Dissertations / Theses on the topic 'Chorti language'

Thesis (D.M.A.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 128-132). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

For over two decades, scholars in rhetoric and composition studies have been invested in helping to shape and adapt writing studies as institutions of higher learning negotiate conceptualizations of subjects and knowledge production in digital culture. The canon of invention, in particular, has propelled forth theories and practices that resist hermeneutic modes of knowledge production and instead advocate invention as performance. Inspired by the aforementioned scholarship, Victor Vitanza's call for knowledge production that relies on the language games of paralogy, Gregory Ulmer's heuretics, and Sarah Arroyo and Geoffrey Carter's participatory pedagogy, this thesis puts forth a method of invention entitled "producing as a listener." This methodology harnesses the potential of video editing software and video sharing ecologies as choric sites of invention, relies on the reconceptualization of subjects as whatever singularities, and invites electrate and proairetic lines of reasoning wherein video composers invent and write as listeners.

Problem i predmet istraživanja ove doktorske disertacije jeste delatnost i uticajslovačke horske kulture na razvoj i širenje interkulturalnosti u Vojvodini. Putem analizeživota slovačke nacionalne zajednice, njihove migracije i istorijskog razvoja sagledava sepovezanost pevanja sa njihovim životom. Disertacija se bavi analizom celokupnog razvojavokalnog izvođenja od slovačke narodne pesme do horske kulture vojvođanskih Slovakaputem analize rezultata dosadašnjih istraživanja ali i pregledom delatnosti slovačkih horova, sa naglaskom na Vojvodinu. Putem istorijskog razvoja horskog pevanja Slovaka u Vojvodini prati se osnivanje pevačkih društava i horova u slovačkim sredinama, ali i njihovo trenutno stanje. Obostrani uticaj sredine i slovačkih horova u Vojvodini pruža mogućnost razmatranja problema multikulturalnosti i opredeljivanja za koncepciju interkulturalnosti. Detaljno je izrađena analizira delatnosti Kamernog hora Zvony, putem proučavanja članstva, repertoara, nastupa preko primera iz prakse ovog ansambla, ali i Udruženih horova „Zvony“ i „Neven“. Dolazi se do zaključka da delatnost slovačkih horova u Vojvodini ima interkulturni karakter koji se ogleda u kulturnim kontaktima, razmeni kulturnih sadržaja (horske muzike), ekumenskom delovanju i specifičnom vidu dobrovoljnog rada.
The issue and the subject of research this Ph. D thesis are activities and influences of Slovakian choral culture on the development and spreading of multiculturalism in Vojvodina. With a help of analysis of Slovakian national community, their life, migration and historical development , you can see connection between singing and their way of life. This thesis also deals with analysis their vocal performance development, starting from Slovakian folk song and ending with choral culture of Slovaks in Vojvodina, using the research analysis and also activities review of Slovak choirs in Vojvodina. Trough the historical development of their choral singing in Vojvodina, the foundation of Slovakian singing associations and their present status was followed. Mutual influence between living space and Slovakian choirs in Vojvodina , gives the possibility for discussion about multicultural problems and also choice of intercultural concept. The analysis of activities, member status, repertoire, performances(based on practice) of Chamber choir Zvony was detail conducted, but also the activities Joined choirs ''Zvony'' and ''Neven''. As a conclusion, I can say that activities of Slovakian choirs in Vojvodina has intercultural character which is based on cultural contacts, exchange of cultural contents (choral music), ecumenical activities and also on specific volunteering.

This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.

