Percy Grainger collected English folk song only for a short period between 1905 and 1909 as part of the revival of interest in all things English among antiquarians, folklorists, and nationalists. Grainger’s publication of his transcriptions and analysis in the Journal of the Folk Song Society in 1908 is considered one of the most insightful and groundbreaking examinations of English folk song of its time, far removed from the dilettante activities of many other collectors. His article was, however, harshly criticized by the Editorial Committee of the Journal, and Grainger subsequently never again published any significant transcriptions of English folk music. Grainger’s English folk song transcriptions have received their fair share of attention from ethnomusicologists. Thus far, however, no one has examined the connections between this aspect of his musical activities and his modernist philosophy of music. I contend that Grainger’s article contains the seeds of what would eventually become his mature, though never fully realized, musical aesthetic, and that it was this aesthetic that allowed him to examine English folk song in a manner never before imagined by other collectors. This dissertation follows the thread of his aesthetic throughout his numerous musical interests in order to demonstrate the potency of his philosophy as manifest in his examination of folk song in the Journal. To this end, I bring to bear a wide range of critical methodologies, including those of ethnomusicology, aesthetics, and critical theory. Grainger never spelled out with any clarity the fundamental tenets of his aesthetic, but I believe that such an aesthetic can be reconstructed through a broad examination of his writings and his music. Grainger shares his role in this dissertation with many other characters including Benjamin Britten, Evald Tang Kristensen, Cecil Sharp, Bela Bartok, Ferruccio Busoni, and even Jacques Derrida, often even ceding his place in the spotlight to them. This is, however, a crucial occurrence, for as my examination demonstrates, this fully realized version of his aesthetic means that Grainger emerges as a far more important and revolutionary thinker in the history of music than he has thus far been considered.

No description available.

This dissertation is the culmination of a three year research project into sacred singing among evangelical Christians living in North-East Scottish and Northern Isles coastal communities.  The exact geographical area in question was the stretch of coastline between Aberdeen and Wick, and the Orkney and Shetland Islands.  The aim of this project has been to record and analyze current practices, placing them historically and contemporaneously within the faith communities and understanding them in their social and cultural contexts.  The pivotal role of sacred music in the community was researched, along with the meaning of the music to the participants, and its role in constructing personal and group identity.  Religious traditions and fishing heritage have been explored with particular reference to the construction of a distinctive ‘soundscape’.  As far as possible, examples of sacred singing outside church worship have been documented including singing in the workplace, in the home, and in the public sphere.

Der historische Ursprung Kleinlitauens, sein Alltag, seine Sitten, Bräuche, Sprache und Kultur stellten schon immer Forschungsziele für Fachleute und Wissenschaftler verschiedener Richtungen dar. Die ethnokulturellen Forschungen sind auch heute aktuell. Aus diesem Grund wird in den nachfolgenden Ausführungen versucht, die Volksmusikinstrumente darzustelle~ die in der Blütezeit Kleinlitauens gespielt wurden.

No description available.

M.A. / Riddles, together with other genres such as idioms, proverbs and legends, form an important and integral component of what is commonly referred to as oral literature. Riddling is a traditional game, mainly engaged in by the youth, as a positive and constructive way of whiling away time. This game is not only confined to tribes and communities in Southern Africa, but is also played throughout the African continent and also in many parts of the world ...

My artwork reflects my search for my own artistic voice. Life demands examination from me at inconvenient times, but with the intention of growing as a person I proceed willingly, and as an artist, equipped with a paintbrush. My search has led me to discover new materials and techniques and my structured self-reflection has uncovered a new source of inspiration. I now combine the physical layering of art materials with layers of personal meaning as well. My work has an autobiographical theme which I have interpreted through the filter of my sense of humor. Working so intimately with my own personal history and visually expressing myself by combining multiple techniques has transformed my understanding of myself as an artist and a person.

