Over the twentieth century, Camille Lucie Nickerson excelled in her multi-faceted career as an educator, musician, and interpreter for the advancement of musical education for generations of black students in New Orleans and at Howard University in Washington D.C. Nickerson devoted herself to furthering her musical education through private instruction with her father, Professor William J. Nickerson. She then graduated with a diploma from Southern University and with a B.A. and M.A. in music from Oberlin College. Nickerson’s leadership in musical associations on a local and national level enhanced her ability to reach audiences of all ages through her performances. She dedicated her life to musical education and the sharing Creole folk music, both personal attributes passed down from her father. While Nickerson was determined to preserve Creole folk music through her lecture-recitals, her wider purpose argued for a distinct recognition for Creole culture, thus, acknowledgment of her culture.

Thesis (MA. (African Languages)) --University of Limpopo, 2013 / Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.

liv, 775 p. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D.Litt)--University of Adelaide, 1971

The goal of this study is to elucidate the similarities between the grammar of oral folk music and oral language grammar through field examples from Grupo Kultura, a group of neo-Latin American musicians in the mid-Willamette Valley area of Oregon. The linguistic analysis of oral folk music explores textual and contextual issues which serve to highlight the need to include such forms of communication as music in an expanded view of "language." It suggests both fluid and non-fluid boundaries between spoken language and oral folk music. Of particular emphasis are the potential ability of music to express deep emotional content in music and the possible decoding of that content's musical meaning. Data was collected through ethnographic interviews and participant observation. / Graduation date: 1998

Este trabajo de investigación, enmarcado en el contexto de Tesis Doctoral, oferta un programa alternativo de guitarra para los cuatro cursos de Grado Elemental Logse. Las piezas se han elaborado con contenidos sonoros de diversa procedencia. Así encontraremos música clásica, folclórica, cinematográfica, etc. No pretende sustituir la enseñanza ortodoxa, sino complementarla con un material que puede estar más cerca de la afectividad musical de los educandos. Para poder cumplir los propósitos antes mencionados, se ha estudiado el instrumento desde el punto de vista histórico en las facetas de: evolución de los estilos musicales en torno a la guitarra, instrumentos anteriores afines a la guitarra, los compositores de guitarra, estudio comparativo de la evolución del método, etc. Posteriormente se ha analizado la fuente musical de forma poliédrica, abarcando músicas de muy diversa procedencia que pueden tener repercusión en el entorno del educando, desde el punto de vista familiar, social, de los medios de comunicación, etc. Así mismo se ha contemplado al Cancionero, por medio de su estudio en el tiempo, como fuente inagotable de material sonoro. El estudio de los Programas de Guitarra de los Conservatorios de la Región de Murcia, ha dado una visión panorámica de cómo se encuentra la enseñanza de este instrumento en los centros oficiales. Antes de la confección del Programa Alternativo, se ha experimentado con músicas propias de la Región de Murcia, extraídas de varios Cancioneros, en su adaptación pata guitarra, ofreciendo los consiguientes resultados de la muestra. Se ha tenido en cuenta para la adjudicación de las piezas a cada curso, el nivel de Lenguaje Musical de cada una de ellas. La Bibliografía expuesta después del Programa Alternativo, donde podemos encontrar textos convencionales como Libros, Ensayos, Textos de Jornadas y Congresos, Artículos de Revistas y Libros, etc., hasta citas de carpetas de discos compactos y testimonios orales, es amplia y variada. Los diversos índices que se ofrecen en el Anexo (tndice de obras musicales anónimas, de autor y onomástico), facilitan la búsqueda de datos a lo largo del trabajo de investigación. Lo anteriormente comentado viene organizado, resumidamente, en esta Tesis Doctoral de la siguiente manera. INTRODUCCIÓN PRIMERA PARTE: GUITARRA Y MÜSlCA Capítulo 1. Breve Historia de la Guitarra Capítulo 2. Música Popular y Folclore SEGUNDA PARTE: LA ENSEÑANZA DE LA GUITARRA Capítulo 3. Aspectos de la Guitarra y sus Programas, asociados a los contenidos de Lenguaje Musical Capítulo 4. Creación de un Programa Alternativo para Grado Elemental de la Logse Capítulo 5. Síntesis de esta Tesis DoctoralCapítulo 6. Bibliograffa ANEXO / This piece of research, submitted as a doctonl dissertation, offers an altemative syllabus for the teaching of guitar in the four years of LOGSE Elementary Grade. The musical pieces have been composed with sounds from different origins, such as cIassical music, folk music, music from films, etc. Our proposal is not intended as a substitute to the orthodox teaching model. Rather, it is our intention to supplement the latter with teacbing material which might be closer to the pupils' musical affect. In order to achieve our aims, we start with a study of the instrument from different historical angles: evolution of musical styles around the guitar, previous instruments similar to it, guitar composers, contrastive analysis of the evolution of the "method", etc. We then anaIyse the musical source in all its facets, including types of music of various origin which my have an influence in the pupil's environment, be it from a family or social perspective, in the media, etc. We also include a historical analysis of the Songbook (Cancionero) as an endless source of sound material. The anaIysis of the didactic programs of guitar from the Official Schools of Music in the Region of Murcia has allowed us to gain an overal1 view of the teaching of tbis instrument in official institutions. Prior to the design of the altemative syIlabus, we experimented with autochthonous musical varieties from the Region of Murcia, taken from various songbooks and adapted for the guitar, and which made their way into the syl1abus. The allocation of musical pieces to each year is based on the consideration of the level of Musical Language of each year. The bibliography which appears after the alternative syllabus is intended to be both comprehensive and varied. It includes tradicional texts (such as books, essays, conferences proceedings and journal articles), quotations from information in compact disks covers and oral testimonies. The indexes included in the Appendix (index of anonymous and authored musical pieces and index of names) are intended to facilitate the reading of the text. The above mentioned contents are structured in the Doctoral Dissertation as follows: INTRODUCTION PART 1: GUITAR AND MUSIC Chapter 1. A short history of guitar Chapter 2: Popular and folk music PART ll: THE TEACHING OF GUITAR Chapter 3: Aspects of guitar and its teaching associated to the contents of Musical Language. Chapter 4: Design of an alternative syllabus for LOGSE Elementary Grade Chapter 5: Synthesis of the Doctoral Dissertation Chapter 6: Bibliography APPENDIX

