Report of travels, encounters, exchanges and impromptu music creations with musicians from different cultures, countries, musical traditions and backgrounds.

Mermaids and human-seal hybrids, called selkies, are a vibrant part of Celtic folklore, including ballad and song traditions. Though some of these songs have been studied in-depth, there is a lack of research comparing them to each other or to their contemporary renditions. This research compares traditional melodies and texts of the songs “The Mermaid,” “The Grey Selchie of Sule Skerry,” and “Hó i Hó i” to contemporary recordings by top female vocalists in Scottish and Irish music. The texts and melodies I have identified as “source” material are those most thoroughly examined by early ballad and folklore scholars. The source material for “The Grey Selchie of Sule Skerry” is a 1938 transcription by Otto Andersson. The source of notation and text for “The Mermaid” is the ballad’s A version from the Greig-Duncan Collection. The melody of “Hó i Hó i,” collected by folklorist David Thomson and published in 1954, serves as the third source version. Modern recordings included in the study are “The Mermaid” by Kate Rusby, “The Grey Selchie” by Karan Casey with Irish-American band Solas, and “Òran an Ròin,” a variant of “Hó i Hó i,” by Julie Fowlis. This study compares the forms, melodic contours, and texts of these variants, examining ways that contemporary recordings have maintained the integrity of traditional songs and ballads from which they are derived while adapting them to draw in a contemporary audience. The thesis illustrates the continued and evolving presence of mermaids and selkies in Scottish and Irish song.

The nine essays published in this volume derive from papers presented at the 39th World Conference of the International Council for Traditional Music (ICTM) held in Vienna, Austria, in July 2007.

Korean traditional music has a popularity problem among Korea's contemporary audiences; given the choice of what to listen to, few South Koreans choose to listen to gugak. To address and overcome this popularity problem, traditional Korean musicians are negotiating and reconstructing traditional Korean music by adopting, appropriating, and altering elements of Korean and international pop music. To this end, Gugak groups recently have been incorporating western musical practices and aesthetics in their performances in digital platforms (YouTube and reality television programs) and in concerts to contemporize the genre and develop a more positive relationship between Koreans and their national music. Groups like E-sang are redefining and re-inventing Korean folk music worldwide as something I call "pop gugak." New pop gugak is in the process of reconstructing the meaning of Korean-ness.

Du métro parisien aux festivals de musiques dites du monde les plus connus, sur les trottoirs des grandes villes et dans des salles de concert de tailles et de projections diverses, des ensembles jouant des musiques « des Andes » ont réussi à se produire en France depuis plus d’un demi-siècle. L'image d'une certaine "andinité" s'est ainsi forgée autour de ces groupes, vérifiable aussi bien dans le répertoire diffusé que dans le discours qui a accompagné la commercialisation de ces musiques. Néanmoins, l’activité de ces ensembles s'est enracinée pour l'essentiel dans l’espace géographique et social du pays qui les a hébergés : non seulement leurs musiques ont été proposées à un public composé pour l’essentiel de Français, mais en fait la plupart de ces ensembles sont nés à Paris et ont développé leurs carrières en France.En étudiant la popularisation de ces musiques à la lumière des représentations sociales associées à l'univers "andin", cette thèse propose une relecture de la problématique de l'altérité incarnée par des manifestations musicales "autres" dans la société française. Notre analyse s'appuie sur la complémentarité de trois axes d'étude : l'imaginaire construit en France autour des peuples appartenant aux aires culturelles andines, l’émergence et le succès de ces musiques entre les années 1950 et 1970, et une enquête de terrain menée à l'occasion d'une série de concerts de musiques "des Andes" proposés en Île-de-France en 2004. L'hypothèse repose sur l'idée que le bon accueil de ces musiques en France a été facilité par une prédisposition particulièrement favorable à l'univers latino-américain, dans une logique d'échanges culturels marquée par l'absence de conflits identitaires ou symboliques profonds. / In the Parisian subway and in the most known World Music festivals, in the streets of big cities or in the concert halls, the "Andean Music" is played in France for more than half a century. The popularization of this music in France was associated to the construction of an "andeanity", as well in the repertory as in the discourse which accompanied their commercial distribution. Nevertheless, the activity of these ensembles was founded in the social French space: not only their "Andean" music was proposed to a French audience, but in fact most of these ensembles were born in Paris and developed their careers in France. By studying the popularization of this music in the light of the social representations of the "Andean" universe, our thesis proposes a second reading of the Otherness of the not European music in France. Our analysis if support on three axes: the social representations of the Andean cultures in France, the emergence and the success of the "Andean Music " between 1950s and 1970, and a survey research concerning the concerts proposed in Ile-de-France by the well-known ensemble Los Calchakis (2004). The hypothesis is founded on the idea that the success of this music in France was facilitated by a particularly receptive French audience to the Latin-American universe