M.A. / Our main objective in this M.A. dissertation was to explore the position of women in Greek folk songs and examine if these folk songs are representative of the social environment which created them or they oppose to it. For this purpose, we carefully studied a wide variety of folk songs and selected a number of songs concerning women in different phases of their lives. These songs belong to the kleftic songs and the songs of the cycle of life. They are widespread all over Greece with slight differences. To support our arguments we also used a wide range of studies concerning our subject. Thus, following the planned scheme of the work and applying the methodology and approaches we defined in the introduction, this study has taken the following form. We divided this study in three parts. The first one consists of two chapters. In the first chapter we defined the socio-historical framework of the Tourkokratia, the era of which the songs we used. In the second chapter we gave general information about the folk songs concerning their origin, characteristics, language and their place in literature, tradition and laography. The second part consists of four chapters. Here we examine the woman as a daughter, wife, mother, mother-in-law, widow. The first chapter includes the love songs and the wedding songs. We saw the woman as a maiden and a would-be wife. We explored the social framework of marriage, the match-making and the issue of dowry. In the second chapter, which includes lullabies, we saw the woman as an affectionate mother, projecting her love but also all her unfulfilled dreams or ideals regarding her child. In the third chapter, where we analysed five paraloges, we witnessed the transformation of this loving mother into a possessive mother and an evil mother-in-law. We saw the way she builds up her world and establishes her position within the family. In the fourth chapter, studying laments, we saw how her world can collapse with the death of one of the members of the family, especially her husband’s. But we also saw the alternative mechanisms she invents and uses to relieve the pain and continue her social existence. The third and last part consists of two chapters. In the first chapter we examine the unfaithful wife and why adultery is such a capital crime in the traditional Greek society. We also examined the social and psychological dimensions of the issue. In the last chapter we examined the heroine and going back in time we began with an akritic song. Finally we placed the heroine in the general spirit of the kleftic songs. In the epilogue, the conclusions of this study are presented. The conclusions prove that these songs, which we studied and compared with the existing social institutions of those times, can sometimes depict reality and sometimes not. A great number of songs give voice to women but at the same time another great number of songs deprive her of her voice. Some praise her, some condemn her. But through the fantasy, the myth, the metaphors, the allusions they ease off the tensions and conflicts inherent in the traditional Greek society always maintaining a balance.

Le folklore dansé en Bas-Languedoc.Nombreuses sont les pratiques populaires en Bas-Languedoc qui ont marqué durablement la société occitane depuis le début du XVIe siècle. La danse traditionnelle mais aussi les musiques de ces danses, l'instrumentation elle-même ainsi que la confection et le port des costumes locaux participent à la vie quotidienne des populations languedociennes jusqu'à la toute fin du XIXe siècle. Dans un espace géographique restreint, correspondant à une zone de monoculture viticole, ces pratiques populaires artistiques jouent également un rôle de premier plan dans l'Histoire régionale et nationale : celui de témoin privilégié des grands événements politiques et sociétaux. Elles sont omniprésentes lors des fêtes locales mais aussi lors des grandes manifestations officielles et obligatoires de l’État. La longévité remarquable de ces pratiques, issues de la Renaissance, relève de leur grande adaptation aux différentes sociétés languedociennes, de leur représentativité régionale, ainsi que d'une volonté de maintenance par tous les régimes et institutions. La société languedocienne toute entière se reconnaît dans ces danses-miroir, façonnées pendant l'Ancien Régime ; elles portent régulièrement aux autorités l'assentiment ou les désaccords du peuple.Pourtant, les pratiques populaires locales n'échappent pas à des interférences culturelles multiples avec la société aristocratique, les enseignements artistiques militaires ou académiques et les diverses cultures qui traversent l'Europe dès le milieu du XIXe siècle.De plus, la fin de la société paysanne et l'avènement d'une société urbaine mettent à mal les pratiques populaires et essentiellement rurales dans la plupart des régions. En Bas-Languedoc, la survivance des principales danses régionales se soumet, dès la fin du XIXe siècle, au bon vouloir des autorités qui financent des reconstitutions onéreuses, et rémunèrent des pratiquants alors tournés vers d'autres modes sociétales.La tradition populaire devient peu à peu un folklore