Syftet med undersökningen är att få en översiktlig inblick i hur några fiollärare undervisar och vilket material de främst använder i nybörjarundervisningen. Studien grundar sig på kvalitativa intervjuer av sex lärare inom kommunala musikskolan. Det visar sig att några spelböcker är särskilt populära, men också att alla intervjuade ständigt varierar sitt material och ibland gör eget. Skälen till detta tycks vara dels att de vill lära ut något nytt, dels att lärarna själva vill utvecklas och därför inte vill hålla på med samma sak och riskera att stagnera. / The purpose of this study is to gain a general insight into how a few violin teachers work and what printed material they use when teaching beginners. The study is based on qualitative interviews with six teachers employed at municipal music schools. Of interest, it may be observed that a few violin books are particularly popular, yet also that all interviewed subjects vary their material, while sometimes creating their own.   There appear to be several reasons for this. First, the teachers prefer to teach new concepts, while second, they also strive to develop as professionals instead of repeating identical concepts, thereby risking stagnation.

This dissertation explores the social patterns and cultural layers of musical "open mics" in New York City. The study uses a qualitative approach which includes methods such as ethnography, in-depth interviewing, historical and discourse analyses focusing on open mics and the popular musicians who attend and perform them. Open mics, short for "open microphones," are public events that allow musicians to perform songs without a pre-planned, formal booking with a club or venue. Owing a historical and discursive connection to the folk hootenannies and jazz jam sessions of the past, these events have proliferated and spread considerably across the United States since the 1990s since their development, by name, in the late 1970s. Open mics not only reflect a do-it-yourself and participatory cultural ethos manifested with other recent expressive cultural activities, but also demonstrate a growing interstitial "musical third place" residing between private practicing and public performance. Musical open mics as musical third places provide musicians and singer/songwriters to network with other musicians, practice new musical compositions and play when other performance opportunities are not readily available. It provides a means for musicians to "hone their craft" in terms of performance methods and also construct musical identities in the almost exclusive company of other working singer/songwriters. This "backstage region" is thus framed and keyed by the musicians onto a continuum between two theoretical poles: performance practicing and practicing performance. Performance practicing as defined in this study frames a more performance-oriented display for musicians in locations called "closed open mics" or COMs. These settings, also residing on a theoretical continuum are socially more exclusive in terms of performance types, the aesthetic careers of the performers, the genres represented and the sociological makeup of the setting participants in general. OOMs or "open open mics," on the other hand, usually have a more fluid, diverse sociological composition of musical performers, performance types, and musical genres played and represented in these mainly weekly events. Closed open mics align into more homogeneous, isomorphic settings comprising "local open mic scenes" and open open mics remain more heterogeneous, socially inclusive, and unsettled as "pre-scenes."

No description available.

The diploma thesis focuses on the study of the specific position of the discourses of humor in song lyrics of Czech folk music. In the introductory part, conceptual and methodological frameworks are defined for individual phenomena, which in the following part, through comprehensive perception provide their basis for narrative and literary research. In the final part of the diploma thesis this research is focused on selected practical examples of humorous narrative in the folk song, which will provide a contribution to the issue of ideal-typical concept of Czech national character.

Syftet med föreliggande kvantitativa enkätstudie är att undersöka vilka förutsättningar som finns för att lära sig folklig sång i sångundervisning Detta gjordes genom att undersöka sångpedagogers förtrogenhet i att undervisa i svensk folkmusik, hur vanligt förekommande folklig sång är i undervisningen och genom att kartlägga repertoarområden i sångundervisningen. Tidigare forskning visar att rock och pop dominerar musikundervisningen i grundskolan. Resultatet visar att folklig sång sällan förekommer och att äldre traditionella visor och ballader är det vanligaste repertoarområdet. Nära 80% av sångpedagogerna uttrycker att de saknar eller att de delvis har förtrogenhet för folklig sång. Resterande, strax över 20%, uttrycker att de till stor del eller helt har förtrogenhet för folklig sång. I diskussionen lyfts de stilistiska dragen fram i förhållanden till repertoarområden vilket mynnar ut i att förutsättningen att möta vissa av folkmusikens stilistiska drag är betydligt lägre än andra. Där diskuteras också resultatet i förhållande till skolans styrdokument och tidigare forskning. / The purpose of the present quantitative survey study is to investigate the prerequisites for learning folk songs in singing education today. This was done by examining singing educators' familiarity with teaching Swedish folk music, how common folk songs are, and a mapping of traditional folk music repertoire areas in singing education. Previous research shows that rock and pop dominate music education in elementary school. The result showed that folk songs rarely occur and that older traditional songs and ballads are the most common repertoire area. Nearly 80% of singing teachers say they lack, or have some familiarity with traditional singing. The remaining 20% of report that they largely or completely familiarize themselves with traditional singing. In the discussion, stylistic elements are discussed in relation to various areas of repertoire. Furthermore, the lack of prerequisites for meeting the traditional features in folk music is discussed in relation to the tendency of overemphasizing some repertoire areas. Finally, the result is discussed in relation to governing documents and previous research.