Syftet med denna studie är att ta reda på hur kompositörer inom genren svensk folkmusik idag går till väga när de komponerar ny musik, hur deras arbetsprocess ser ut och vilka arbetssätt de använder sig av. Det teoretiska perspektivet är hämtat från Stan Bennet och Max Grafs tidigare forskning om hur kompositionsprocessen ser ut för kompositörer inom konstmusikgenren. Ett didaktiskt perspektiv används också som utgångspunkt. Bakgrunden till arbetet baserar jag på tidigare forskning om kompositionsprocessen, forskning om gehörsmusik och kreativitet och idé-skapande. Jag ser även till vikten av att tränas i sitt divergenta tänkande som komponerande innebär. Undersökningen har gjorts genom kvalitativa intervjuer med tre kompositörer inom genren svensk folkmusik. Studien fokuserar på deras respektive processer och ifall det finns gemensamma drag de tre kompositörerna emellan. Resultatet visar att processen kan se väldigt olika ut, och att såväl intuitivt eller omedvetet som aktivt och medvetet komponerande sker. Något som är viktigt för kompositionen är att det finns en naturlighet i processen, att låten inte ska vara framtvingad även om kompositören arbetar aktivt med komponerandet av låten, samt att arbetsprocessen är individuell på så sätt att varje kompositör kan ha flera tillvägagångssätt Slutligen diskuteras även hur komponering kan användas i en undervisningssituation. / The purpose of this study is to see how composers in the genre “Swedish traditional music” work as they compose new music, to see their working process and what working methods they use. I will be using the theoretical perspective of Stan Bennett and Max Graf earlier research on the process in composing music in classical music. A didactic perspective is also used. I base my work on earlier researches in the area of composing, the creative process and creation in other areas. I also see to importance of divergent mind processes, which is a part of the process of composing. The study has been done by qualitative interviews of three composers in the genre of Swedish traditional music. The study focuses on their separate processes and common features. The result shows that the process can be diversified, and both intuitive and active thinking processes are being used. It is important that there is naturalness in the process. Although it´s an active process of composing, the song can´t be forced. I will present each composer one at the time and then summarize, this because the working process is so individual and each composer can have various processes. Finally I see to how composing can be used in the art of teaching.

Στην παρούσα εργασία επιχειρείται να προσεγγιστεί το επιστημονικό έργο του Ελβετού εθνομουσικολόγου Samuel Baud-Bovy, ο οποίος αφιέρωσε ένα μεγάλο μέρος της ζωής του στην μελέτη της ελληνικής παραδοσιακής μουσικής. Παράλληλα θα επιδιώξουμε να ανιχνεύσουμε τις πλευρές εκείνες του έργου του οι οποίες μπορούν να διδαχθούν στην πρωτοβάθμια και δευτεροβάθμια εκπαίδευση. Η εργασία χωρίζεται σε δυο μέρη: στο πρώτο μέρος, αρχικά παρουσιάζεται η ζωή και το έργο του Samuel Baud-Bovy και τα στοιχεία εκείνα που τα πλαισιώνουν, στην συνέχεια παρουσιάζεται το θεωρητικό πλαίσιο που αφορά την επιστήμη της λαογραφίας και κατ’ επέκταση της εθνομουσικολογίας, καθώς και αρκετά στοιχεία που αφορούν το ελληνικό δημοτικό τραγούδι. Το πρώτο μέρος ολοκληρώνεται με την ανάλυση των δεδομένων που προέκυψαν από την μελέτη μας πάνω στο έργο του Baud-Bovy. Στο δεύτερο μέρος, μέσα από ένα θεωρητικό πλαίσιο που αφορά Παιδαγωγικές και Μουσικοπαιδαγωγικές θεωρήσεις, προτείνουμε μια διδακτική παρέμβαση, αναδεικνύοντας μέσα από το έργο του Baud-Bovy, τα στοιχεία εκείνα τα οποία πιστεύουμε ότι μπορούν να διδαχθούν. / The present work is an attempt to approach the scientific work of Swiss ethnomusicologist Samuel Baud-Bovy, who has devoted a large part of his life in the study of Greek traditional music. In addition we will try to detect those aspects of his work which can be taught in primary and secondary education. The study is divided into two parts: the first part, presents data about the life and work of Samuel Baud-Bovy and examines the theoretical framework the science of folklore and- by extension the ethnomusicology- establishes (information referring to the Greek traditional songs is also included). The first part concludes with the analytic presentation of the work of Baud-Bovy. In the second part, based on a theoretical framework related to teaching music, we propose a teaching intervention, that highlightens the work of Baud-Bovy and focuses on these elements which we believe can be incorporated in primary/secondary education.

AND KEYWORDS The dissertation The Harmonic Flute and Its Derivatives in the Carpathian Regions of the Czech Republic - an organological hologram contains the summary, analysis and syntheses of data obtained through the research of little-known instrumental kind in this area of the Czech Republic. Most of the data is published for the first time in this range. In three chapters - Harmonic flute, Tradition, Present - the musical instrument is viewed from many perspectives. The harmonic flute is displayed as a part of worldwide and Carpathian instrumentary; its acoustic and playing features are explained, archaic manufacturing methods are shown and the possible influence on musical thinking of the area is discussed. The theses also investigates the harmonic flute and its derivatives as disappeared musical instruments of the local traditional music and tries to map contemporary revival of its manufacturing and playing. The dissertation is based on analysis of written, audio and visual documents, comparisons, experimental reconstructions, empirical evaluation of objects in museums and private collections and interviews with informants. The theses includes an extensive photo documentation and a CD with audio samples discussed in the text. This theses was inspired by models formulated by...