représenté et institutionnalisé qui répond aux mêmes règles ministérielles que l'enseignement académique des sports ou de la danse. Les premières enquêtes sur le patrimoine régional, ainsi que les travaux des premiers folkloristes permettent toutefois de reconstruire des danses locales (les branles) pratiquées pendant des siècles lors des défilés et Triomphes annuels. Les pertes sont toutefois importantes ; de nombreuses pratiques artistiques corporatives, instrumentales et poétiques disparaissent avec les tout derniers pratiquants. En Bas-Languedoc, les premiers folkloristes de l'Entre-deux-guerres parviennent à collecter in-extremis des pratiques traditionnelles qui passent en quelques années de la rue à la scène. La plupart d'entre elles perdent leur nature populaire en trouvant un public, tandis que Treilles, Chevalets et autres danses des Triomphes locaux conservent l'essentiel de leurs prérogatives sociales et politiques.Le folklore jusqu'alors vivant devient principalement une discipline d'étude ainsi qu'un loisir revivaliste, soutenu par le mouvement félibre et les institutions nationales.Quatre moments de renouveau ont bouleversé la pratique traditionnelle populaire vers une discipline folklorique puis ethnologique : la révolution industrielle et l'exode rural de la fin du XIXe siècle poussent la nouvelle société urbaine à entretenir artificiellement des pratiques qui ne sont plus enseignées par déterminisme familial. Dans les années 1930, diverses institutions nationales encouragent les pratiques traditionnelles populaires à des fins éducatives. Dans les années 1950, les folkloristes publient les premières études spécifiques ; celles-ci sont prises en charge par les ethnologues des années1970. / Traditional dancing in Lower LanguedocMany are the popular practices which have made a lasting impression on Occitan society since the beginning of the 16th century. Traditional dances but also the music of these dances, the instrumentation itself as well as the making and wearing of local costumes took part in the Languedoc populations ‘daily life until the very end of the 19th century. In a restricted geographical area, corresponding to a wine monoculture zone, these popular practices also played a leading role in regional and national History: they were privileged witnesses of political and societal events, and omnipresent during local feasts but also in major compulsory official demonstrations from the government. The remarkable longevity of these practices, coming from the Renaissance, is dependent on their adaptation to the different Languedoc societies, their regional representativeness, as well as a will of maintenance expressed by all political schemes and institutions.The whole Languedoc society recognised itself in these mirror-dances, worked out throughout the old regime; they regularly conveyed to authorities the assent or the disagreement of the people.Local popular practices didn’t however escape from some multiple cultural interferences with the aristocratic society, the artistic, military or academic way of teaching and also with the different cultures which crossed Europe as soon as the middle of the 19th century.Moreover, the end of peasant society and the advent of urban society undermined popular and mainly rural practices in most regions. In Lower Languedoc, as soon as the end of the 19th century, the survival of the main regional dances complied with the good will of the authorities which financed onerous reconstitutions and remunerated practitioners henceforth turned towards other societal modes. Popular tradition slowly became a represented and institutionalized folklore which met the same ministerial rules as the sports or dance academic teaching. The first surveys concerning the regional heritage as well as the first folklore specialists ‘works however allow to rebuild local dances (the “branles”) practised for centuries during annual marches and festive parades. Losses were however important, numerous corporative instrumental and poetic practices disappeared with the very last practitioners. In Lower Languedoc, the first folklorists of the inter-war period managed to collect in-extremis traditional practices that passed in a few year from the street to the scene. Most of them lost their popular nature by finding an audience, while Trellises, Little Horses and other dances from local festive parades kept the essentials of their social and political privilege.Folklore until then alive mainly became a study subject as well as a revivalist hobby, supported by the “felibre” movement and the national institutions.Four renewal periods have shaken up the popular traditional practice into a folk then ethnologic subject: the industrial revolution and the rural depopulation in the end of the 19th century induced the new urban society to artificially maintain practices which were no longer taught because of family determinism. Since the thirties, various national institutions encouraged traditional practices for teaching purposes. In the fifties; folklorists published the first specialized studies; these ones were taken into account by the ethnologists of the seventies.

