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Dissertations / Theses on the topic 'Folk songs, Zulu – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Clavero, Dolores. "Génesis y evolución de los temas épicos nacionales del romancero viejo." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26974.

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Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the editio

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2

Cheung, Kwok-hung Stephen, and 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.

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3

Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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4

Abeyaratne, Harsha. "Folk music of Sri Lanka : ten piano pieces." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213149.

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The purpose of the present research was to provide ideas for positive stress management in the orchestra world to help achieve high-level performances. The author developed the Orchestral Performance and Stress Survey and distributed it to 230 musicians of three orchestras that comprised full-time and part-time professional as well as community orchestra musicians. The survey sought to identify stress-causing and performance-enhancing factors in the orchestra environment. Questions on the musicians' background allowed for comparisons to identify groups with particular needs. Results show that

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5

Go, Kin-ming Joseph, and 吳建明. "Nostalgic musicians in North Point: a survey of Fujian Nanyin activities in Fujian Tiyuhui, from 1957 to thepresent." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227351.

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6

Lee, Hee Seung. "The "Beethoven Folksong Project" in the Reception of Beethoven and His Music." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_hee_seung/index.htm.

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7

Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.

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The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding

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8

Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.

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In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots

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9

Johnson, Simone Lisa. "Defining the migrant experience : an analysis of the poetry and performance of a contemporary southern African genre." Thesis, 2001. http://hdl.handle.net/10413/3014.

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This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant performance genres are discussed in conjunction with the cultural re-orientation of migrants i

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10

"香港西貢及其鄰近地區歌謡硏究". 1989. http://library.cuhk.edu.hk/record=b5887244.

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葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ...<br>稿本(據電腦打印本複印)<br>Thesis (M.A.)--香港中文大學, 1989.<br>Gao ben (ju dian nao da yin ben fu yin)<br>Includes bibliographical references (leaves 253-262).<br>Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ...<br>Thesis (M.A.)--Xianggang Zhong wen da xue, 1989.<br>嗚謝 --- p.i<br>序 --- p.iii<br>地圖索引 --- p.v<br>歌謠譜例索引 --- p.vi<br>歌詞例子索引 --- p.viii<br>圖表索引 --- p.x<br>音樂例子索引 --- p.xiii<br>照片索引 --- p.xiv<br>Chapter 第一部分： --- 論文<br>Chapter 第一章 --- 前言<br>Chapter 第一節 --- 研究地區之讓擇 --- p.1<

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11

"香港地水南音初探". 1998. http://library.cuhk.edu.hk/record=b5896292.

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李潔嫦.<br>論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998.<br>參考文獻: leaves 99-106.<br>Li Jiechang.<br>撮要 --- p.iii<br>Chapter 第一章 --- 地水南音源流槪說<br>Chapter 一´Ø --- 引言 --- p.一<br>Chapter 二´Ø --- 南音的起源和發展 --- p.二<br>Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四<br>Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代）<br>Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八<br>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<br>Chapter 三´Ø --- 七十年代 --- p.二五<br>Chapter 四´Ø --- 八十年代至今 --- p.二八<br>Chapter 第三章 --- 地水南音的音樂風格<br>Chapter 一´Ø --- 引言 --- p.四三<br>Chapter 二´Ø --- 唱詞結構 --- p.四四<br>Chapter 三´Ø --- 板面及過序的處理 --- p.四八<br>Chapter 四´Ø --- 《霸王別姬》音樂

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12

"廣府話說唱本木魚書的硏究". 1989. http://library.cuhk.edu.hk/record=b5895423.