The term "narratives of confinement" redefines the parameters by which first-person, fictive and non-fictive, accounts of female captivity are classified, broadening the genre beyond Indian captivity narratives and slave narratives to include other works in which female narrators describe physical and/or psychological confinement due to tangible or non-tangible forces. Often these narratives exhibit the transformation of the drudgery of housewifery into powerful symbols of resistance and subversion, especially in reaction to traumatic events related to confinement. Needlework and food, including its preparation and distribution, frequently emerge as metaphors that express the ways in which disempowered women seek to regain control in their lives: sewing often represents an effort by women to seize power, blending the creative act with economic achievement; food preparation also relates to creativity and economic achievement and often represents love and nurturing. In this study, I examine three representative narratives of confinement, using close reading and scholarly evidence as support: Mary Rowlandson's 1682 Indian captivity narrative, A True History of the Captivity and Restoration of Mrs. Mary Rowlandson; Harriet Jacobs' 1861 slave narrative, Incidents in the Life of a Slave Girl: Written by Herself; and Toni Morrison's 1987 fictional neo-slave narrative, Beloved. My examination begins the dialogue regarding the connection between domestic metaphors and narratives of confinement, broadening scholarship to allow more consideration for the subtle, feminized language of domesticity.

Cette recherche explore les corpus littéraires mis en oeuvre dans le cadre de l’enseignement du français langue étrangère du point de vue des formats et de la variation des échelles des textes. Le primat de l’oeuvre intégrale et la condamnation du morceau choisi sont analysés à travers une approche historique qui met en lumière l’instabilité des valeurs données à l’extrait ou à la lecture longue en contexte d’enseignement. L’analyse de corpus éditoriaux français décontextualisés souligne que les formats proviennent d’un double héritage, celui du morceau choisi et celui du document authentique. La mise en extrait obéit à deux matrices, la classicisation, qui répond à des contraintes d’acceptabilité, et la standardisation, qui répond à des contraintes d’accessibilité : l’extraction suit un double continuum organisé autour de deux axes identité/transformation, et opacité/transparence. Le lien à l’oeuvre est majoritairement oublié. Les corpus d’enseignants, contextualisés, présentent des traits plus souples, idiosyncrasiques, une prise en compte des échelles des textes et de la réception. Nous étudions à travers une étude comparative les effets des formats de texte sur la réception par des lecteurs allophones en formation : l’extrait permet une restitution de l’échelle microstructurale, la lecture intégrale sans étayage crée une lecture partielle avec recomposition de la macrostructure, la lecture adaptée autorise une immersion fictionnelle faisant jouer toutes les échelles du lecteur. Nous proposons, pour la formation des futurs enseignants, une didactique de la variation des échelles prenant en compte les effets des formats sur la réception des textes par les apprenants
This research explores the literary corpora used in the context of the teaching of French as a foreign language from the point of view of formats and variation in text scales. The primacy of complete work and the condemnation of the chosen text extracts are analysed through a historical approach that sheds lights on the instability of the values given to the extract or long reading in the context of teaching. The analysis of out of context2French editorial corpora highlights that formats come from a dual heritage: chosen excerpts and authentic documents. Extraction obeys two matrices, classicisation, which responds to acceptability constraints, and standardisation, which responds to accessibility constraints. Extraction follows a double continuum organised around two axes, identity/transformation, and opacity/transparency. The link to the work is mostly forgotten. The corpora produced by teachers, once contextualised, present more flexible, idiosyncratic features, taking into account the scales of texts and their reception. Through a comparative study, we observe the effects of text formats on their reception by allophone readers: text extracts enable a restitution of the microstructural scale, integral readings without support create a partial reading with recomposition of the macrostructure and adapted readings allow a fictional immersion that plays all the scales of the reader. We offer, for the training of future teachers, didactics of the variation of scales that take into account the effects of formats on the reception of texts by learners

