Vad är sväng och hur lär man ut det ”rätta svänget”? Syftet med studien är att få en djupare förståelse för hur folkmusikpedagoger uppfattar och förmedlar sväng samt få en inblick i vilka metoder som förekommer vid undervisning av sväng i folkmusik. Studien genomfördes med kvalitativa intervjuer. Jag intervjuade fyra pedagoger som samtliga är aktiva inom folkmusikgenren. Studiens teoretiska utgångspunkt utgörs av didaktiska perspektiv på undervisning och lärande med särskilt fokus på de didaktiska frågorna hur, vad och varför.  Resultatet visar att flertalet informanter ansåg att sväng är ett viktigt moment inom folkmusiken men att det är något de sällan pratar om. Informanternas egna uppfattningar om sväng bottnar i en känsla av rörelse i musiken eller att musiken ger impulser till att sätta kroppen i rörelse. Det förekom även en uppfattning om att begreppet sväng ibland används som ett uttryck för något positivt i musiken snarare än ett namn på ett specifikt musikaliskt fenomen. I det fallet skulle termen sväng användas som en allmän positiv förstärkning för folkmusikspel. De metoder som förekommer för att lära ut sväng är kopplade till dans, rörelse och samspel. / The aim of this study is to gain a deeper understanding in how folk music educators perceive and convey groove. I purported to gain insight into the methods used in the teaching of groove in folk music. The study was conducted with qualitative interviews. I interviewed four teachers who are all active within the genre of folk music. The theoretical starting point of the study is the didactic approach to teaching and learning with particular focus on the didactic questions of how, what and why. The results show that the majority of respondents felt that the groove is an important element in folk music, but that it's something they rarely talk about. The informants' own perceptions of groove come from a sense of movement in music or that music provides the impetus for putting the body in motion. There was also a perception that the term groove sometimes is used as an expression for something positive in the music rather than being a specific musical phenomenon. In that case the term would be used as a common positive response to folk music performance. The methods applied in teaching groove are connected to dance, movement and interaction.

