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Review of Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946. 2015. Produced, compiled, and annotated by James P. Leary. Dust-to-Digital, CDs (5), DVD, DTD-43.

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Jean Ahn (b. 1976) is one of the active Korean woman composers in the U.S. Ahn’s goal is to introduce her works in the U.S. by composing pieces that combine Korean musical elements with Western compositional techniques. The purpose of this study is to provide an introduction to and analysis of Folksong Revisited for solo piano by Jean Ahn. This work demonstrates how Jean Ahn integrates Korean traditional musical elements and Western musical compositional techniques. For better understanding of Ahn’s three Korean folksong arrangements in the Folksong Revisited, this document provides brief information about Korean traditional music and explores elements of it. This document also examines the folksong sources of each piece and Ahn’s compositional approaches to them, and then provides performance suggestions.

The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase. / Linguistics and Modern Languages

The Kenyah, an indigenous group dwelling in the mountainous plateau region and the upper reaches of four major rivers of Borneo, constitute one of many minority communities in Sarawak, the largest state of Malaysia. This small, isolated community has nurtured refined forms of visual and performing arts, such as the music of the sape, a boat-shaped lute which has become a national cultural emblem. Kenyah historical and socio-cultural background is shown to have played a major role in shaping the development of a sophisticated choral singing tradition featuring homophonic harmony. Their substantial repertoire of attractive recreational songs and community-wide participation in musicking form the focus of this thesis, viewed from the perspective of music education. The growing stature of world musics within the sphere of music education has led to increasing collaboration between ethnomusicologists and music educators to investigate and disseminate traditional genres. Kenyah songs, being distinctly Asian in flavour, yet largely conforming to classical Western musical syntax, would be especially valuable for world music programmes. However, in Malaysia, the shortage of available, relevant teaching materials, especially folksongs in a variety of tonalities, ill-equips the teachers to teach music genuinely reflecting local cultures, or to implement international approaches such as those of Kodály and Orff. Analysis of over eighty songs documented during fieldwork in two different river-systems since 1996 demonstrated that they display a range of tonalities (predominantly pentatonic, hence especially amenable to Kodály programmes), emotional variety, rhythmic consistency and associated dance movements. The song-texts feature poetic references to a variety of interesting subjects. Responses from schoolchildren, workshop-participants and teacher-trainees demonstrated that the songs held wide appeal for both inherent and delineated meanings. Many succeeded in mastering the melody, lyrics, harmony and movements despite lack of familiarity with the language. Choral performances of the songs, although attracting some points of criticism regarding modifications, drew approval from culture-bearers who expressed gratification that non-Kenyah could perform songs fast disappearing from their own community. Kenyah recreational songs would thus be a timely addition to music classes and to choral repertoire around the world. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / Unrestricted

Les pratiques paysannes s’inscrivent à la fois dans une perspective globale et une histoire longue. D’une part, en faisant appel à tous les domaines qui composent la vie paysanne (économique, politique, social, religieux, culturel, etc.), elles revendiquent une interdisciplinarité pratique. D’autre part, en se référant à leur mémoire, les paysans invitent à la réconciliation entre le passé, le présent et l’avenir. Il en résulte alors une incompatibilité grandissante entre l’offre du développement véhiculée par les acteurs extérieurs (l’État, les ONG, les organismes internationaux, etc.) et la demande du développement faite par les paysans. On peut le comprendre. En effet, cette demande du développement se base fondamentalement sur quatre principaux aspects : l’interdépendance, la diversité, le lien social et la sécurité individuelle et collective. Cette thèse met en avant la notion de résistance. Elle a été réalisée à partir des travaux de terrain menés, pendant 5 ans, auprès des paysans de trois sections rurales de la Vallée de l’Artibonite en Haïti. Elle montre que leurs actions ou pratiques de développement, non seulement divergent profondément de la vision véhiculée par les acteurs extérieurs, mais surtout sont systématiquement en conflit avec celle-ci. En ce sens, elle remet en cause le paradigme dominant. Elle remet aussi en question toute autre approche qui présente le paysan comme quelqu’un qui se croise les bras et qui attend systématiquement de l’aide extérieure. Elle propose donc un nouveau regard sur le développement qui prend en compte, non seulement les paysans dans leur situation globale, mais aussi leurs relations avec les acteurs extérieurs. C’est donc cette nouvelle perspective qui, dans cette étude, a été qualifiée de « socio-historico-systémique ».

