Η παρούσα διπλωματική έχει σκοπό τον σχεδιασμό και κατασκευή ηλεκτρονικού καταλόγου και βάσης δεδομένων για την οργάνωση και διαχείριση αρχείου μουσικής ελληνικής παράδοσης και σχετικού περιεχομένου και την έκδοσή του στον παγκόσμιο ιστό. Μέσα από την διπλωματική αυτή προτείνεται ένας τρόπος για την αποθήκευση της μουσικής πληροφορίας στο διαδίκτυο, το σχετικό υλικό που θα πρέπει να συνοδεύει ένα τραγούδι, τον τρόπο παρουσίασης του υλικού αυτού στον χρήστη της εφαρμογής, τις λειτουργίες αναζήτησής της και τον τρόπο αναπαραγωγής της. Για τις ανάγκες της διπλωματικής έγινε και προτείνεται κατηγοριοποίηση των τραγουδιών με βάσης το είδος τους , δηλαδή το θέμα τους, και με βάση τον ρυθμό τους, δηλαδή της μουσικής τους. Επίσης προτείνεται και κατηγοριοποίηση για τα άρθρα. Οι δύο παραπάνω κατηγοριοποιήσεις αφορούν αποκλειστικά το ελληνικό δημοτικό τραγούδι. Επίσης προτείναμε δομή ιστοσελίδας του WWW για την διάδοση την μουσικής παράδοσης που θα είναι φιλική για τον μέσο χρήστη του internet και θα κρατάει το ενδιαφέρον του. Στα πλαίσια της διπλωματικής αυτής εργασίας δημιουργήθηκε ο πληρέστερος στο διαδίκτυο οδηγός παραδοσιακής μουσικής της Πελοποννήσου και της Στερεάς Ελλάδας. Ωστόσο με ένα επιπλέον σύστημα που δημιουργήθηκε είναι δυνατή η προσθήκη επιπλέον υλικού από χρήστες που θα καλύψει όλες τις περιοχές της χώρας μας. / The current work is about a e-catalogue for the greek traditional music. It is a user centered WWW aplication and belongs to the Arcadia Project at C.E.I.D.

xxiii, 507 p. / This dissertation contextualizes melodic variation within a cultural, historical, and cognitive framework. This work discusses how traditional musicians learn how to vary melodies by observing norms of social and musical behavior exhibited by senior musicians. The core of this dissertation is the transcription and analysis of fifty source recordings of fifty different Irish musicians playing one tune each dating from between 1904 and 2007. Though the transcriptions of the recordings exhibited a high instance of melodic variation (48.2% of the measures), only a small percentage of variation fell on set accented tones (an average of 7.3%). The considerable invariance of set accented tones suggests that part of what constitutes the concept of a tune in an Irish musician's mind relates to the pitch of these key tones. I introduce the term aesthetic conservatism to designate a philosophical approach to performance practice that seeks to maintain both the dance genre and tune identity. I argue that aesthetic conservatism may be a by-product of archetypes and exemplars created through transcriptions and recording technology. This conservatism may also be a function of famine-induced fear of cultural dissolution or inferiority with respect to more prominent music-making supercultures. I call on the philosophy of aesthetic conservatism to explain why few set accented tones are varied. Of the measures that were varied, 74% of those variations involved the addition, subtraction, or redistribution of ornamentation. To catalogue the variety of variations within this sample, I propose a taxonomy that is designed to account for the number of notes in a measure and to assess intervallic differences over successive repetitions of a tune. Finally, I propose a theory to explain the cognitive processes that allow a musician to vary a melody. I suggest that in the mind of a traditional musician there is both a tune schema and a variation schema. These are flexible models that are distinct and separate but that interact within a short span of time because of the exceptionally efficient anatomy of a musician's brain. / Committee in charge: Anne Dhu McLucas, Chairperson; Lori Kruckenberg, Member; Stephen Rodgers, Member; Glen Waddell, Outside Member

abstract: ABSTRACT Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul. This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines. This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities. While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4). Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience. Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques. / Dissertation/Thesis / Doctoral Dissertation Music 2017