La problématique principale de cette recherche concerne la musique traditionnelle des Créoles, en Guyane. Produit d’un contexte historique, sociologique et culturel inédit, elle sert en même temps de ciment de l’identité créole sur ce territoire. Ici, la culture des premiers habitants, les Amérindiens, mais aussi celle des colons français et des esclaves africains est à l’origine de la formation de la société créole, et avec elle, de la culture et des traditions sous-jacentes, dont les musiques traditionnelles et leurs six rythmes principaux : le grajé, le léròl, le grajévals, le béliya, le kanmougwé et le kasékò qui font l’objet de mon étude. Par ce truchement, les performances vocales à travers un répertoire de chants en langue créole et les performances instrumentales par l’accompagnement principalement de tambours, montrent la réalité de la nature des rythmes fondamentaux de la musique traditionnelle créole guyanaise comme un fait social original, du reste attesté par des écrits du Révérend Père Labat dès le XVIIIe siècle. Mes observations de ce fait social m’ont permis de mettre, entre autres en exergue le rôle de l’instrument soliste (le tanbou koupé), celui des accompagnateurs, avec le tanbou foulé, guide suprême des instruments accompagnateurs du système musical créole guyanais, et le tanbou plonbé, véritable marqueur métrique. L’apprentissage de tous ces instruments et les savoir-faire qui en découlent sont transmis à la fois par les Gangan (les Anciens), par les groupes traditionnels constitués en association et par le biais des écoles de musique. Malgré les apports musicaux européens, américains et antillais, la musique traditionnelle créole guyanaise garde son authenticité, que je traite dans cette thèse, authenticité qui se renouvelle en tant qu’élément identitaire, tout en servant de base aux nouvelles compositions, dont la contribution de la jeunesse est significative aujourd’hui. / The main topic of this research is the traditional music of the Creoles, in French Guiana, a product of a unique historical, sociological and cultural context, cement of the creole identity. The cultures of the first inhabitants, the Amerindians, that of the French colonists and that of the African slaves are the cement of the creole society of French Guiana, and with it, of the underlying cultures and traditions, such as the traditional music and its six main rhythms: the grajé, the léròl, the grajévals, the béliya, the kanmougwé and the kasékò. The performances, either vocal, through a repertoire of songs in creole, or instrumental, accompanied mainly by drums, show the reality of this original and social fact, attested to by writings since the eighteenth century. The researcher shows the role of the soloist tanbou koupé, the tanbou foulé supreme guide accompanying instruments, and tanbou plonbé, the metronome drum, which is taught by the Gangan (the elderly), traditional groups and music schools. Despite the European, US and Caribbean musical contributions, the traditional Creole music of French Guiana keeps its authenticity, it is renewed thanks to a young population, and it is the basis for new musical compositions.

Ce travail se propose d’étudier la réception des musiques traditionnelles orales en tant que processus dynamique et plus particulièrement comme un acte de construction temporelle mis en œuvre pour l’essentiel lors de la performance vivante, « champ » privilégié d’expérience musicale orale. Dans cette perspective, en nous centrant sur le cas de la musique crétoise, musique par excellence orale, nous tentons de démontrer comment les auditeurs appréhendent et mémorisent des structures musicales lors et grâce à des moments d’interaction participative et des rythmes partagés. À partir du concept ethnomusicologique du modèle, envisagé dans le cadre de ce travail non seulement comme une « structure minimale, invariante » mais aussi en tant qu’une grammaire gestuelle, nous analysons les comportements des auditeurs lors des trois expériences mnémoniques. Nous y mettons en évidence comment les gestes temporels qui associent ici musique et danse, schématisés et codés dans un modèle, peuvent diriger la segmentation d’une pièce et son identification. À cet égard l’objectif fondamental de cette thèse est de montrer à travers le « paradigme oral » que la communication d’émotion par le biais des expériences dynamiques, est à la base même de la cognition musicale. / This work proposes to study the reception of traditional oral music as a dynamic process and particularly as an act of time construction developed essentially during live performance, a privileged place of oral musical experience. In this regard, by focusing on the case of Cretan music, oral par excellence, we attempt to indicate how the listeners understand and memorize musical structures during and thanks to moments of participative interaction and shared rhythms. Based on the ethnomusicological concept of model, considered in this work not only as an “invariable, minimal structure” but also as a gestural grammar, we analyze the behavior of listeners at three memory experiments. We can see how the gestures of time witch join here music and dance, schematized and coded in a model, can direct the segmentation and the identification of a piece. In this regard, the fundamental aim of this thesis is to demonstrate through the “oral paradigm” that the communication of emotion using dynamic experiences is fundamental to the musical cognition.