The master's thesis follows up on the bachelor's thesis called The Folk Song in the Pilsen Region as a Part of the Regional Culture. Primarily, the theoretical part of the thesis aims to compare and contrast two distinct regions, specifically the Pilsen region and the Wallachian region. It focuses on the characteristics of their folk culture including folk architecture, folk costume, folk customs and most importantly folk songs. The thesis deals both with their characteristics typical of Bohemian and Moravian regions in general and their characteristics typical of the Pilsen and the Wallachian regions. The thesis further focuses on folklore festivals, folklore ensembles and folk song collectors associated with these regions. The practical goal of the thesis is the application of Pilsen and Wallachian folk songs in Music classes at upper primary school (or in the corresponding grades of multi-year gymnasium) in the form of a play with folk songs from both regions and arousing pupils' interest in folk songs. The appendix includes pictures and photographs associated with the folklore of the Pilsen and Wallachian regions as well as examples of Wallachian folk songs that can be used as a song-book in Music classes.

The main benefit of my work is in mapping the content of the current accredited Czech music education textbooks for the first stage of primary school, in mapping the occurrence of foreign nations in their content, the representation of the countries and cultures and on the basis of the found, finding a suitable equivalent in Czech culture as one of appropriate ways to link educational content through linking the content of subjects taught. In the second part I deal with the categorization of songs according to their musical character, setting in the environment of the time and searching for the equivalent in Czech music. The thesis concludes with a personal recommendation for enriching musical categories within contemporary Czech music education textbooks for primary school pupils.

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The thesis aims to cover the musical work of Jiří Pavlica for young listeners and performers and to find how it could be used during music classes for children in the first years of elementary school. The theoretical part of the thesis includes Jiří Pavlica's biography, the description of the author's and performer's work for children and its relation to folklorism. The theoretical part includes also four methodologies of how to work with a folk song in the elementary school. In the practical part eight preparations for model music lessons are presented, the preparations having been devised using the four methodologies. The thesis includes also testing and commenting on the actual applicability of the preparations.

The thesis deals with the subject of semantics of colours in the Czech folk texts using theoretical and methodological framework of culturally oriented and cognitive approaches to language. In order to contribute to the research of the colour domain in linguistic picture of the world in Czech, semantic structure of colour concepts is examined using qualitative analysis of the occurrences excerpted from the corpora of the selected compilations of folk songs of the 19th century. The topic of radiance and visual salience of colours and their manifestations in the source material is discussed as well. Furthermore, the thesis examines if conclusions concerning the usage of colour terms in folk texts drawn by the studies based on the folklore of other Slavic languages can be applicable to the Czech material.

