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Dissertations / Theses on the topic 'Indian music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Nadadur, Kannan Rajalakshmi. "Performing 'religious' music : interrogating Karnatic Music within a postcolonial setting." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/18272.

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This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’

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2

Bandopadhyay, Sanjoy. "Music and Music Star: Promotion and Musical Values. Presentation Focus: Indian Classical Music." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71808.

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3

Magriel, Nicholas Fairchild. "Sarangi style in North Indian art music." Thesis, University of London, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271640.

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4

Woolf, Rachel 1988. "Uncovering Aspects of Western and Indian Music in Vanraj Bhatia's Night Music for Solo Flute, and Selected Other Works." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248444/.

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Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night M

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5

Oppenheim, Michael Hale. "Cross-cultural pedagogy in North Indian classical music." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43062.

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This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted w

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6

Farrell, Gerard James. "Indian music and the west : a critical history." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309508.

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7

Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.

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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.

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8

Samuels, David William. "A sense of the past : music, place, and history on the San Carlos Apache Reservation /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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9

Tjerned, Veronica. "Granatäppleblomknopp : rytm som dramatisk båge." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.

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ABSTRACT How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form? I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative. To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connecte

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10

Cook, Pat Moffitt. "Ghost healer : music healing in a north Indian village /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11230.

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11

Wertheim, Ira O. "Prior Experience and Synchronization to North Indian Alap." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354753664.

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12

Gulati, Sankalp. "Computational approaches for melodic description in indian art music corpora." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398984.

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Automatically describing contents of recorded music is crucial for interacting with large volumes of audio recordings, and for developing novel tools to facilitate music pedagogy. Melody is a fundamental facet in most music traditions and, therefore, is an indispensable component in such description. In this thesis, we develop computational approaches for analyzing high-level melodic aspects of music performances in Indian art music (IAM), with which we can describe and interlink large amounts of audio recordings. With its complex melodic framework and well-grounded theory, the description of

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13

Bora, Menaka. "Globalization, Indianness and neo-traditionality in Indian contemporary experimental music." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/4889/.

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14

Smith, Kelley Lyn. "From Pejuta To Powwow: The Evolution Of American Indian Music." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1593092004.

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In the current climate of American Indian culture in the United States, the impact of the internet on powwow music and the electronic sharing of music has superseded the more traditional sharing of music in Native cultures. Due to the unique history of American Indian cultures, Native music changed, or evolved, from medicinal uses, pejuta, to expressionism, a method in which to cope with and express the effect history has had on the American Indian people and a way in which to bond with one another in these shared experiences. The evolution of Native music is a traditional form of historical p

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15

Kolawole, Gbolahan Cornelius. "The resilience of labrosones in coastal communities bordering the Indian Ocean." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32710.

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The resilience of labrosones bordering the Indian Ocean is an investigation that has gathered and presented both findings and arguments from related scholarship that highlight the distribution of labrosones along the research region and emphasizes their socio-musical significance in sustaining cultural traditions that have helped to define these communities. Conclusions drawn from the distribution study further uncovered the religious, cultural, and social significance of labrosones. These findings were engaged in order to broaden the systematic approach of organology to form a contextual, cul

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Thannoo, Babita. "Mauritian sega music and dance rhythm and creolisation in the Indian Ocean." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595796.

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This thesis examines the Mauritian music and dance form known as sega and its performance of embodied creolisation through rhythm. It argues that sega's Afro-diasporic form encodes a performative history of sacred African presence in Mauritius and the Indian Ocean. This history can be traced to an Indo-oceanic maritime history of contact, trade and settlement that incorporated Mauritius within a regional network comprising East Africa and the wider Indian Ocean. I explore sega's origins in sacred rituals performed by slaves and argue that sega's contemporary secular performance perpetuate sacr

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17

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists

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18

Clayton, Martin. "The rhythmic organisation of North Indian classical music : tal, lay and laykari." Thesis, SOAS, University of London, 1993. http://eprints.soas.ac.uk/29282/.

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North Indian (Hindustani) classical music is remarkable for both the sophistication and the diversity of its rhythmic organisation. Rhythm and metre are controlled by a number of concepts which, although developed over the course of many centuries, have acquired new meaning as a result of radical changes in performance practice over the last century. This work examines the rhythmic organisation of North Indian music on all levels- from large scale performance scheme, to metric structure, to the generation and variation of surface rhythm patterns. It does so by synthesising two research methodo

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19

Jackson, Stephanie Lou. "Beyond Kitsch: A. R. Rahman and The Global Routes of Indian Popular Music." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276889390.