This thesis is an ethnography and biographical study that examines the impact of the immense socioeconomic changes underway in Cuba at the turn of the 21st century and the flexible identity categories through which individuals navigate a social crisis. The biography and ethnography in this thesis are centered on the life of Violeta Aldama, an aging revolutionary and Afro-Cuban mother who struggles to make ends meet while fighting to steer her son, Brian, through a classical music education and into a music career. Amid growing racial inequalities when many Afro-Cubans are locked out of the most lucrative jobs in the new tourism sector and less likely to have family abroad sending remittances, the booming dance music industry offers the greatest promise for advancement and wealth than possibly any other profession. With the retraction of the state in a growing market economy, Violeta must scramble to build new networks of support while also coming to terms with the idea that the system she fought for all of her life will no longer be able to sustain her son. This study argues that individuals navigate through social crises through identity categories that are both socially constructed and subjectively fluid. In the process, they rely on these identity categories to build new contacts for support while also finding in them meaning and agency. I frame this thesis around three broad identity categories - race, class and national identity. The study also shows how Violeta in turn experienced these categories - as well as motherhood and her revolutionary roles - and the ways that she used them to build networks of support. The thesis is guided by the theory on lo informal developed by scholar Damián Fernández: the split in individuals between ideals and passionate beliefs versus life on the black market to help loved ones survive. The study's methodology draws from feminist ethnography, examining not only Violeta's position in society as an Afro-Cuban woman and aging revolutionary, but also my relationship with her and her son as a white, middle-class American researcher during a time when relationships with foreigners became a crucial means of social advancement. This research bridges academic areas of study regarding Cuba's growing racial inequalities and the rising economic power of the music industry. It also contributes to the academic canon on social movements by highlighting roles of individuals - not just the state or opposition alliances - as social actors.