In the Senegalese musical tradition, there is a big number of cultural expressions and publicevents where the style, as well as the vibrant creativity of the Sabar percussion isdemonstrated. But if there is a moment on which this idea becomes most clear, this would bethe Tandibéer.The expressive and stylistic character of the Sabar drum playing is virtually exposed in theTandibéer where drummers and dancers have the opportunity to show their creative strengthand personality / <p><strong>Concert Program and Specifications</strong></p><p>”Music Approaching Differences”</p><p>Davide Rodrigues ExamensKonsert</p><p><strong>Introduction</strong></p><p>with Sabar Drum ”Baye Faal”(Coming on stage…)Concert starts with tradicional religious Baye Fall chant and drumming from Senegal on which thesinging and the percussion have a close interaction.</p><p>Yirime Gueye- Nder drum &amp; Thiou</p><p>lDavide Rodrigues- Nder drum &amp; Baala</p><p>Dawcoumba Diop- Thioul</p><p>Abdulaye Diop- Tungunee &amp; Baye Fall Chant</p><p>Nikolas Viisanen- Mbenguembengue</p><p><strong>Davide´s Percussion Solo</strong></p><p><strong></strong>On this solo totally improvised, an overview of the concert´s rhythmical landscape isdemonstrated. A lot of dynamics are explored in this self chosen set of sounds.</p><p>”<strong>Abrigo</strong>”</p><p>Using a small theme composed by the accordionist Isak Bergstrom as inspiration, this pieceexplores the interesting dynamic between the Accordion and the Drum with a short vocal choirintro with swedish Kulning.</p><p>Davide- Perc. &amp; Vox</p><p>Isak Bergstrom- Accordion &amp; Vox</p><p>Malin Gunnarsson Thunell- Kulning</p><p><strong>Malin &amp; Davide</strong></p><p>Voice and Drums are two of the most intuitive instruments and this duo explores this basicaspect of the music. A mix of musical language and texture springs up a very melodic piecewhere both interpreters find a good balance between this two intruments.</p><p>Malin Gunnarsson- Vox</p><p>Davide- Perc. &amp; Vox</p><p>”<strong>Zarabatana</strong>”</p><p>For long time Johannes Hellman (Velvlira) and Davide Rodrigues (Percussion) were aiming towork together and put in practice this interesting duo. This song ”Zarabatana” makes apowerful statement on that. Not only with a lot of vocal percussion but also with the melodicand very rhythmical intepretation from Johannes velvlira.</p><p>Johannes Hellman- VelvLira</p><p>Davide- Perc. &amp; Vox</p><p>”<strong>No TransversAu</strong>”</p><p>In this piece the music intends to reveal the great contrast between a simple and pentatonicmelody and the full expressed free improvisation.</p><p>Elias Frigård- Sax Soprano</p><p>Guto Lucena- Sax Baritono</p><p>Davide- Perc.</p><p>”<strong>Deslize</strong>”This piece started as a duo with bass (Rickard Jokela) and percussion and evolved naturally toa sextet with a interesting sound palette. The clear tipical senegalese groove supports an openspreaded melody that “slides” through the piece.</p><p>Malin Gunnarsson- Vox</p><p>David Lombardi- Violin</p><p>Elias Frigård- Sax Soprano</p><p>Rickard Jokela- Acoustik Bass</p><p>Filipe Raposo- Piano</p><p>Davide- Perc.</p><p>”<strong>Sagaz</strong>”A challenging theme that also started as a duo with the violinist David Lombardi became thisoctet with Strings, Piano and Sax Soprano. On this piece, inspired on the music from theswedish group Väsen, the Senegalese grooves and the ”SvenskSväng” are brought together ona very much arranged song.</p><p>Malin Gunnarsson- Vox</p><p>Davide Lombardi- Violin 1</p><p>Anna Karlsson- Violin 2</p><p>Johanna Nolgård- Viola</p><p>Elias Frigård- Sax Soprano</p><p>Rickard Jokela- Acoustik Bas</p><p>Filipe Raposo- Piano</p><p>Davide- Perc. &amp; Vox</p><p>"<strong>Navegar Navega</strong>r”(Fausto)</p><p>A version of the portuguese song ”Navegar Navegar” from Fausto with a percussion arrangementon the Sabar and tradicional portuguese drums.</p><p>Malin Gunnarsson- Vox</p><p>Karl Tirén- Mandolin</p><p>Johan Nilsson- Nylon Guitar</p><p>Isak Bergstrom- Accordion</p><p>Rickard Jokela- Acoustik Bass</p><p>Filipe Raposo- Piano</p><p>Guilherme Piedade- Perc.</p><p>Davide- Perc. &amp; Vox</p><p>"<strong>Tandibeer &amp; Dance"</strong></p><p>A small but yet intense taste of the tradicional senegalese ”Tandibéer”Some of the most popular rhythms are performed for the dance with the complex and intrincatesolo language of the Sabar drum aswell.</p><p>Yirime Gueye- Nder drum &amp; Thioul</p><p>Davide Rodrigues- Nder drum &amp; Baala</p><p>Dawcoumba Diop- Thioul</p><p>Abbe Diop- Tungunee</p><p>Nikolas Viisanen- Mbengue mbengue</p><p>____________________________________________________________________________Davide Rodrigues</p>

This thesis discusses the development of Albanian choral music from the early 20th century to the present. It provides a general history of Albanian culture and politics as context for the rapid changes that happened during the 20th century and how that has influenced the musical life of the Albanian people. The significance of this influence is then represented and analyzed through the works of three prominent Albanian choral composers from different generations, whose lives and body of work span the last century. Through these analyses, we explore the evolution of Albanian choral music and how modern composers preserve traditional folk elements, yet are influenced by the cultural and political environment of their respective time.