Cette thèse de doctorat analyse un objet culturel spécifique, la chanson d’auteur en Italie, entre 1958 et 1980. L’approche méthodologique choisie, la cantologie, consiste à croiser des analyses de texte, de musique et d’interprétation. L’étude s’intéresse également aux liens entre les chansons et le contexte culturel et social italien, ainsi qu’aux influences d’autres cultures, à travers les chansons francophones et anglophones.La première partie apporte une série de repères. Retracer l’émergence du néologisme « cantautore » et de l’expression « chanson d’auteur » permet de définir précisément le champ de l’étude. Une mise en perspective historique est complétée par des éléments géographiques et biographiques sur les auteurs du corpus. La deuxième partie rassemble des réflexions d’ordre méthodologique et esthétique, en proposant une synthèse d’approches innovantes et pluridisciplinaires qui permettent de ne pas réduire l’étude de la chanson à celle de son texte, et d’éviter ainsi l’assimilation encore trop fréquente avec la poésie. Une analyse comparée de traductions chantables et non-chantables démontre que l’écriture musicale conditionne profondément l’écriture textuelle. La troisième partie analyse les principales innovations introduites par les cantautori : l’évolution des contenus thématiques est d’abord mise au regard des évolutions législatives italiennes, pour aller ensuite vers une focalisation sur l’intérieur de la forme chanson, complétée par une étude de l’agencement des chansons entre elles. Ce cheminement débouche sur l’analyse d’interactions du genre chanson avec d’autres langages, à travers des formes incluant l’image, comme le cinéma ou l’opéra rock. / This doctoral thesis analyzes a specific cultural object, the songs by singer-songwriters in Italy, between 1958 and 1980. The chosen methodological approach, cantology, consists in crossing analysis of text, music and interpretation. The study also looks at links between songs and Italian cultural and social context in which they were created, as well as and influences from other cultures, with francophone and anglophone songs.The first part provides a series of benchmarks to seize this object. Redrawing emergence of the neologism "cantautore" and expression "canzone d’autore" allows to precisely define the field. Historical perspective is given, as well as geographical and biographical elements regarding the authors of the corpus. The second part gathers methodological and aesthetic reflections, by offering a synthesis of innovative and multidisciplinary approaches which allow not to reduce the study of the song to that of its text, thus avoiding yet too frequent assimilation with poetry. An analysis comparing singable and non-singable translations shows how writing music deeply affects writing texts. The third part analyzes the major innovations introduced in the song in these two decades : at first considering thematic content changes with regard to the Italian legislative changes, then focusing inside of the song, and finally studying the layout of these songs. This path leads to the study of song genre interactions with other languages, through forms including image, such as film or rock opera.

The purpose of the study was to investigate the effect of 10 minutes of daily exposure for 10 weeks to a Chinese Music Curriculum and its effect on generating positive cultural attitudes towards the Chinese people, improving tonal discrimination skills, singing accuracy of tonal patterns, and accuracy of singing Chinese lyrics for third-, fourth-, and fifth-grade students, compared to a comparison group not receiving the Chinese Music Curriculum. In an elementary school in Miami-Dade County, Florida, 6 third-, fourth-, and fifth-grade classes were chosen and randomly assigned to either an intervention or a comparison group. A Chinese Music Curriculum was developed for the intervention group and implemented by classroom teachers. Meanwhile, the comparison group received normal academic instruction and a weekly music class by a music specialist. Pre- and post-tests were administered to both the intervention and comparison groups: (1) Children's Attitudes toward Chinese (CATC), (2) Intermediate Measures of Music Audiation-Tonal (IMMA, Gordon, 1982), and (3) Tonal Pattern Performance Measure (TPPM). The Chinese Song Performance Measure (CSPM) was administered to the intervention group only in order to measure students' abilities for accurately singing the Chinese lyrics of a simple Chinese song, "Little Rat." Data were subjected to a mixed Multivariate Analysis of Variance (MANOVA) statistical analysis, item analysis, and Pearson Product-Moment correlation. The results demonstrated that the CATC survey was a reliable and valid measure to assess children's attitudes toward Chinese people. The overall effect of the Chinese Music Curriculum was significant in combination of the three outcome measures: CATC, IMMA, and TPPM. The follow-up individual examination revealed that children's attitudes toward Chinese people and tonal pattern singing accuracy were significantly improved, but tonal discrimination skills did not improve. Grade was found to influence children's singing accuracy of tonal patterns with fifth graders outperforming the third and fourth graders. All participants in the intervention group were able to sing a Chinese song with over 70% accuracy of the Chinese lyrics.