Уводно поглавље садржи образложење наслова и предмета студије, као и критичку анализу досадашњих музиколошких радова о српској црквеној хорској музици између два светска рата. Следеће поглавље посвећено је Традиционалној црквеној уметности, њеним основним појмовима и тумачењима у 20. веку. У њему су теоријски разрађени теолошки аспекти аутентичногцрквеног уметничког стваралаштва, са посебним освртом на проблем уметничкогсимвола и његовог функционисања у литургијској перспективи, те месту музике убогослужењу као сложеној синтези више уметничких врста. Поглавље Црквено-уметничко стваралаштво и црквена хорска музика у српској култури између два светска рата доноси контекстуално сагледавање црквене хорске музике са црквеним сликарством и црквеном архитектуром тога времена, тумачећи достигнућа српских композитора као део укупног процеса развоја православне уметности под дејством традиционалних и модерних елемената. У четвртом поглављу Историја жанра кроз сагледавање богослужбених и концертних елемената – стилско-аналитички наратив као централном делу студије извршена је подела посматраних композиција према стваралачким принципима од наједноставнијих обрада и хармонизација напева до сложених и веома оригиналних поступака са и без сличности са црквеним мелодијама. Примарна анализа допуњена је сагледавањем жанровско-извођачких карактеристика (доминантно богослужбена или концертна пракса) које значајно доприносе одређивању односа између функционалних и уметничких елемената осматраних остварења. У последњем поглављу Закључак поред сумирања најзначајнијих релевантних чињеница из претходног тока студије, уз помоћ одређивања опште хијерархије односа између композиционих поступака (превласт западног или православног елемента), као и кроз препознавање типологије начина усвајања конвенција (спровођење композиционих решења) објективно се дефинишу достигнућа српских аутора црквене хорске музике међуратног периода.Успостављени критеријум третира оба својства ове музике: традиционалнувредност у домену литургијско-функционалне употребе, као и уметничкиквалитет по себи, у оквирима укупног развоја српске музике током прве половине 20. века.
Uvodno poglavlje sadrži obrazloženje naslova i predmeta studije, kao i kritičku analizu dosadašnjih muzikoloških radova o srpskoj crkvenoj horskoj muzici između dva svetska rata. Sledeće poglavlje posvećeno je Tradicionalnoj crkvenoj umetnosti, njenim osnovnim pojmovima i tumačenjima u 20. veku. U njemu su teorijski razrađeni teološki aspekti autentičnogcrkvenog umetničkog stvaralaštva, sa posebnim osvrtom na problem umetničkogsimvola i njegovog funkcionisanja u liturgijskoj perspektivi, te mestu muzike ubogosluženju kao složenoj sintezi više umetničkih vrsta. Poglavlje Crkveno-umetničko stvaralaštvo i crkvena horska muzika u srpskoj kulturi između dva svetska rata donosi kontekstualno sagledavanje crkvene horske muzike sa crkvenim slikarstvom i crkvenom arhitekturom toga vremena, tumačeći dostignuća srpskih kompozitora kao deo ukupnog procesa razvoja pravoslavne umetnosti pod dejstvom tradicionalnih i modernih elemenata. U četvrtom poglavlju Istorija žanra kroz sagledavanje bogoslužbenih i koncertnih elemenata – stilsko-analitički narativ kao centralnom delu studije izvršena je podela posmatranih kompozicija prema stvaralačkim principima od najednostavnijih obrada i harmonizacija napeva do složenih i veoma originalnih postupaka sa i bez sličnosti sa crkvenim melodijama. Primarna analiza dopunjena je sagledavanjem žanrovsko-izvođačkih karakteristika (dominantno bogoslužbena ili koncertna praksa) koje značajno doprinose određivanju odnosa između funkcionalnih i umetničkih elemenata osmatranih ostvarenja. U poslednjem poglavlju Zaključak pored sumiranja najznačajnijih relevantnih činjenica iz prethodnog toka studije, uz pomoć određivanja opšte hijerarhije odnosa između kompozicionih postupaka (prevlast zapadnog ili pravoslavnog elementa), kao i kroz prepoznavanje tipologije načina usvajanja konvencija (sprovođenje kompozicionih rešenja) objektivno se definišu dostignuća srpskih autora crkvene horske muzike međuratnog perioda.Uspostavljeni kriterijum tretira oba svojstva ove muzike: tradicionalnuvrednost u domenu liturgijsko-funkcionalne upotrebe, kao i umetničkikvalitet po sebi, u okvirima ukupnog razvoja srpske muzike tokom prve polovine 20. veka.
The introductory chapter contains anexplanation of titles and subjects of the paper,critical analysis of previous musicologicalworks on Serbian Church Choral Music of theperiod between two World Wars. The followingchapter is devoted to the Traditional ChurchArt, its basic elements and interpretations from20th century. This part of the study brings thecrucial theological aspects of the authenticChurch аrt, with the special attention to theproblem of artistic symbol and its function inthe liturgical perspective, as well as the positionof music in the liturgical service as synthesis ofseveral disciplines of art. The chapter namedChurch-artistic practice and Church ChoralMusic in the Serbian culture between the twoWorld Wars brings contextual view over theChurch Choral Music together with the Churchvisual art and Church architecture of the periodunderstanding the composers efforts as part ofthe whole artistic evolution of the Orthodox artunder traditional and modern influences. Thefourth chapter The history of the genre throughthe balance of the liturgical and concertelements as a central part of the study offerssegmentation of the composed music on thebasis of compositional approach from thesimple harmonisations to the original andcomplex attitudes with or without the usage ofthe chant. This kind of basic analyse is followedby the division of the performing characteristics(the dominant liturgical or concert practice)which can help in understanding the relationbetween functional and artistic elements of thischoral genre. The final chapter Conclusionbeside summaries of the most important factsfrom the previous parts of the study, through thedefinition of hierarchy of the relations betweencompositional approaches (the domination ofWestern or Orthodox elements) and recognitionthe typology of the usage of conventions (theguidance of compositional solutions) bringsobjective evaluation of the Church ChoralMusic composed by the Serbian authors of thisperiod. The final reached criteria offers theevaluation of both meanings of this music: itstraditional level of liturgical and functional roleand its artistic value as part of the generaldevelopment of the Serbian music of first partof 20th century.
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Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.

Esta tese trata da formação do flautista e de outros instrumentistas melódicos - de sopro, e de cordas não dedilhadas. Ilustrada com exercícios, prelúdios e estudos, consiste basicamente em uma metodologia de ensino que visa não somente ao desenvolvimento técnico-instrumental, mas também ao pleno entendimento da linguagem musical e ao desenvolvimento da consciência harmônica. Para isso, propõe uma forma de estudo baseada na criação de conteúdo, e não na repetição de padrões preestabelecidos.
This thesis is about the teaching of the flute and others melodic instruments - namely winds and strings. Illustrated with studies and etudes, it consists basically of a methodology that seeks not only technical development on the instrument, but also the complete understanding of the musical language and the development of harmonic awareness. With this aim, it proposes a way of practicing based on creativity, improvisation and composition, instead of the repetition of established patterns.