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O presente trabalho volta-se para a abordagem que se dà acerca da MÃsica Tradicional Popular na formaÃÃo superior em MÃsica, especificamente no Curso de Licenciatura em MÃsica da Universidade Federal do Cearà (UFC), em Fortaleza. Tomando como base uma perspectiva etnomusicolÃgica na EducaÃÃo Musical, objetiva-se compreender qual a presenÃa desse universo musical no currÃculo e na prÃtica do curso. O referencial teÃrico principal da pesquisa baseia-se em Boaventura de Sousa Santos, com seus estudos acerca da Ecologia de Saberes, alÃm de autores como Carlos Sandroni, Margarete Arroyo, Oswald Barroso e Josà Jorge de Carvalho. Como metodologia realizou-se um estudo de caso no Curso de Licenciatura em MÃsica da UFC, onde foram entrevistados os professores responsÃveis pelas disciplinas que apontam para o universo da MÃsica Tradicional Popular em seu nome e/ou ementa, totalizando trÃs professores. AlÃm de seus relatos, com suas trajetÃrias e perspectivas, utilizaram-se os planos de curso, planos de aula, as ementas, bibliografias e os formulÃrios de criaÃÃo das disciplinas, alÃm do Projeto PolÃtico PedagÃgico do Curso como fonte de dados. Assim, as experiÃncias desenvolvidas no Curso de Licenciatura em MÃsica da UFC revelam a necessidade de fortalecimento do eixo da Etnomusicologia como base fundamental para a ampliaÃÃo da formaÃÃo musical dos alunos â futuros professores â, a presenÃa da percussÃo, quando praticada segundo a Cultura Popular, como porta de abertura para saberes populares na Academia; e a Ecologia de Saberes como princÃpio central para se repensar a EducaÃÃo Musical acadÃmica.

The clarinet works of Marcel Mihalovici (1898-1985) represent significant contributions to the twentieth-century clarinet repertoire. Metric and rhythmic variability, melodic primacy, counterpoint, structural clarity, and elements of Romanian folk music permeate his writing and reflect a highly developed musical language. Mihalovici's educational background and cultural heritage provide important clues toward understanding his artistic legacy. His clarinet works are musically demanding and contain some of the most technically challenging passages in the repertoire, while at the same time, exhibit a distinctively French style influenced by traditional Romanian music. Mihalovici's writing follows familiar but variable formal procedures and conveys a diverse, modally influenced approach to tonality. While his harmonic language is frequently dissonant, his clarinet music offers a unique variety of musically rewarding styles.

abstract: This research paper is an explanatory document for the lecture recital presented by the author. The lecture recital focused on the mimicking of instruments in arrangements and transcriptions for piano of Chinese traditional music. There are five Chinese music instruments discussed in the paper, namely guqin, zheng, erhu, suona, and pipa. This document provides an introduction to the five instruments, including their origin, historical background, and physical characteristics. Then it discusses the selected traditional pieces for these instruments and compares them to their corresponding piano arrangements. The traditional pieces are Three Stanzas of Plum Blossoms (arranged by Jianzhong Wang), Liu Yang River (arranged by Jianzhong Wang), Moon Reflected on the Er-quan Spring (arranged by Wanghua Chu), A Hundred Birds Paying Homage to the Phoenix (arranged by Jianzhong Wang), and Flute and Drum at Sunset (arranged by Yinghai Li). The comparison and the discussion of the technical issues in certain passages will help the pianist to create a fitting sound when performing the works. / Dissertation/Thesis / Doctoral Dissertation Music 2020

In this thesis, I demonstrate how analysis through literary criticism can provide a commentary on Appalachian song. While literary analysis of both sacred and secular song lyrics is an approach that is largely overlooked in this region’s traditional music, it nonetheless provides insightful perspective on the art form itself. As I argue, one particular duo of Appalachian musicians, the Louvin Brothers, are uniquely suited to this inquiry. I propose that themes that are found in many of the Louvin Brothers’ songs, such as love, acceptance, and rejection, create a bridge between the historically documented theoretical gap between bluegrass and country music’s sacred and secular songs. I document how the Louvins successfully navigated these traditionally separate subgenres using these common subjects while offering a commentary on musical history, their own upbringing, and religion.

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This research examines the establishment of degree programs in traditional music in institutions of higher education. It defines traditional music and discusses the history of traditional and folk music programs at universities and conservatories in the United States, Finland, Scotland, and England. The institutionalization of American traditional music is compared to the institutionalization of jazz music in the United States. This thesis focuses on the Bluegrass, Old- Time, and Country Music Studies program at East Tennessee State University and features original ethnographic interviews with lecturers from the program. Two similar programs in Tennessee and Kentucky are also discussed. Some of the issues that are explored within these programs include standardization, improvisation and imitation, the use of sheet music, and job potential. The purpose of this research is to examine if and how institutionalization affects traditional music.

The study focuses on connections between the Progressive era educational theories of John Dewey and present-day bluegrass and traditional music programs in higher education in order to explore a pedagogical basis for such programs. The research specifically examines Dewey’s beliefs in experiential learning, individualization, and vocational education and their current applications in traditional music education. The study included two major components: historical research into Dewey’s writings and primary and secondary sources regarding traditional music education in the United States, and interviews of faculty members in college and university bluegrass and traditional music programs. The thesis of this study is that experiential learning historically has been part of traditional music education and that it is an essential aspect of bluegrass and traditional music programs in higher education in the present day, leading to students taking part in meaningful learning experiences that contribute to their occupational goals.