Syftet med denna uppsats har varit att få en inblick i hur pianot används inom den svenska folkmusiken. Bakgrundskapitlet handlar om folkmusikgruppernas och instrumenteringens utveckling inom svensk folkmusik. Jag har intervjuat tre aktiva folkmusikpianister och lyssnat på och analyserat deras spel. Det följer även med en cd-skiva med ljudexempel från intervjutillfällena. Vi pratade om karaktärsdrag som de lyfter fram i spelet, om deras inställning till folkmusiktraditionen, pianots möjligheter och begränsningar samt vilken roll pianot har i den svenska folkmusiken. Mina slutsatser är att pianot har flera roller i ett samspel med andra musiker. Pianisten kan spela melodi, rytmik, harmonik och även alltihop samtidigt. Pianot fungerar väldigt bra som soloinstrument men också som ett samspelsinstrument. Vad som gör att pianots plats i folkmusiktraditionen är väldigt liten är bland annat dess opraktiska storlek. Jag har också kommit fram till att pianot tillför en ny klang, ett nytt sound till svensk folkmusik. / The purpose of this study is to acquire a glimpse of how the piano is used in Swedish folk music. The background chapter deals with folk music groups and the development of instrumentation in Swedish folk music. I have interviewed three active folk music pianists, listened to and analyzed their playing style. There is also a CD with music examples from the interview sessions. We discussed the characteristics of their own playing, their attitudes to folk music tradition, the piano's possibilities and limitations, and the role of the piano in Swedish folk music. My conclusion is that the piano functions on several levels while interacting with other musicians. Pianists can play melody, rhythm, harmony, and all of this simultaneously. The piano works very well as a solo instrument, yet also as an ensemble instrument. The small role of the piano in Swedish folk music may be due to its impractical size. I have also discovered that the piano contributes to a new sound to Swedish folk music.

I det här arbetet har jag undersökt hur fiollärare med förankring i folkmusiken undervisar samt vilka eventuella områden som de lägger vikt vid och varför. Jag valde att göra en kvalitativ intervju med fem informanter. Mitt mål var att välja fiollärare med utbildning från musikhögskola, men för övrigt med så varierande bakgrund som möjligt. Jag har ställt intervjusvaren mot några klassiska fiolmetoder. Jag har inte kommit fram till några nya perspektiv eller infallsvinklar i folkmusikundervisningen. Jag ser istället likheter mellan informanternas undervisning och de klassiska metoderna. Momentens syfte kan dock variera. I folkmusikundervisningen används gehörsundervisning i alla åldrar. Informanterna tycker det är viktigt att eleverna tycker det är kul att spela fiol och musicera och att man lättare når fram till musicerandet om man utgå från gehöret. / In this study, I will examine how violin teachers with roots in folk music teach, and if there are any areas which they prioritize and why. I chose to make a qualitative interview with five interviewees. My goal was to choose violin teachers who had studied at a colleges of music, but also with as varied a background as possible. I have set interview responses against some classical violin methods. I have not reached any new perspective or angles in folk music teaching. Instead, I see similarities between the interviewees’ teaching and the classical methods. The aim for the methods may vary. In folk music, ear training is used among all ages. The interviewees think it is important that students enjoy playing the violin and to make music. It is easier to understand and grasp the music if you begin with ear training.

Jag har genom en självobservation studerat hur jag som värmländsk spelman har jobbat för att lära mig Ranungspolskorna av Jon Erik Öst. Syftet har varit att studera min egen läroprocess genom att tillägna mig musik från en annan tradition med noter som mästare. En central fråga i mitt arbete har varit om de förkunskaper jag haft räcker för att spela den nya traditionen eller om jag behöver addera ny kunskap, och i så fall vilken, för att lyckas. Jag har använt mig av videofilmning, ljudinspelning och loggboksskrivande för att dokumentera vad som hänt, och detta material ligger till grund för mitt resultat. Det teoretiska perspektiv som arbetet bygger på är mästarläran, dock med fokus på att det bara har varit jag, instrumentet och noterna som har samarbetat, och inte en ytterligare människa som har agerat mästare. I och med att det bara har varit jag, instrumentet och noterna som samarbetat så har inte ytterligare en människa agerat mästare i studien. Slutligen presenteras resultatet av studien under två rubriker där den första rubriken presenterar läroprocessen och den sista ger konkreta exempel på skillnader och likheter mellan Värmlands och Hälsinglands folkmusikgenre. Resultatet diskuteras därefter i relation till tidigare forskning och bakgrundslitteraturen som använts i föreliggande studie. / I have by a self-observation studied how I as a fiddler from the province of Värmland have worked to learn to play the Ranungspolskorna by Jon Erik Öst. The aim has been to study my own learning process by studying music from a different tradition with sheet notes as a master. A central issue in my work has been to find out if the previous knowledge I already have is enough to play the new music tradition or what new knowledge I need to add to succeed. I have been using video recording, audio recording and writing logbook to document what has happened, and this material forms the basis of my results. The theoretical perspective underpinning the work is master learning, but with focus on the cooperation between myself, my instrument and the sheet notes, and no another person acting as the master in the study. Finally I present the result of the study under two headings. The first one presents the learning process and the second gives concrete examples of the differences and similarities between the folk music genre from the provinces of Värmland and Hälsingand. The result is then discussed in relation to the previous research and background literature used in the present study.

