Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-02-10T12:24:57Z No. of bitstreams: 2 Dissertação - Mayara Divina Teles Niceias - 2016.pdf: 2093008 bytes, checksum: a51a38e48f3b8559f07f4257ab6c6412 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-13T09:58:34Z (GMT) No. of bitstreams: 2 Dissertação - Mayara Divina Teles Niceias - 2016.pdf: 2093008 bytes, checksum: a51a38e48f3b8559f07f4257ab6c6412 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-13T09:58:34Z (GMT). No. of bitstreams: 2 Dissertação - Mayara Divina Teles Niceias - 2016.pdf: 2093008 bytes, checksum: a51a38e48f3b8559f07f4257ab6c6412 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-23 / This is an interdisciplinary research aiming to comprehend the stigma on the folkloric children’s songbook from human rights. The main objective is to analyze how the stigma can be negatively reinforced at childhood and within scholar context from execution of folkloric songs in this environment. The stigma is addressed here as one of the possibilities of its manifestation through the folkloric children’s songbook in child education, once it is known that the stigma can occur through various other forms. The need to investigate this matter emerged from my experience as a musical educator in the classroom. These experiences made me realize that the songs we sing with children exert significant influence in their relationship with others. When these songs’ content present words, terms or representations linked to the stigma, preconception and discrimination behavior may be reinforced. It is easier today to find children aged between two and five years old who know at least one song from Brazilian’s folklore. Therefore, a cutout to analyze children included in this age group in child education was made. The methodology of this study was the analysis of content from books based on the folkloric children’s songbook, developed to be applied in the scholar context. The selected songs allowed establishing the following stigma categories: gender, old age, ugliness, corporal, learning difficulty, and professional. According to the analysis of the songs’ content, it was possible to conclude that the folkloric children’s songbook, when applied in the classroom without any concern regarding lyrics, can be a reinforcement tool towards stigma. On the other hand, discussing these contents from particular experiences of each student may promote a dialogue capable of making the subjects involved open to the difference in a purpose of education for diversity and preparation of a more just and egalitarian society in their differences. / Esta é uma pesquisa de caráter interdisciplinar que visa compreender o estigma no cancioneiro folclórico infantil a partir dos direitos humanos. O objetivo principal é analisar como o estigma pode ser reforçado negativamente na infância e dentro do contexto escolar, a partir da execução de músicas folclóricas neste ambiente. O estigma aqui é abordado como uma das possibilidades de sua manifestação por meio do cancioneiro folclórico infantil na educação infantil, pois é sabido que ele acontece por intermédio de diversas outras formas. A necessidade de investigar o tema em questão surgiu a partir da minha vivência em sala de aula como educadora musical. Estas experiências me fizeram perceber que as músicas que cantamos com as crianças exercem grande influência nas suas relações com o outro. E quando os conteúdos destas cantigas apresentam palavras, termos ou representações ligadas ao estigma, o comportamento de preconceito e discriminação pode ser reforçado. É muito fácil hoje, encontrar crianças inseridas num grupo etário entre dois e cinco anos que saiba pelo menos uma música do folclore brasileiro. Por este motivo foi feito um recorte para análise de crianças pertencentes a esta faixa etária e inseridas na educação infantil. A metodologia utilizada foi de análise de conteúdo a partir de livros desenvolvidos com repertório do cancioneiro folclórico infantil para serem trabalhados no contexto escolar. As músicas selecionadas permitiram estabelecer as seguintes categorias de estigmas: gênero, velhice, feiura, corporais, dificuldade de aprendizagem e profissional. A partir das análises realizadas nos conteúdos das cantigas foi possível concluir que o cancioneiro folclórico infantil, quando trabalhado em sala de aula sem um cuidado com a letra, pode sim ser uma ferramenta de reforço ao estigma. Por outro lado, discutir estes conteúdos a partir das experiências individuais de cada aluno/a pode promover um diálogo capaz de fazer com que os sujeitos envolvidos se mostrem abertos para a diferença num propósito da educação para a diversidade e preparação de uma sociedade mais justa e igualitária nas suas diferenças.

This diploma thesis, titled Czech Folk Song in Violin Pedagogy, discusses the use of folk songs in classes of playing the violin. It presents general information about Czech folk songs, describes their characteristics, examines the forms of their existence in the present times, and thinks about their future. The practical part surveys the problems of their use in improving musical and performance skills and introduces violin instructive literature of arrangements of folk songs. The final part shows the results of the research, through the answers of the questionnaires, the goal of which was to find if violin pedagogues of these days use folk songs during their teaching and how much they use the potential of these songs for the formation of skills of playing the violin. Keywords playing the violin, folk song, violin pedagogy, collections of folk songs

Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.