Philosophiae Doctor - PhD / This thesis traces the making of a social world of the musicking Cape through sound, which it calls sonic anticipation. Sonic anticipation is threaded through a Cape-based musicking milieu called goema in the Nineteenth century, and through the regional jazzing culture that emerged in Cape Town in the latter part of the Twentieth century. A key concern is to read the sonic archive of Cape music without folding into a representational discourse of (apartheid) group identity or of a Cape exceptionalism. First, the thesis explores goema's emergence as folk music. In a central example, sonic anticipation is discernible in the intensities of a song called Daar Kom die Alibama [translated as ‘There Comes the Alibama’]. This song enabled goema to secure a status as racialised folk memory. Later in the Twentieth century, the song set the scene for a rearticulation that laid claim to the city as a response to the 'anxious urbanity' of race formation. This shift from the Nineteenth to Twentieth century musicking tradition is at the heart of what we have come to know as Cape jazz. In its genealogical construction of Cape jazz, the thesis traces a prefigurative aesthetics and politics that proposes new ways of thinking about the political significance of jazz. It traces the pedagogic strategies that musicians – Tem Hawker, Winston Mankunku, Robbie Jansen and Alex van Heerden - used in pursuing ‘ethical individuation’ with this racialised folk memory. By the early 1960s, jazz had become a method ‘archive’ or formative canon for these musicians. The thesis outlines how musicians used ‘nomadic’ pedagogies; following the energies that moved through the city, inside the technological, and discursive formations by which the social world was made. This thesis on goema’s refrain and the musicking Cape offers a way to consider a ‘difference that is not apartheid’s difference’.

This diploma thesis is focused on four generations of Kružliak´s family from Podpoľanie, which produced and still produce folk musical instruments. This thesis is divided into chapters, which deals with general characteristics of aerophones and their manufacture and with four biographies of Kružliak members. My thesis is enriched with a chapter about manufacture of fujara, which was written from information of my uncle. One chapter deals with other fujara players in Slovakia. There are photos of instruments and four generations of Kružliak´s family.

李允協. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1995. / 參考文獻: leaves 129-143. / Li yunxie. / 鳴謝 --- p.´þ / 前言 --- p.(3) / Chapter 1 --- 侗族概況與音樂述略 --- p.1 / Chapter 1.1 --- 侗族概況 --- p.1 / Chapter 1.1.1 --- 地理環境及人口分佈 --- p.1 / Chapter 1.1.2 --- 語言 --- p.3 / Chapter 1.1.3 --- 簡史與族源 --- p.10 / Chapter 1.1.4 --- 家庭和社會組織 --- p.17 / Chapter 1.1.5 --- 信仰和崇拜 --- p.21 / Chapter 1.1.6 --- 風俗習慣 --- p.28 / Chapter 1.1.7 --- 節會要覽 --- p.32 / Chapter 1.2 --- 音樂述略 --- p.37 / Chapter 1.2.1 --- 民間歌曲 --- p.37 / Chapter 1.2.2 --- 樂器與器樂 --- p.45 / Chapter 1.2.3 --- 侗戲音樂 --- p.52 / Chapter 1.2.4 --- 曲藝 --- p.56 / Chapter 2 --- 侗族大歌概貌 --- p.58 / Chapter 2.1 --- 分類 --- p.58 / Chapter 2.2 --- 唱大歌的場合 --- p.60 / Chapter 2.3 --- 大歌的结構 --- p.62 / Chapter 2.4 --- 歌詞韵律结構 --- p.66 / Chapter 3 --- 侗歌的傳承與社會功能 --- p.68 / Chapter 3.1 --- 承傳 --- p.69 / Chapter 3.2 --- 社會功能 --- p.73 / Chapter 4 --- 多聲部民歌曲目研究分析 --- p.78 / Chapter 4.1 --- 田野工作簡況 --- p.78 / Chapter 4.2 --- 多聲部民歌曲目分析 --- p.84 / Chapter 4.2.1 --- 曲目介紹 --- p.84 / Chapter 4.2.2 --- 曲目綜合分析 --- p.89 / Chapter 4.2.3 --- 譜例個案分析 --- p.112 / Chapter 5 --- 總结 --- p.123 / 附錄 / Chapter 1 --- 參考書目 --- p.129 / Chapter 1.1 --- 外文參考書目 --- p.129 / Chapter 1.2 --- 中文參考書目及論文目錄 --- p.130 / Chapter 2 --- 附圖 / 附圖一中國民族分佈概圖 --- p.144 / 附圖二 侗族的分佈 --- p.145 / 附圖三 侗語方言區域圖 --- p.146 / 附圖四 侗族蘆笙 --- p.147 / 附圖五 侗族蘆笙筒 --- p.147

