音樂傳統與文化認同 --- p.12 / 研究問題與理論架構 --- p.18 / 研究地點和研究方法 --- p.22 / 本文章節安排 --- p.25 / Chapter 第二章 --- 福建泉州南音 --- p.27 / 何謂南音? --- p.27 / 歷史沿革 --- p.30 / 曲譜類別、樂器及音樂特色 --- p.39 / 南音和閩南風俗及其音樂功能 / 從名稱上看南音的發展 --- p.46 / 南音裡的男女現象 --- p.48 / 南音面對的困難 --- p.49 / Chapter 第三章 --- 地方組織與表演 --- p.53 / 泉州市工人文化宮南樂社 --- p.54 / 泉州南音樂團 --- p.61 / 浮橋仙景南音學校 --- p.67 / 南音表演裡的男女角色 --- p.74 / 地方組織和南音的保存 --- p.75 / Chapter 第四章 --- 傳統與改革 --- p.81 / 南音的演變 --- p.82 / 傳統南音的局限和新南曲的特點 --- p.88 / 動態的傳統 --- p.91 / 新南音的弱點 --- p.95 / 傳統文化與文化認同 --- p.101 / Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106 / 閩南移民和跨國網絡的建立 --- p.106 / 境外華人和泉州的南音組織 --- p.110 / 境內外南音團體的聯繫 --- p.111 / 傳統的被利用 --- p.114 / 音樂傳統和懷舊情懷、文化認同 --- p.122 / Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127 / 國際組織和世界文化遺產的保護 --- p.128 / 泉州南音申報世遺的背景 --- p.129 / 各界的表現 --- p.132 / 世遺的價值 --- p.137 / 世遺和文化認同 --- p.139 / Chapter 第七章 --- 結語 --- p.144 / 附錄（新南曲唱詞） --- p.149 / 參考書目 --- p.152

Liner notes by Ted Olson, song lyrics, and discography; produced by Ted Olson. "In this collection, all of Reed’s songs, both faith-based and secular, recorded for the Victor Talking Machine Company over two sessions in 1927 in Bristol TN and Camden, NJ and two sessions in 1929 in New York City, are on one 22 track CD, complemented by well researched essays by Producer Ted Olson and LOTS of archival photos. Reed played fiddle and sang and on some sessions he was accompanied on guitar by his son Orville. ... Olson has included the younger Reed’s solo recordings." --Steve Ramm Review on Amazon / https://dc.etsu.edu/etsu_books/1117/thumbnail.jpg

Theis (M.A. ) --University of the North, 1999 / Refer to document

Thesis (Ph. D. (Tshivenda)) -- University of Limpopo, 2010 / Refer to document