Ce mémoire rend compte de la création du « documentaire acousmatique » Littorale, une œuvre musicale à visée informative, élaborée au moyen de prises de son in situ, d’extraits d’archives sonores et des témoignages de sept informateurs. En tissant des liens entre les deux disciplines médiatiques que sont la composition acousmatique et le documentaire, l’œuvre retrace l’histoire d’un impressionnant corpus de chants folkloriques récoltés en 1918 par l’ethnologue Marius Barbeau, dans les villages côtiers de Sainte-Anne-des-Monts et Tourelle, Haute-Gaspésie. La démarche de composition s’élabore ainsi en trois axes communicants : la mise en lumière de liens préexistants mais sous-exploités entre le documentaire et l’acousmatique, la recherche de terrain entourant le répertoire de chansons et sa résurgence dans la population actuelle de la Haute-Gaspésie, ainsi que la composition des trois mouvements musicaux constituant Littorale. À travers l’investigation d’enjeux identitaires qui découlent de la redécouverte du répertoire et la mise en lumière de certains flous historiques qui y sont reliés, cet alliage de deux genres médiatiques vise l’émergence d’une démarche de composition informative et socialement pertinente. / This thesis explains the creative process behind the “acousmatic documentary” Littorale, a musical work with informative perspectives, which primarily makes use of on-site sound recordings, sound archives and the testimonies of seven informers. Aiming to establish links between the two media practices consisting of documentary and acousmatic music, the work investigates the story behind an impressive repertory of folksongs collected by ethnologist Marius Barbeau in 1918, within a small population of fishermen in Sainte-Anne- des-Monts and Tourelle, two remote villages on the north shore of the Gaspésie peninsula. The composing process is thus divided into three distinct yet interrelated steps: shedding light onto existing but underused links between documentary practices and acousmatic music, investigating the repertory of folksongs and its contemporary rediscovery by the local people, which reveals underlying identity concerns, as well as the composing itself of the three musical movements of Littorale. Through investigating the aforementioned identity concerns and shedding new light on some historical misconceptions, this alloy of two media practices aims to approach acousmatic composition in a way that is both informative and socially relevant.

Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1 Allan.pdf: 6015471 bytes, checksum: c9502b248f8def57196d096754d4ef5e (MD5) Previous issue date: 2012-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is an analytical study of Béla Bartók s String Quartet nº 3, looking for axes of symmetry that works as pitch organizers. This research is bounded with the Eastern Europe s traditional music done by Bártok, an essential influence to the creation of the composer s musical language. So on, this work begins with a research about the motivations that led Bartók to the peasant music, focusing on the information given by him. This lead to the analysis of folk songs collected by Bartók and his contemporary researchers used as examples by him on his papers, resulting in the finding of tunes composed around an axis of symmetry. In equal measure, such symmetrical formations are found in pieces from others modern composers, mainly those who sought to oppose tonality on their works. It was used musical examples from Stravinsky, Mussorgsky, Berg and Webern, together with others Bartók s works. Although the theory about inversional symmetry is not too recent, with origin on the second part of XX century, most of the analyses are created through methods created by the analyst himself. So, this work directs to a methodological option for the of analysis axes of symmetry, generated with the collecting of used elements from several authors. This work contributes too with the expansion of the axes of symmetry theory by bringing it to the structural level, so that the axes could be symmetrically related to each other. Several symmetrical axés were found on the analysis of Bartók s Third Quartet, a piece considered among his most abstracts works. On this context, the axes of symmetry provide a kind of synthesis of folk music and modern music, that can represent East and West on music / Esta dissertação contém um estudo analítico do Quarteto de Cordas nº 3 de Bela Bartók, a fim de encontrar eixos simétricos que atuam como organizadores das alturas. Tal busca está conectada com o estudo da música tradicional do Leste Europeu efetuado por Bartók, influência essencial para a formulação da linguagem musical do compositor. Para tanto, o trabalho é iniciado por uma pesquisa das motivações que conduziram Bartók à música dos camponeses, dando privilégio às informações dadas pelo próprio autor. Esta pesquisa conduziu à análise de canções coletadas por Bartók ou pesquisadores a ele contemporâneos presentes nos exemplos de canções folclóricas em seu legado escrito, resultando na descoberta de melodias compostas em torno de um eixo de simetria. Na mesma medida, tais organizações simétricas são igualmente encontradas em peças de compositores modernos, principalmente daqueles que procuravam distanciamento da tonalidade em suas obras. Para tanto, foram utilizados pequenos trechos de Stravinsky, Mussorgsky, Berg e Webern, juntamente com excertos de outras obras de Bartók. Apesar de que a teoria a respeito da simetria inversional não seja muito recente, tendo sua origem na segunda metade do século XX, as análises partem de metodologias criadas pelo próprio analista. Assim, este trabalho apresenta uma opção metodológica para a busca de eixos simétricos, formada a partir do agrupamento de elementos utilizados anteriormente por diversos autores. Este trabalho contribui também com a expansão da teoria da simetria inversional para o nível estrutural, de forma com que os eixos também podem se relacionar simetricamente entre si. Diversos eixos simétricos foram encontrados durante a análise do Terceiro Quarteto de Bartók, uma obra considerada entre as mais abstratas do compositor. Neste contexto, os eixos simétricos se constituem como uma síntese da música folclórica com a música moderna, representações do Leste e Oeste na música

The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948. / Music / Thesis (M.A.)--University of South Africa, 1997.