This thesis investigates the multiple and contested spaces of belonging that may be evoked by ritualised musical performance. It makes an ethnographic case study of the Zorn Badge Auditions in Sweden, in which musicians play before a jury in the hope of being awarded a Zorn Badge and a prestigious but also contested title: Riksspelman. Building on theories of ritual and performance in combination with Sara Ahmed’s theorisation of orientation, the thesis attends to sensory ways of experiencing and knowing music while tracing the various ways in which Swedish traditional music is performed, felt, heard, sensed and understood in audition spaces. It draws on interviews with players and jury members, participant observations of music auditions and the jury’s deliberations, showing how musical value is negotiated through processes of inclusion and exclusion of repertoires, instruments and performance practices. The study also illuminates how anxiety and uncertainties are felt on both sides of the adjudication table. The auditions trigger feelings of belonging and harmony, but also rupture and distance. A brimming of felt qualities contributes to the sensing of history, tradition, memory, place and geography, as well as close emotional connections between music and individual performers. The thesis reveals how gradual adaptation, and the lived experiences of time within tradition, allow the Zorn institution to negotiate change and thereby maintain its position within Swedish society.

The traditional music of America in collection is musically representative of pioneer settlements of the country from Mexico to Canada and from the Pacific to the Atlantic Ocean. To insure that each section of this vast country was musically represented naturally would require a systematic and thorough coverage by those persons who have made this work their primary concern for a good many years. A look at the map of these United States gives the observer an acute awareness of the stupendous undertaking for those who were first to begin their trek into the regions of the land where folk song abounds, into communities into which fast-moving civilization has been slow to penetrate. Early in their history these communities were isolated because of the hardships and dangers of travel. With the spread of civilization, however, the country was tamed and became more densely populated so that the growth of folk song and traditions within the social life of these isolated communities was a natural sequence.

The objective of the dissertation is to examine Young-Jo Lee's (b. 1943) musical language as exhibited in his piano composition, Variations on the theme of Baugogae. Subjects of discussion include Lee's use of direct and indirect musical borrowings from past European composers and traditional Korean folk idioms. Also included are a biographical sketch of the composer and historical overview of modern Korean composers. This dissertation investigates Lee's effort to synthesize traditional Korean music and Western music in one art form and ultimately, to create his own musical language.

This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama's rural-urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, música típica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that música típica can offer rich insight into the politics of working out individual and national Panamanian identities. Based on eighteen months of ethnographic fieldwork conducted in Panama City and several rural communities in the country's interior, I examine the social struggles that subtend the emergence of música típica's genre variations within local, national, and transnational contexts. Through close ethnographic analysis of particular case studies, this work explores how musicians, fans, and the country's political and economic structures constitute divisions in regards to generic labeling and how differing fields of musical circulation and meaning are imagined. This study will first present an examination of late nineteenth and twentieth century Panamanian nationalist discourses in order to contextualize música típica's stylistic and ideological development as a commercial genre of popular music. The following chapter will construct a social history of música típica that takes into account the multiple historical trajectories that today's consumers and producers engage, negotiate, and contest in an attempt to ascribe social and cultural meaning to the role the genre assumes in contemporary discourses of national identity. Processes of folkloric canonization and reconstruction will then be examined in order to understand how the marketing efforts of the Panamanian government draw on a discourse of nationality. The role of corporate sponsorship in today's música típica scene will also be investigated, specifically addressing how the marketing of this genre by beer companies, national cultural festivals, and the Panamanian television industry builds on a foundation of commercial music practices. Subsequent chapters will focus on the local and transnational dynamics of genre formation and dissolution as revealed in the ideological discourses and socio-musical practices of música típica's practitioners, especially in accordion and vocal performance practices. An analysis of música típica's field of cultural production, with its particular mappings of identity, place, and sound, will provide insight into Panamanian modernity and the social experiences of Panamanians, especially within Latin American and global contexts.