The aim of the study was to evaluate the role of steady-state and dynamic visual gestures of vowels in stuttering inhibition. Eight adults who stuttered recited sentences from memory while watching video presentations of the following visual speech gestures: (a) a steady-state /u/, (b) dynamic production of /a-i-u/, (c) steady-state /u/ with an accompanying audible 1kHz pure tone, and (d) dynamic production of /a-i-u/ with an accompanying audible 1kHz pure tone. A 1kHz pure tone and a no-external signal condition served as control conditions. Results revealed a significant main effect of auditory condition on stuttering frequency. Relative to the no-external signal condition, the combined visual plus pure tone conditions resulted in a statistically significant reduction in stuttering frequency. In addition, a significant difference in stuttering frequency was also observed when the visual plus pure tone conditions were compared to the visual only conditions. However, no significant differences were observed between the no-external signal condition and visual only conditions, or the no-external signal condition and pure tone condition. These findings are in contrast to previous findings demonstrated by similar vowel gestures presented via the auditory modality that resulted in high levels of stuttering inhibition. The differential role of sensory modalities in speech perception and production as well as their individual capacities to transfer gestural information for the purposes of stuttering inhibition is discussed.

La scolarisation contextualisée et en langue maternelle dans les communautés indigènes du Honduras est essentielle pour le développement socio-économique et culturel de ces peuples. Mais le projet d’éducation interculturelle bilingue mis en place actuellement, déjà adopté dans d’autres pays et pour d’autres peuples, est-il réellement adapté aux besoins spécifiques des enfants indigènes du Honduras ? Pour répondre à cette question nous avons conçu un dispositif de recherche à partir de deux communautés indigènes : celles des Ch’orti’ et de la Misquita. Notre corpus complexe et empirique est composé de deux classes filmées, de photographies d’un cahier de prise de notes d’élève, d’entretiens avec des témoins appartenant à ces deux communautés indigènes et de documents officiels et pédagogiques qui guident la mise en place du projet. Son analyse nous permet de mettre valeur la différence des cultures et situations sociolinguistiques de ces communautés et de montrer qu’elles sont prises en compte de manière partielle dans la création des dispositifs de scolarisation. Il apparaît aussi que les contacts des langues et des cultures, traités de manière précise, pourraient contribuer à la revitalisation, la récupération linguistique et la construction de l’identité indigène. Ils pourraient aussi ouvrir un dialogue interculturel efficace pour l’avenir. Finalement nous concluons en disant que le projet d’Éducation Interculturel Bilingue, s’il n’est pas à l’origine de la revitalisation et de la récupération des langues indigènes peut néanmoins influer, sous certaines conditions, de manière positive sur celles-ci. Notre étude de nature sociodidactique montre que les actions et les initiatives entreprises par les acteurs pour l’éducation des enfants indigènes ne s’adapte donc pas entièrement à leurs besoins sociolinguistiques, culturels et pédagogiques. Elle débouche sur quelques perspectives pour la mise en place de stratégies pédagogiques contextualisées et pour une meilleure reconnaissance et valorisation de la diversité linguistique et culturelle de ces peuples
Contextualized schooling and in mother tongue is essential for the socioeconomic and cultural development of indigenous communities in Honduras. But the Intercultural Bilingual Education project currently implemented, already adopted by other countries and for other communities, is it really adapted for the specific needs of the indigenous children in Honduras? To answer this question, we have designed a research plan based on two indigenous communities: the Ch’orti’ and the Misquito communities. Our empirical and complex corpus consists of two filmed classes, pictures from a student’s notebook, interviews with members of both indigenous communities and official and pedagogical documents which guide the project’s implementation. Its analysis allows us to accentuate the cultural differences and those of the sociolinguistic situations of these communities and to show that these elements are partially taken in account when creating the schooling instruments. It also appears that language and culture contacts, treated precisely, could contribute to the revitalization, linguistic recuperation and to the indigenous identity construction. It could also open an effective intercultural dialogue for the future. Finally, we conclude by stating that if this Intercultural Bilingual Education project is not the origin of indigenous language revitalization and recuperation, it could nevertheless influence, under certain conditions, positively over them. Our research, of sociodidactic nature, reveals that the actions and initiatives undertaken by the stakeholders for the indigenous children’s education is not entirely adapted to their sociolinguistic, cultural and pedagogical needs. It leads to some perspectives for the implementation of contextualized pedagogical strategies and a better acknowledgement and valorization of the linguistic and cultural diversity of these communities