吳瑞卿. / Thesis (Ph.D.)--香港中文大學, 1989. / Manuscript (Reprint of computer reprint) / Includes bibliographical references (leaves 314-324). / Wu Ruiqing. / Thesis (Ph.D.)--Xianggang Zhong wen da xue, 1989. / 導論 / Chapter I´Ø --- 選取木魚書作硏究對象的意義 --- p.1 / Chapter 一´Ø --- 作為地方文學的 --- p.1 / Chapter 二´Ø --- 作為俗文學的一種 --- p.2 / Chapter II´Ø --- 本論文的硏究目的 / Chapter A´Ø --- 整理及分析一種地方文學遺産 --- p.2 / Chapter B´Ø --- 以木魚書為例論證俗文學的特徵範圍 / Chapter 一´Ø --- 俗文學研究的回顧 --- p.3 / Chapter 二´Ø --- 俗文學的特徴和領域問題 --- p.7 / Chapter 三´Ø --- 木魚書與俗文學 --- p.8 / Chapter III´Ø --- 木魚書研究在其他方面能提供的貢獻 / Chapter 一´Ø --- 中國相類性質的文學比較硏究 --- p.11 / Chapter 二´Ø --- 中、外通俗文學比較 --- p.11 / Chapter 三´Ø --- 社會發展史研究 --- p.12 / Chapter IV´Ø --- 資料範圍及前人研究回顧 / Chapter A´Ø --- 前人硏究的回顧 / Chapter 一´Ø --- 敘錄及研究 --- p.12 / Chapter 二´Ø --- 文獻筆記 --- p.14 / Chapter 三´Ø --- 短文 --- p.14 / Chapter 四´Ø --- 其他硏究 --- p.14 / Chapter B´Ø --- 本文所用資料範圍 --- p.15 / Chapter C´Ø --- 輔助資料 / Chapter 一´Ø --- 輔助錄音資料 --- p.18 / Chapter 二´Ø --- 殘存曲目 --- p.19 / Chapter D´Ø --- 資料的捜集和處理 / Chapter 一´Ø --- 資料來源 --- p.19 / Chapter 二´Ø --- 資料處理 --- p.20 / Chapter V´Ø --- 硏究的局限 / Chapter 一´Ø --- 資料的限制 --- p.21 / Chapter 二´Ø --- 木魚書年代考証的困難 --- p.22 / Chapter 三´Ø --- 文字與口頭間的距離 --- p.23 / Chapter 第一章 --- 木魚書的體製與源流 / Chapter I´Ø --- 木魚書的體製 / Chapter 一´Ø --- 外型 --- p.24 / Chapter 二´Ø --- 编制 --- p.25 / Chapter 三´Ø --- 出版形式 --- p.27 / Chapter II´Ø --- 《木魚》釋名 / Chapter 一´Ø --- 《木魚》、《木魚書》和《木魚歌》的定義 --- p.29 / Chapter 二´Ø --- 《木魚》名稱的來源 --- p.31 / Chapter III´Ø --- 木魚歌起源的論爭 / Chapter 一´Ø --- 源於踏歌之說 --- p.33 / Chapter 二´Ø --- 源於摸魚歌之說 --- p.34 / Chapter 三´Ø --- 源於蜑歌之說 --- p.36 / Chapter 四´Ø --- 源於江浙彈詞之說 --- p.38 / Chapter 五´Ø --- 源於變文、寶卷之說 --- p.40 / Chapter 六´Ø --- 其他說法 --- p.40 / Chapter IV´Ø --- 木魚書與廣東說唱曲藝的關係 --- p.41 / Chapter 一´Ø --- 木魚曲藝的特徴和源流 --- p.42 / Chapter 二´Ø --- 龍舟曲藝的特徴和源流 --- p.43 / Chapter 三´Ø --- 南音曲藝的特徴和源流 --- p.44 / Chapter V´Ø --- 木魚書的歴史一一發源、興盛與衰落 --- p.45 / Chapter 第二章 --- 木魚書的結構和格式 / Chapter I´Ø --- 句式 / Chapter A´Ø --- 句數 --- p.51 / Chapter B´Ø --- 基本句型及組織 --- p.52 / Chapter 一´Ø --- 句律平仄 --- p.52 / Chapter 二´Ø --- 對句 --- p.53 / Chapter 三´Ø --- 音步節奏 --- p.56 / Chapter C´Ø --- 起式和煞尾 / Chapter 一´Ø --- 起式 --- p.57 / Chapter 二´Ø --- 煞尾 / Chapter D´Ø --- 雜句 --- p.60 / Chapter