This artistic research project is an explorative study in new forms of expression of Swedish folk singing in a scenic context, exploring expressive qualities in traditional Swedish folk song from the point of view of the folk singer as a creative performer. The fundamental research question is how, in a scenic context, can space be given to what is a characteristic quality of traditional folk song, namely creative interpretation in the moment, through variation and improvisation using the song as a concept rather than a fixed work. How can this view be expressed in a staged concert form that enhances the perception of the music being created in the moment? How can the aesthetic qua- lities and forms of variation and improvisation that are inherent to traditional folk singing be explored?The artistic exploration has been performed through five productions/projects, each one with its own specific theme: ReBoot/OmStart – en folksångperformance, Kurbits-Koral, The Spirit of the Moment – en musikhändelse, Getens horn – en musikskapelse, Voice Space – Röstrymd, Kulning – en utsmyckning av oändligheten. The thesis focuses on two aspects of the knowledge that has been developed in the artistic work, namely the processes for creating the work and the artistic concepts used to explore the question artistically.In ReBoot/OmStart the subtle forms of variation typical of traditional Swedish folk singing are explored within the frame of a concert consisting of one continuous set, a folk song performance. In this work principles of varia- tion for music and lyrics that are typical for Swedish traditional folk singing are explored, as well as new concepts for associative variation in the performance. This includes improvised combinations of different melodies as well as utilizing the frame story of a ballad as the ground for the performance rather than a specific ballad text.Kurbits-Koral has been inspired by traditional folk hymns, historical evidence of traditional folk hymn sing- ing, by the role of sacred folk song in traditional contexts and from folk polyphony. It can be viewed as a prac- tical exploration of the dimension of polyphony – monophony in folk vocal performance. This concert-perfor- mance also explores a form for interactive performance where the boundary between the audience/auditorium and the artists/stage is challenged, based upon the idea that the audience and the artists are jointly involved in a musical ritual or story-telling – the concert as a musical happening.Getens horn is an ensemble performance of entirely original music, which uses the form of an associative musi- cal narration in a scenic context that was developed in the previous concert projects. The lyrics of the songs ori- ginate from traditional and new stories about creation, how everything came about. It can be viewed as a musical saga, but not in the sense of a coherent literary narrative, rather as a musical narration, an associative web.In Voice Space traditional folk singing meets live electronics in a scenic space, where the interplay between live electronics and voice/instruments creates the possibility for an associative musical narration, a Voice Space. Can the fixed, static nature of a loop pedal and the flexibility of traditional folk singing voice introduce a creative tension? Voice Space can be regarded as a playful exploration of illusions and expectations within dimensions such as space, polyphony-monophony and improvisation-composition.Kulning explores the pedagogical and artistic applications of kulning as a vocal expression, in terms of style and vocal technique. How can the art of kulning as a form for vocal and artistic expression be explored pedago- gically, from a performance perspective?The result of this doctoral project consists first and foremost of the individual works, as documented in recordings/films, a book and in ‘musical scripts’, but also of the creative methods and artistic musical concepts that have been revealed by reflective analyses documented in the written thesis. In particular, concepts and methods stimulating improvisation, variation, presence and creation in the performance have been explored, from the point of view of the song as a concept and the folk singer as a creative performer. The written thesis can be regarded complementary to the performances, and is in itself an analysis of artistic processes, methods and concepts, placed in a theoretical framework relating to concepts such as orality-literacy, performance, flow and artistic expression.

Diploma thesis Orff-Schulwerk Approach to Folk Songs for Elementary School Education consists of two parts: theory and practice. The first theoretical describes the basic Orff-Schulwerk thesis for education at the elementary schools in the lessons of Music or in the preparatory units of children choirs. Author introduces Carl Orff biography, circumstances of Orff-Schulwerk creation and its characteristics which is compared to the psychological theories, mainly with the flow phenomenon. The thesis covers the implementation of the Orff-Schulwerk approach to the Czech Framework Education Programme. Author compares studies describing the results of Orff-Schulwerk method in comparison to other methods. The research has not confirmed the thesis, that Orff-Schulwerk has better results in the music education field. The abroad studies confirmed, that Orff-Shulwerk approach is suitable for working with children with special educational needs. On the basis of the sources and literature, the author assumes that Orff-Schulwerk can lead to more intense interest in music and culture itself. Furthermore, the author enriches Orff's approach by ideas and approaches of two known pedagogues and composers: Zontán Kodály and Émile Jaques-Dalcroze. The diploma thesis covers their curriculum and those pedagogical...