"Arising out of the work of Marshall McLuhan, Eric Havelock, Walter Ong, Jacques Derrida and Gregory Ulmer, among others, it is widely thought there are three stages in the history of human communication: the oral, the literate and the electronic. Nonetheless, debate is ongoing over the integration, ordering and the substantive separation of these stages. An upshot of these debates is that each stage is loosely allied to a particular socio/political structure: hunter/gatherer or tribal societies, nation states, and globalisation respectively. In the current alloying of electronic communication and globalisation though there is a rising interest in what is termed new regionalism, or regionalisation, even regionality. Accordingly, Chora-Logic: Electracy as Regional Epistemology examines the possibility of an emerging conceptual alliance (and through reference to two Australian regions a sometimes embodied and situated one) between the embryonic communicational infrastructure of electracy and the age-old spatial scale of the region, a relationship that might just come to represent a means of rethinking the civic and the psychic, the commercial and governmental frameworks of an electro-energised global skein. It may also be a way of reinvigorating a study in the relation of the body (in its capacity as a citizen-subject) to the nation state, especially as all these entities are increasingly though ambiguously constituted in and through globalisation. The method of synthesising and antagonising these relations between electracy and regionalism is through the philosophy of chora, Platos conception of embodied place as found in the middle section of the Timaeus, coaxed along by a range of interpretations of this important genesis myth in Western philosophy. In particular, chora is taken up in the work of Gregory Ulmer as a key method in the ongoing conceptualisation of an electrate epistemology. Arising out of these concerns Chora-Logic is an experimental re-configuration of the sovereign, abstracted and disembodied citizen-subject of the Cartesian mould (a significant psycho-political mooring of the literate national character) to one situated both in the virtual density and multidimensional actuality of a particular place (organically conceived of herein as an idiosyncratic mix of psychic, domestic, workplace, local and regional proximities), but whose both dis embodied self-knowledge and world-knowledge are now increasingly realised by access to an electronically arbitrated global/regional polis. In sound-bite terms, the bumper sticker could just as easily proclaim the following inversion: Think and feel chora-logically, act globally. Finally, the nucleus of Chora-Logic: Electracy as Regional Epistemology is a risky praxis whose experimental eddy (in both formal and content terms) spins within the current ambivalence, uncertainty and fast-paced change in electronic communicative arrangements (electracy), as these are themselves wrapped in the psychic and socio-political variabilities of spatial affiliation, all of which are symbiotically entwined regardless of the historical period and/or the geographical context." -- abstract

Submitted to the Faculty of Arts in fulfillment of the requirements for the degree of MASTER OF ARTS in the Department of African Languages at the University of Zululand, South Africa, 2009.
The main concern of this dissertation is an attempt to bring forward the contributions Choral Music has and is still playing in the promotion of Language and Literary aspects. The study commences by laying out the challenges this art form (choral music) is facing, namely that its composers are not taken seriously and are not fully recognised in promoting the economy of the country and the well being of all, through the message it passes on in a form of entertainment. This study further attempts to describe the historical background of choral music by giving its definition, goals, essential elements of music, notation and form including musical instruments that are used in African and Western cultures. The study continues explaining how the different individuals participate either in listening and/or creating music in order to understand the emotional content of the piece, pathos, love, anger - as well as the story itself which is communicated through words, music, movement and technical aspects of the entertainment as an integrated whole. Last but not least, the study rounds up by showing how the linguistic aspect of music is conducted either in a Western or African route by learners in Mpumalanga Province in order to promote social, political and cultural tolerance. The study finally closes by recommending on how the literal aspects of introducing music in Mpumalanga Schools could be introduced. This includes proposed resources in curriculum such as buildings and the type of personnel that could be identified and be supported in order to introduce music as an examination subject in schools.