WHERE TWO WORLDS MEET: LIGETI AND ROMANIAN FOLK MUSIC by Bianca Ţiplea TEMEŞ

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Risto Lenz, Alan Lomax, the South, and the American Folk Music Revival, 1933-1969 by Paul-Thomas Cesari

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Design of Semantic Matching Model of Folk Music in Occupational Therapy Based on Audio Emotion Analysis by Wensi Ouyang

“…Analysing the semantic association of audio promotes the application of folk music in occupational therapy.…”
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The Power of Folk Music: City Branding, Musical Imaginaries, and Tourism-induced Placemaking in Yulin, Chengdu (China) by Shuyue Chen

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70 anos da guerreira: a mestiçagem brasileira na tradução musical de Clara Nunes by Expedito Leandro Silva

Subjects: “…folk music…”
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Formation of teaching system for training of musical group conductors by L. P. Rusanova, N. PH. Semenova

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LIGETI’S ROMANIAN CONCERTO: FROM WAX CYLINDERS TO SYMPHONY ORCHESTRA by Bianca ŢIPLEA TEMEŞ

“…Romanian Concerto not only shows the impact our folk music had on the young Ligeti but also the way in which his collaboration with Romanian ethnomusicologists such as Mircea Chiriac influenced the composition of his first major orchestral piece. …”
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NICOLAS ASTRINIDIS (1921-2010): COMPOSITIONAL LANGUAGES IN HIS « ‘ DEUX PIÈCES EN STYLE GREC’ » FOR VIOLIN AND PIANO by Vangelis KARAFILLIDIS

“…Thus, elements derived from classicism, romanticism, impressionism or even modernism are utilized in combination with Byzantine and Greek folk music timbre in the entire oeuvre of these composers. …”
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Rock Music and The Political Scripting of Vietnam War: Reading Dispatches by Michael Herr by Lalit Kumar

“…In 1960s America, a countercultural movement centered on country-folk music emerged and thrived as an alternative to mainstream nationalist music. …”
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Sakha Music: Selling 'Exotic' Europeanness in Asia and Asianness in Europe by Aimar Ventsel

“…In a period from the late 1990s to 2007, the same artists have switched from pop to rock to folk music, using different languages and different costumes, performing as Asian or European artists. comparing these strategies, one can see how Sakha musicians use cultural stereotypes of foreign audiences for economic purposes.…”
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Den norske cisteren by Tom Willy Rustad

“…This article focuses on the creative approach where I try to revitalize the Amund Hansen cittern as a Norwegian folk music instrument. The first part focuses on how to make two new Hansen instruments, and the need for some stabilizing improvements. …”
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DIE MUSIKALISCHE ANALYSE DES WERKES „MYSTERIUM“ VON KISKAMONI-SZALAY MIKLÓS by Zoltán SZALAY

“…This modal character is present on a number of levels: the modal scales and melodies characteristic of folk music, plus those to be found in 19th and 20th century music, especially in the compositions of Bartók. …”
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Nye slåtter på sjøfløyta by Per Åsmund Omholt

“…The starting point is practical, where a springleik material in Gudbrandsdalen has been transferred to the recorder, or “Sjøfløyte”, as the instrument is often referred to in the folk music genre. The article, which has a practical-pedagogical purpose, addresses specific issues related to the relationship between the technical side of the instruments and the musical framework set by tradition, but thus has relevance beyond the regional and organological delimitation that the starting point would indicate. …”
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Musical Instruments of the Turkic Peoples of the Volga Region and Urals by Gulnara Khayrullina

“…Every ancient musical culture has its origins in ancient rites. Folk music of the Turkic peoples of the Volga region and the Urals was no exception. …”
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THE CHORAL OUTLINE IN THE OPERA “ALEXANDRU LĂPUŞNEANU” BY GHEORGHE MUSTEA by Luminiţa GUŢANU

“….), as well as rhythmic patterns specific to folk music. In dealing with the crowd scenes, the composer employs the entire sound potential provided by the choral voice parts, especially in the moments of climax and synthesis. …”
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