Inaug.-diss.--Basel. / Vita.

Inaug.-diss.--Kiel. / Lebenslauf. "Bibliographie und textkritik zum liede vom grafen und der nonne": p. 21-33. "Literaturverzeichnis": p. v-vi.

This thesis seeks to consider the relationship between 'rock' and 'Irishness' • between transnational pop and the nation-state • challenging the 'orthodox' view that Irish rock embodies uniquely Irish characteristics. It is about Irish popular music and identity and is primarily concerned with the relationship between culture and meaning. It argues that the study of popular music as 'text' is important to the more general study of culture (even though the notion of text in popular music is problematic). The thesis seeks to explore how meaning is made in popular music culture across a shifting and unstable textual matrix. Authenticity is a central concept here and I examine discourses of Irish authenticity and essentialism and their relationship to authenticity in rock. The study of Irish rock is, I argue, important to wider debates about identity and globalisation, especially in debates about the relationship between national music cultures and an increasingly globalised market. I undertake an exploration of the concept of cultural hybridity and assess both its strengths and its limitations to tbe study of popular music and debates about national identity. Hybridity, I argue, is important in that it helps break down the essentialising force of both the main discourses of authenticity outlined, becoming useful in moving beyond discourses of cultural purity. Howeve~ hybridity discourse also has problems and frequently there is a Jack of discrimination between different types of hybrid text which may result ina simple celebration of hybrids and hybridity. Thus, the complex relationship between popular music, the articulation of identity in pop songs (and across pop's mobile textuality) and in discourse about pop is overlooked. In this way, the thesis argues that the study of popular music culture in specific contexts may reveal the limitations of existing cultural studies work on hybridity, textuality and meaning. This is part of a broader project of arguing for more detailed consideration of music, meaning and pleasure in regional and peripheral national contexts.

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SUMMARY The uniqueness of folklore is in the provided possibility of self – express for everyone. Folklore is not only singing, but also playing musical instruments, dancing, and acting. This way children can be involved into dynamic activities. It cannot be achieved only by singing, though, as there can be some children in a class whose ear for music and voice are weaker developed. The demand for a student to express himself or herself can be met referring to those musical abilities, which are stronger expressed. However, pupils prefer entertaining music, where rhythm dominates; while historically valuable musical compositions remain incomprehensible, therefore they do not become a part of one’s individuality. Students of senior forms become uninterested both in folk music and in the subject of music itself. The study analyses the tendencies of Lithuanian folk music in education of students of the 9th -12th forms. The aim of this research work is to base the importance of folk music in musical education as a relevant prerequisite for intensive interface between national culture and a person. Certain objectives have been set up in order to implement the aim: to define the conception and significance of folk music in musical education; to analyze the peculiarities of the stages of adolescence and juvenescence; to work out an individual syllabus for after-school activities; to set an approach so that students’ attitude towards folk music could be determined; to study the... [to full text]

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