This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama's rural-urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, música típica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that música típica can offer rich insight into the politics of working out individual and national Panamanian identities. Based on eighteen months of ethnographic fieldwork conducted in Panama City and several rural communities in the country's interior, I examine the social struggles that subtend the emergence of música típica's genre variations within local, national, and transnational contexts. Through close ethnographic analysis of particular case studies, this work explores how musicians, fans, and the country's political and economic structures constitute divisions in regards to generic labeling and how differing fields of musical circulation and meaning are imagined. This study will first present an examination of late nineteenth and twentieth century Panamanian nationalist discourses in order to contextualize música típica's stylistic and ideological development as a commercial genre of popular music. The following chapter will construct a social history of música típca that takes into account the multiple historical trajectories that today's consumers and producers engage, negotiate, and contest in an attempt to ascribe social and cultural meaning to the role the genre assumes in contemporary discourses of national identity. Processes of folkloric canonization and reconstruction will then be examined in order to understand how the marketing efforts of the Panamanian government draw on a discourse of nationality. The role of corporate sponsorship in today's música típica scene will also be investigated, specifically addressing how the marketing of this genre by beer companies, national cultural festivals, and the Panamanian television industry builds on a foundation of commercial music practices. Subsequent chapters will focus on the local and transnational dynamics of genre formation and dissolution as revealed in the ideological discourses and socio-musical practices of música típica's practitioners, especially in accordion and vocal performance practices. An analysis of música típica's field of cultural production, with its particular mappings of identity, place, and sound, will provide insight into Panamanian modernity and the social experiences of Panamanians, especially within Latin American and global contexts.

China in the twentieth century witnessed a series of revolutions that brought about political and economic changes. Traditional cultures also underwent various changes to survive the drastic impacts of these political revolutionary ideologies. This study takes the case of the Qingyin (locally referred to as the Sizhu), a silk and bamboo instrumental ensemble form that has survived these political impacts in China's recent history and is still thriving in the rural community of Nanhui, a district geographically neighbour to the cosmopolitan city Shanghai, with the aim to locate the reasons and ways of its transformation. / Under the influence of various political, economic, and cultural factors, the Qingyin has lived through different musical groups over time. From 1850 to 1949, within the framework of Confucianism, it took the form of non-professional ritual musical bands. From 1949 to 1976, under the socialistic slogan of "art serves political ideologies", the Qingyin survived within the organizations of local opera bands and propaganda units to spread Maoism. From 1977 to 2004, under the government policy that "culture goes hand-in-hand with economy", the Qingyin lived among "art factories" (non-governmental corporations combining art with commercial production) and semi-professional ritual-musical bands. This study discusses how this traditional form of musical ensemble underwent the three stages of ritual-musical culture, popular culture, and consumption culture, with their corresponding changes in music repertory, performance style, and social activities. The author sees those changes as ways to continue cultural traditions employed by musicians to adapt to the alienated cultural ecology, which the author describes as "mechanism of internal reaction" and gives its analysis and interpretation. / 齊琨. / 簡譜記譜. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 314-330). / Jian pu ji pu. / Adviser: Tsao Pou Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2389. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 314-330). / Qi Kun.

吳瑞珠. / "2002年7月". / 論文(哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 152-156). / 附中英文摘要. / "2002 nian 7 yue". / Wu Ruizhu. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 152-156). / Fu Zhong Ying wen zhai yao. / 致謝 --- p.iv / 摘要（中文） --- p.v / 摘要（英文） --- p.vi / Chapter 第一章 --- 導論 --- p.1 / 人類學與民族音樂學 --- p.6 / 音樂傳統與文化認同 --- p.12 / 研究問題與理論架構 --- p.18 / 研究地點和研究方法 --- p.22 / 本文章節安排 --- p.25 / Chapter 第二章 --- 福建泉州南音 --- p.27 / 何謂南音? --- p.27 / 歷史沿革 --- p.30 / 曲譜類別、樂器及音樂特色 --- p.39 / 南音和閩南風俗及其音樂功能 / 從名稱上看南音的發展 --- p.46 / 南音裡的男女現象 --- p.48 / 南音面對的困難 --- p.49 / Chapter 第三章 --- 地方組織與表演 --- p.53 / 泉州市工人文化宮南樂社 --- p.54 / 泉州南音樂團 --- p.61 / 浮橋仙景南音學校 --- p.67 / 南音表演裡的男女角色 --- p.74 / 地方組織和南音的保存 --- p.75 / Chapter 第四章 --- 傳統與改革 --- p.81 / 南音的演變 --- p.82 / 傳統南音的局限和新南曲的特點 --- p.88 / 動態的傳統 --- p.91 / 新南音的弱點 --- p.95 / 傳統文化與文化認同 --- p.101 / Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106 / 閩南移民和跨國網絡的建立 --- p.106 / 境外華人和泉州的南音組織 --- p.110 / 境內外南音團體的聯繫 --- p.111 / 傳統的被利用 --- p.114 / 音樂傳統和懷舊情懷、文化認同 --- p.122 / Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127 / 國際組織和世界文化遺產的保護 --- p.128 / 泉州南音申報世遺的背景 --- p.129 / 各界的表現 --- p.132 / 世遺的價值 --- p.137 / 世遺和文化認同 --- p.139 / Chapter 第七章 --- 結語 --- p.144 / 附錄（新南曲唱詞） --- p.149 / 參考書目 --- p.152