The diploma thesis deals with regional songs from the surroundings of Uherské Hradiště and their modifications created by dulcimer music groups from Uherské Hradiště region. In the selection of the chosen materials the thesis analyzes especially the characteristic structure, peculiarities and typical features of individual songs from this area, and finds characteristic elements in the arangements of the performers of the set of these songs. It deals in detail with the analysis of song series (from recording media and listening to authentic productions), their basic tendencies in the formation of instrumental and vocal-instrumental modifications and the deduction of rules and characterizing structures in harmony, melody, bow movement, volume changes, and others. It points out the difference between amateur and artistic performances, the difference between their processing and creative making. It determines the conditions under which purely folklore production of a given region is created and when it incorporates elements that cannot be perceived in the given area as authentic folklore and thus are already taken as artistic inventions of artists and only folklore-inspired stylization. It creates a conception of the level of stylization of folk songs from the region of Uherské Hradiště, recommend...

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This thesis explores the embodied experiences of the rural population in nineteenth-century France. The prevailing historiography has treated rural bodily culture as a cultural survival swept away by ‘modernisation’ in the nineteenth century. By turning to the lives and words of rural labourers and artisans from the Landes de Gascogne, the thesis questions this account, instead showing ways that popular cultures of the body were flexible traditions, adapted by individuals to meet new needs. It does so through a close focus on the stories, songs, and other oral traditions collected by Félix Arnaudin (1844-1921) in the Grande-Lande between around 1870 and 1914. The thesis focuses on the lives of a few of Arnaudin’s 759 folklore informants, showing both how their bodily experiences were changing during this period, and how songs and stories were creative interventions, designed to shape bodily possibilities from below. The thesis draws attention to the surprising shape of rural experiences of the body, which focused on body parts such as the legs and skin for reasons specific to everyday life, while largely ignoring issues that historians might have assumed would be important, such as religion. It argues that the ordinary men and women who performed stories and sang songs were active agents in constructing their own bodies in response to material conditions of physical illness and disability, as well as a changing environment, changing class relations, or changing sexual norms in the Grande-Lande. The thesis presents an emotional and experiential view of rural bodies with a sensitivity to the different experiences of men and women, young and old, poorer and richer, but emphasizes that the body must be seen in the round, as a unifying concern that links together issues of social class, environmental change, sexual relations, work, disability, and religion.

The topic of the thesis is econaratology in conjunction with folk songs, which is subject to the laws of nature and forms a sort of mind set of the of nature life. Singing songs is an integral part of the narrative approach, narrative is complemented by tones and melodies for better memorization. The theoretical part defines the terms: narration, econaratology and folk song. I am interested in what place there the narrative approach in environmental education takes and what are its benefits. I allude to the use of narrative and folk songs as a means of education in practice. The aim of the thesis is based on research findings to determine the extent to which children are able to follow recordings of sound recording recognize and identify vocalizations of domestic or wild animals and industrial sounds of outside world. The research findings are utilized qualitative research, supplemented in some parts of quantitative research. Research tools are the individual interviews over the audio material, which I apply in preschool children. Keywords: narration, econaratology, folk song, nature sounds, folk traditions, research.

This work deals with Latvian Song Festivals as an important phenomenon in Latvian history which started in Latvia in 1873. Their basis lays in choir singing developed in Latvia on a massive scale in 2nd half of 19th century. The festivals probably continued old tradition of singing - so-called teicamās dziesmas which had a similar structure as modern choirs. The development of choir singing is connected with Herrnhuterian schools and pedagogical colleges. The personality playing an important role in this process was a chief pedagogue in Valmiera Jānis Cimze whose collection Dziesmu rota launched a discussion about the future of Latvian culture from the point of view of national identity. Although the structure of Latvian Song Festivals was taken over from the Baltic Germans the idea of national identity has been involved since the beginning. Forming of Latvian national identity was in its beginnings influenced by J. G. Herder's philosophy and his idea of Volkslied and Volksgeist and it is closely connected with Latvian folk songs. It corresponds with Latvian self-determination as the nation of singers. In four historic periods defined by socio-political changes on Latvian territory these ideas together with a strong national element is found exactly in Latvian Song Festivals. The festivals become a...

Thesis (MA. (African Languages)) --University of Limpopo, 2013 / Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.

liv, 775 p. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D.Litt)--University of Adelaide, 1971