II´Ø --- 韻式 / Chapter A´Ø --- 韻系 --- p.60 / Chapter B´Ø --- 押韻 / Chapter 一´Ø --- 偶句 --- p.63 / Chapter 二´Ø --- 奇句 --- p.66 / Chapter 三´Ø --- 換韻 --- p.66 / Chapter 四´Ø --- 重覆押韻字 --- p.66 / Chapter III´Ø --- 襯字 --- p.67 / Chapter 一´Ø --- 襯字的作用 --- p.69 / Chapter 二´Ø --- 襯字與曲詞内容 --- p.69 / Chapter 三´Ø --- 襯字的規律 --- p.71 / Chapter 第三章 --- 木魚書的題材與内容 / Chapter I´Ø --- 前人研究的回顧 --- p.78 / Chapter II´Ø --- 故事性木魚書的内容結構 / Chapter A´Ø --- 引首 / Chapter 一´Ø --- 引首的内容 --- p.81 / Chapter 二´Ø --- 引首的作用 --- p.88 / Chapter B´Ø --- 結尾 --- p.88 / Chapter C´Ø --- 故事内容 --- p.90 / Chapter 一´Ø --- 才子佳人戀愛奇緣故事 --- p.92 / Chapter 二´Ø --- 通俗民間歷史故事 --- p.98 / Chapter 三´Ø --- 勸善佛道故事 --- p.106 / Chapter 四´Ø --- 仙凡奇緣故事 --- p.108 / Chapter 五´Ø --- 神怪故事 --- p.110 / Chapter 六´Ø --- 民間公案故事 --- p.112 / Chapter 七´Ø --- 家庭倫理故事 --- p.115 / Chapter III´Ø --- 非故事類木魚書 --- p.119 / Chapter 一´Ø --- 故事摘錦 --- p.120 / Chapter 二´Ø --- 有關婦女生活 --- p.120 / Chapter 三´Ø --- 有關方土習俗和生活 --- p.127 / Chapter 四´Ø --- 勸世文 --- p.128 / Chapter 五´Ø --- 諷剌時弊 --- p.129 / Chapter 六´Ø --- 關懷國是 --- p.133 / Chapter 七´Ø --- 純供娛樂 --- p.134 / Chapter 第四章 --- 木魚書的流行情況及其傳播型態 / Chapter I´Ø --- 木魚書的流行情況 --- p.136 / Chapter 一´Ø --- 現存木魚書的數量 --- p.137 / Chapter 二´Ø --- 同書異名的現象 --- p.138 / Chapter 三´Ø --- 從出版商的數目反映木魚書流行的情況 --- p.139 / Chapter II´Ø --- 木魚書的傳播型態 --- p.142 / Chapter A´Ø --- 傳播方式 / Chapter 一´Ø --- 口頭傳播 --- p.143 / Chapter 1. --- 群眾聚集欣賞藝人的演唱 --- p.143 / Chapter 2. --- 藝人沿門賈唱 --- p.144 / Chapter 3. --- 家庭内的傳唱 --- p.145 / Chapter 4. --- 文人間的酬唱 --- p.146 / Chapter 二´Ø --- 文字傳播 --- p.146 / Chapter B´Ø --- 傳播型態的特色 / Chapter 一´Ø --- 口頭與文字傳播並行 --- p.147 / Chapter 二´Ø --- ¨ёł離口頭傳播的局限 --- p.148 / Chapter 三´Ø --- 橫跨讀書人與民眾的世界 --- p.148 / Chapter III´Ø --- 推廣的概念一一雛型廣告的出現 --- p.149 / Chapter 第五章 --- 木魚書的作者、傳播者和受眾 / Chapter I´Ø --- 社會背景：明清社會階層結構的改變 --- p.153 / Chapter II´Ø --- 木魚書的作者 / Chapter A´Ø --- 作者的類別 --- p.156 / Chapter 一´Ø --- 文人 --- p.156 / Chapter 二´Ø --- 藝人 --- p.158 / Chapter 三´Ø --- 職業编撰人 --- p.159 / Chapter B´Ø --- 作者的創作對象 --- p.159 / Chapter C´Ø --- 作者的創作動機 / Chapter 一´Ø --- 表面動機 --- p.160 / Chapter 二´Ø --- 現實動機 --- p.161 / Chapter 三´Ø --- 潛藏動機 --- p.161 / Chapter III´Ø --- 木魚書的受眾 / Chapter 一´Ø --- 說唱曲藝的觀眾和聽眾 --- p.163 / Chapter 二´Ø --- 憑曲自娛的受眾 --- p.164 / Chapter 三´Ø --- 說唱藝人 --- p.165 / Chapter 四´Ø --- 讀者 --- p.165 / Chapter 五´Ø --- 其他 --- p.166 / Chapter IV´Ø --- 木魚書的傳播者一一出版商和藝人 --- p.166 / Chapter A´Ø --- 出版商 / Chapter 一´Ø --- 出版商的興起 --- p.167 / Chapter 二´Ø --- 木魚書的出版情況 --- p.170 / Chapter 三´Ø --- 木魚書出版商的角色 --- p.171 / Chapter B´Ø --- ¨®Ơ唱藝人 --- p.172 / Chapter V´Ø --- 作者、“守門人´ح和受眾間的關係 --- p.174 / Chapter 一´Ø --- 從商業活動的角度 --- p.174 / Chapter 二´Ø --- 從大眾娛樂的角度 --- p.175 / Chapter 三´Ø --- 從教化的角度 --- p.175 / Chapter 四´Ø --- 矛盾和協調 --- p.176 / Chapter 五´Ø --- 方言與作者、受眾的關係 --- p.177 / Chapter 六´Ø --- 作者、守門人和受眾間關係的特性 / Chapter 1. --- 實用性 --- p.179 / Chapter 2. --- 商業性 --- p.179 / Chapter 第六章 --- 木魚書的思想意識 / Chapter I´Ø --- 前人的論說 --- p.182 / Chapter A´Ø --- 傳统木魚書的思想意識 --- p.183 / Chapter 一´Ø --- 世界觀的構成 / Chapter 1. --- 個人的主體存在 --- p.183 / Chapter 2. --- 世界的主宰 --- p.183 / Chapter 3. --- 人與人、人與社群的關係 --- p.184 / Chapter 二´Ø --- 對生命的觀察與信仰 / Chapter 1. --- 人的無自主性 / Chapter i) --- 天命不可違 --- p.185 / Chapter ii) --- 緣份不可抗拒 --- p.187 / Chapter iii) --- 倫理道德不能拂逆 --- p.189 / Chapter iv) --- 人生如夢 --- p.189 / Chapter 2. --- 人的自主性 / Chapter i) --- 因果報應 --- p.191 / Chapter ii) --- 至誠可以感天 --- p.194 / Chapter 三´Ø --- 木魚書所認同的行為規範與生活態度 / Chapter 1. --- 忠、孝、節、義的觀念 --- p.195 / Chapter 2. --- 妥協、忍耐、不反抗的態度 --- p.197 / Chapter 四´Ø --- 木魚書所隠藏的深層不滿和補償意識 --- p.199 / Chapter 1. --- 對天命不滿的補偾´ؤ´ؤ天的人格化 --- p.199 / Chapter 2. --- 對人倫關係的不滿一´ؤ女性的強化 --- p.283 / Chapter 3. --- 對食官污吏的不滿´ؤ´ؤ清官與皇帝的理想化 --- p.209 / Chapter 4. --- 對禮教道德的不谋´ؤ´ؤ大膽的兩性描寫 --- p.212 / Chapter B´Ø --- 清末民初短篇木魚的思想意識 --- p.214 / Chapter 一´Ø --- 革命及愛國思想 --- p.215 / Chapter 二´Ø --- 社會改革思想 --- p.217 / Chapter V´Ø --- 從木魚書反映人民的鳥托邦世界 / Chapter 一´Ø --- 人民理想中的世界 --- p.219 / Chapter 二´Ø --- 理想世界的構成 --- p.221 / Chapter 三´Ø --- 理想世界的根源 --- p.223 / Chapter 第七章 --- 木魚書的語言和表逹技巧 / Chapter I´Ø --- 正统文學與“民間文學´ح之間的灰色地帶 --- p.226 / Chapter II´Ø --- 木魚書在語言上所出現的特殊現象 / Chapter 一´Ø --- 音字 --- p.227 / Chapter 二´Ø --- 錯別字 --- p.229 / Chapter 三´Ø --- 俗寫字或創新字 --- p.230 / Chapter 四´Ø --- 砌詞就韻 --- p.231 / Chapter III´Ø --- 濃厚的地方色彩 / Chapter 一´Ø --- 方言的運用 --- p.232 / Chapter 二´Ø --- 品物和比喻 --- p.233 / Chapter IV´Ø --- 表逹技巧和語言公式化 --- p.236 / Chapter V´Ø --- 模倣性超越創造性 --- p.240 / 結論 / Chapter I´Ø --- 俗文學及“民間文學´ح研究發展出現的問題 --- p.243 / Chapter II´Ø --- 過去有關俗文學特徴的矛盾 --- p.248 / Chapter 一´Ø --- 傳播方式的問題 --- p.248 / Chapter 二´Ø --- “大眾性´ح與“群體性´ح的問題 --- p.249 / Chapter 三´Ø --- 作者的問題 --- p.250 / Chapter 四´Ø --- “新鮮而未經雕琢´ح的問題 --- p.250 / Chapter III´Ø --- 從木魚書看俗文學的特徴問題 --- p.251 / Chapter 一´Ø --- 民族性和鄉土性 --- p.251 / Chapter 二´Ø --- 進步的抑保守的 --- p.252 / Chapter 三´Ø --- 新鮮的抑模倣的 --- p.253 / Chapter 四´Ø --- 吸收性及融和性 --- p.254 / Chapter 五´Ø --- 勸世與社會認可性 --- p.254 / Chapter IV´Ø --- 木魚書與“商俗文學´ح --- p.255 / Chapter 一´Ø --- 大規模的集體傳播性 --- p.255 / Chapter 二´Ø --- 城市化 --- p.256 / Chapter 三´Ø --- 商業化 --- p.257 / Chapter V´Ø --- 從木魚書研究看俗文學的領域問題 --- p.258 / Chapter VI´Ø --- 從木魚書看俗文學研究的重要性及展望 --- p.263 / 附件目錄 / Chapter A´Ø --- 附表 / Chapter 附表一： --- 現存主要木魚書藏處目錄 --- p.325 / Chapter 附表二： --- 木魚書同書異名表 --- p.346 / Chapter 附表三： --- 木魚書出版商及作者資料表 --- p.349 / Chapter 附表四： --- 失佚原書之木魚書標題表 --- p.366 / Chapter 四A： --- 中山大學風俗硏究室於一九二九年發表所藏廣東唱本目錄 --- p.367 / Chapter 四B: --- 《梁氏所藏所見木魚書敘目》 --- p.371 / Chapter 附表五： --- 廣州共和報1922年至1925年間所刊登南音、龍舟、木魚曲詞目錄 --- p.374 / Chapter B´Ø --- 附錄 / Chapter 附錄一： --- 南音木魚書格律示例 --- p.376 / Chapter 附錄二： --- 龍舟木魚書格律示例 --- p.377 / Chapter 附錄三： --- 三首演唱曲格律示例 --- p.378 / Chapter 附錄四： --- 南音《再生緣》之《上林苑題詩》（唱曲及木魚書比較） --- p.379 / Chapter 附錄五： --- 《客途秋恨》（唱曲及木魚書比較） --- p.381 / Chapter 附錄六： --- 《紅樓夢》之《夢遊太虛》木魚書曲詞 --- p.383 / Chapter 附錄七： --- 《五諫刁妻》木魚書曲詞 --- p.384 / Chapter 附錄八： --- 《賢妻諫賭》木魚書曲詞 --- p.387 / Chapter C´Ø --- 附圓 / Chapter 附圖一： --- 木魚書封面圖 --- p.390 / Chapter 附圖二： --- 木魚書封面圖 --- p.391 / Chapter 附圖三： --- 木魚書的木刻插圖 --- p.392 / Chapter 附圓四： --- 木魚書内文编排圖版例一 --- p.393 / Chapter 附圃五： --- 木魚書内文编排圖版例二 --- p.394 / Chapter 附圖六： --- 粗劣木魚書刻板示例 --- p.395 / Chapter 附圖七： --- 木魚書拼揍成書圖版示例一 --- p.396 / Chapter 附圖八： --- 木魚書拼揍成書圖版示例 --- p.397 / Chapter 附圓九´Ø一： --- 《丁山打雁》、《二度梅》内文圖版 --- p.398 / Chapter 附圖九´Ø二： --- 《生祭李彦貴》、《車龍公子花燈記》内文圖版 --- p.399 / Chapter 附圖九´Ø三： --- 《閨諫瑞蘭》、《朝上鶯歌》内文圖版 --- p.400 / Chapter 附圃九´Ø四： --- 《盤龍寳扇》、《三棄梨花》内文圖販 --- p.401 / Chapter 附画九´Ø五： --- 《金生挑盒》、《梁天來告御狀》内文圖版 --- p.402 / Chapter 附圖九´Ø六： --- 《五諫刁妻》、《考世条》内文圖版 --- p.403 / Chapter 附圖九´Ø七： --- 《鳳儀亭訴苦》、《五弄琵琶》内文圖版 --- p.404 / Chapter 附圔九´Ø八： --- 《梁李爭第一》、《英台回鄉》内文圖版 --- p.405 / Chapter 附圖九´Ø九： --- 《石女嘆五更》、《金橋問卦》内文圖版 --- p.406 / Chapter 附圔九´Ø十： --- 《天九歌》、《蘇娘嘆五更》内文圖版 --- p.407