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吳瑞卿.<br>Thesis (Ph.D.)--香港中文大學, 1989.<br>Manuscript (Reprint of computer reprint)<br>Includes bibliographical references (leaves 314-324).<br>Wu Ruiqing.<br>Thesis (Ph.D.)--Xianggang Zhong wen da xue, 1989.<br>導論<br>Chapter I´Ø --- 選取木魚書作硏究對象的意義 --- p.1<br>Chapter 一´Ø --- 作為地方文學的 --- p.1<br>Chapter 二´Ø --- 作為俗文學的一種 --- p.2<br>Chapter II´Ø --- 本論文的硏究目的<br>Chapter A´Ø --- 整理及分析一種地方文學遺産 --- p.2<br>Chapter B´Ø --- 以木魚書為例論證俗文學的特徵範圍<br>Chapter 一´Ø --- 俗文學研究的回顧 --- p.3<br>Chapter 二´Ø --- 俗文學的特徴和領域問題 --- p.7<br>Chapter 三´Ø --- 木魚書與俗文學 --- p.8<br>Chapter III´Ø --- 木魚書研究在其他方面能提供的貢獻<br>Chapter 一´Ø

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13

Gruning, Thomas Robert. "Crossroads of the ordinary contemporary singer/songwriters and the post-revival folk /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120297.

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14

"泉州南音: 一個福建民間音樂傳統與文化認同的研究 = Nanyin in Quanzhou : a study of a folk musical tradition and cultural identity in Fujian". 2002. http://library.cuhk.edu.hk/record=b5891409.

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吳瑞珠.<br>"2002年7月".<br>論文(哲學碩士)--香港中文大學, 2002.<br>參考文獻 (leaves 152-156).<br>附中英文摘要.<br>"2002 nian 7 yue".<br>Wu Ruizhu.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.<br>Can kao wen xian (leaves 152-156).<br>Fu Zhong Ying wen zhai yao.<br>致謝 --- p.iv<br>摘要（中文） --- p.v<br>摘要（英文） --- p.vi<br>Chapter 第一章 --- 導論 --- p.1<br>人類學與民族音樂學 --- p.6<br>音樂傳統與文化認同 --- p.12<br>研究問題與理論架構 --- p.18<br>研究地點和研究方法 --- p.22<br>本文章節安排 --- p.25<br>Chapter 第二章 --- 福建泉州南音 --- p.27<br>何謂南音? --- p.27<br>歷史沿革 --- p.30<br>曲譜類別、樂器及音樂特色 --- p.39<br>南音和閩南風俗及其音樂功能<br>從名稱上看南音的發展 --- p.46<br>南音裡的男女現

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15

Neser, Ashlee. "Speaking to changing contexts : reading Izibongo at the urban-rural interface." Thesis, 2001. http://hdl.handle.net/10413/8989.

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In this thesis I argue that recently recorded izibongo must be read as literary texts that articulate responses to the multiple forces of constraint and possibility at the urban-rural interface. I argue that when scholars transcribe and translate performance texts they release them into new contexts of reception, and that the mediation processes involved in this recontextualisation become an important part of the way in which the texts make meaning for their new 'audiences'. As such, it is imperative that analysis of print-mediated izibongo should take into account both the performance text an

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16

Magwaza, Thenjiwe S. C. "Orality and its cultural expression in some Zulu traditional ceremonies." Thesis, 1993. http://hdl.handle.net/10413/6172.

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17

Canonici, Noverino Noemio. "C.L.S. Nyembezi's use of traditional Zulu folktales in his Igoda series of school readers." Thesis, 1985. http://hdl.handle.net/10413/6253.

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18

Caleta, Josko. "Social and musical structure of the klapa singing style, Dalmatia and Vancouver." Thesis, 1994. http://hdl.handle.net/2429/5244.

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This study examines both the social and musical characteristics of klapa singing. Comparative analysis of the klapa in Dalmatia, its place of origin, and the klapa in Vancouver is the focus. The field work for this project took place on two occasions: during the regular practices of klapa "Zvonimir", and in a series of individual interviews. The interviews were with the oldest member and one of the organisers of the klapa "Zvonimir", Jozo Cvitanovic. A traditional folk klapa was, and to an extent still is, an informal group of friends, usually brought together by similar interests, a

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19

Manqele, Zandile Heavygirl. "Zulu marriage values and attitudes revealed in song : an oral-style analysis of Umakoti Ungowethu as performed in the Mnambithi region at KwaHlathi." Thesis, 2000. http://hdl.handle.net/10413/5670.