李潔嫦. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998. / 參考文獻: leaves 99-106. / Li Jiechang. / 撮要 --- p.iii / Chapter 第一章 --- 地水南音源流槪說 / Chapter 一´Ø --- 引言 --- p.一 / Chapter 二´Ø --- 南音的起源和發展 --- p.二 / Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四 / Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代） / Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八 / Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九 / Chapter 三´Ø --- 七十年代 --- p.二五 / Chapter 四´Ø --- 八十年代至今 --- p.二八 / Chapter 第三章 --- 地水南音的音樂風格 / Chapter 一´Ø --- 引言 --- p.四三 / Chapter 二´Ø --- 唱詞結構 --- p.四四 / Chapter 三´Ø --- 板面及過序的處理 --- p.四八 / Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四 / Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八 / Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣 / Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八 / Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三 / Chapter 三´Ø --- 結論 --- p.九十 / Chapter 第五章 --- 結論 --- p.九四 / 參考書目 --- p.九九 / 附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七 / 附錄二 《霸王別姬》的唱腔分析 --- p.一一七 / 附錄三《客途秋恨》的唱腔分析 --- p.一三一 / 表目 / 表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五 / 表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七 / 表2-3 八十至九十年代南音演出和講座資料 --- p.三九 / 表3-1 --- p.五五 / 表3-2 --- p.五七 / 表3-3 --- p.六五 / 表3-4 --- p.六九 / 表3-5 --- p.七二 / 表4-1杜煥生平年表 --- p.八二 / 表4-2唐健垣生平年表 --- p.八八

李環. / "2009年9月". / "2009 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 125-136). / Abstracts in Chinese and English. / Li Huan. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 研究對象簡介 --- p.1 / Chapter 第二節 --- 研究動機、範圍及局限 --- p.8 / Chapter 第三節 --- 文獻回顧、研究方法 --- p.11 / Chapter 第四節 --- 理論探討以及章節安排 --- p.16 / Chapter 第五節 --- 實地考察 --- p.17 / Chapter 第二章 --- 新中國初期的湖南花鼓戲 --- p.22 / Chapter 第一節 --- 湖南花鼓戲的解禁 --- p.22 / Chapter 第二節 --- 民間劇團與國有劇團的聯繫 --- p.29 / 小結 --- p.36 / Chapter 第三章 --- “省花路子´ح：當代國有劇團的花鼓戲改革 --- p.38 / Chapter 第一節 --- 學校教育的傳承方式 --- p.38 / Chapter 第二節 --- 文化事業單位 --- p.41 / Chapter 第三節 --- 改革中的花鼓戲 --- p.50 / Chapter 第四節 --- 現代戲的尷尬 --- p.60 / 小結 --- p.72 / Chapter 第四章 --- “老腔老調´ح：當代民間花鼓戲劇團 --- p.75 / Chapter 第一節 --- 師徒相承的傳承方式 --- p.75 / Chapter 第二節 --- 表演形式與表演劇目 --- p.78 / Chapter 第三節 --- 經營方式 --- p.81 / Chapter 第四節 --- “老腔老調´ح --- p.86 / Chapter 第五節 --- 大眾媒體與民間花鼓戲 --- p.93 / 小結 --- p.100 / Chapter 第五章 --- 文化政策與花鼓戲發展 --- p.104 / Chapter 第一節 --- “專業´ح與“業餘´ح --- p.104 / Chapter 第二節 --- “禁´ح與“扶持´ح --- p.111 / Chapter 第六章 --- 結論 --- p.115 / 參考文獻 --- p.126

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George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.