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20

Brown, Duncan John Bruce. "Orality, textuality and history : issues in South African oral poetry and performance." Thesis, 1995. http://hdl.handle.net/10413/6364.

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A vigorous oral tradition has existed throughout South African history, and in many ways represents our truly original contribution to world literature. Despite this, oral literature is largely absent from accounts of literary history in this country. While the particular oppressions of South African political life have contributed to the exclusion of oral forms, the suppression of the oral in favour of the printed text is a feature of literary studies worldwide, and appears to be related to the critical practices that have been dominant in universities and schools for most of this century. In

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21

Khuzwayo, Anthony S'busiso. "Ukuvezwa komlando ezibongweni zamakhosi amabili akwazulu, uDingane nomPande." Thesis, 2007. http://hdl.handle.net/10413/1631.

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This research is entitled "The historical representation of the praise-poetry of the two Zulu kings, Dingane and Mpande." In this study the researcher is trying to explore the ways in which history is portrayed in these two above mentioned kings. This is done firstly by looking particularly at their historical outlooks and secondly by looking at their praises. In traditional Zulu society, every Royal king has to possess praises. Therefore the praises basically contain historical events. The analysis of the findings reveals that king praises contain largely of the heroic deeds, body features an

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22

Hadebe, Josiah Sillo. "Izwe alithuthuki by Phuzekhemisi as sung in KwaZulu-Natal : maskandi song as social protest analysed as an oral-style text." Thesis, 2000. http://hdl.handle.net/10413/5721.

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23

"排瑤"歌堂儀式"音聲研究". Thesis, 2008. http://library.cuhk.edu.hk/record=b6074472.

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Firstly, while the Yao people inhabit in wide geographic regions stretching across Southern China and South East Asia, even overseas, the Paiyao, a branch of the Yao who inhabits only in the Liannan district of the Guangdong province, is unique not only in their geographical inhabitancy but also cultural characteristics.<br>Secondly, while Yao people's Getang ritual is a wide spread ritual practice with local variations, there has not been any in-depth study on the Getang ritual of the Paiyao people.<br>The significance of this study are Three-fold.<br>The thesis aims to study the soundscape o

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24

Zondi, Nompumelelo Bernadette. "Bahlabelelelani : why do they sing? : gender and power in contemporary women's songs." Thesis, 2008. http://hdl.handle.net/10413/656.

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Certain cultural practices present unspoken questions to women. While women may not be free to state these concerns upfront I argue that they have always had some means of expressing themselves in creative ways about issues that affect them. One issue that is investigated in this dissertation is the question of why women sing. This study, therefore, examines one of the channels, which are songs, that women and rural women in particular employ to deal with their day to day living. To this end I have selected cultural songs as one of the ways of demonstrating how women negotiate their spaces in

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25

Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.

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Text in English<br>This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and wh

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26

Rutstein, Esther. "Jewish folksongs in the Palestinian period : building a nation." Diss., 1997. http://hdl.handle.net/10500/17649.

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The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal

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27

Musungu, Gabriel Joseph. "Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite." Thesis, 2010. http://hdl.handle.net/10500/3680.

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Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The

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28

Moshoetsi, Sifiso Ike. "Guns, spears and pens : the role of the Echo poems in the political conflict in the Natal Midlands." Thesis, 2002. http://hdl.handle.net/10413/3719.

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This thesis sets out to examine the role of the poems in Echo (a supplement to the Natal Witness) that were published between 1986 and 1994. I will be exploring these poems in the light of the political conflict that was taking place between Inkatha, on the one hand, and the United Democratic Front/Congress ofSouth African Trade Unions (UDF/COSATU), and later on the African National Congress (ANC), on the other. The introductory chapter will deal with the scope ofmy research. It will outline what it is that I will be researching and the direction of my research. I will also begin to introduce

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29

Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.

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Accompanying music files attached (mp3)<br>The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music.

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30

Khosa, Hanyani Aubrey. "A descriptive analysis of indigenous Xitsonga music dance compound: A musicological approach." Thesis, 2018. http://hdl.handle.net/11602/1127.

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PhD (African Studies)<br>Centre for African Studies<br>It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for o

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