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20

Srinivasamurthy, Ajay. "A Data-driven bayesian approach to automatic rhythm analysis of indian art music." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398986.

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Las colecciones de música son cada vez mayores y más variadas, haciendo necesarias nuevas fórmulas para su organización automática. El análisis automático del ritmo tiene como fin la extracción de información rítmica de grabaciones musicales y es una de las principales áreas de investigación en la disciplina de recuperación de la información musical (MIR por sus siglas en inglés). La dimensión rítmica de la música es específica a una cultura y por tanto su análisis requiere métodos que incluyan el contexto cultural. Las complejidades rítmicas de la música clásica de la India, una de las may

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21

Moore, Darren. "The Adaptation of Indian Carnatic Rhythmic Structures and Improvisation Methods into Drum Set Language and Performance Practice." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367339.

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This research project is a documentation of a developmental journey centered on the incorporation of rhythmic elements from South Indian Carnatic music into an existing musical practice. The research provides an insight into the creative process of learning, adaptation and recontextualization of new musical elements into an existing musical practice that may provide a model and transferable methodology for musicians endeavouring to undertake similar research journeys of musical development. The Adaptation of Indian Carnatic Rhythmic Structures and Improvisation Methods into Drum Set Language a

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22

Govind, Arathi. "It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177203/.

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This thesis concerns the performance of identity in the music of Indian American jazz musicians Rudresh Mahanthappa and Vijay Iyer. In combining the use of Indian classical music elements with jazz, Iyer and Mahanthappa create music that is inextricably tied to their multifaceted identities. Traditional musicological analysis is juxtaposed with a theoretical framework that draws on postcolonial theory and the history of Asian immigrant populations to the U.S. I chronicle the interactions between Indian and Western music and link it to larger issues of Asian American identity formation and acti

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23

Chakraborty, Avishek. "Copyright infringement in hindi and bengali film industry in India: A critical study of the role of indian law enforcement mechanism." Thesis, University of North Bengal, 2017. http://ir.nbu.ac.in/handle/123456789/2691.

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24

Koduri, Gopala Krishna. "Towards a multimodal knowledge base for Indian art music: a case study with melodic intonation." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/402439.

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This thesis is a result of our research efforts in building a multi-modal knowledgebase for the specific case of Carnatic music. Besides making use of metadata and symbolic notations, we process natural language text and audio data to extract culturally relevant and musically meaningful information and structuring it with formal knowledge representations. This process broadly consists of two parts. In the first part, we analyze the audio recordings for intonation description of pitches used in the performances. We conduct a thorough survey and evaluation of the previously proposed pitch

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25

Peri, Deepthi. "Applying Natural Language Processing and Deep Learning Techniques for Raga Recognition in Indian Classical Music." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/99967.

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In Indian Classical Music (ICM), the Raga is a musical piece's melodic framework. It encompasses the characteristics of a scale, a mode, and a tune, with none of them fully describing it, rendering the Raga a unique concept in ICM. The Raga provides musicians with a melodic fabric, within which all compositions and improvisations must take place. Identifying and categorizing the Raga is challenging due to its dynamism and complex structure as well as the polyphonic nature of ICM. Hence, Raga recognition—identify the constituent Raga in an audio file—has become an important problem in music inf

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26

Morris, Anthony Dean. "The transmission and performance of Khyal compositions in the Gwalior gharãnã of Indian vocal music." Thesis, SOAS, University of London, 2004. http://eprints.soas.ac.uk/29200/.

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Traditional accounts of the transmission of compositions in Indian classical vocal music picture them being passed virtually unchanged from generation to generation. Comparison of the renditions of recent Gwalior gharana artists, however, shows that in reality extensive transformations can occur. In this study the transmission and performance of khyal compositions are examined with reference to the Gwalior tradition, taking into account both the views of gharana members and the evidence of recorded performances and notated compositions. Part 1 deals with the historical and theoretical backgrou

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27

Wren, Toby Christopher. "Improvising Culture: Discursive Interculturality as a Critical Tool, Aesthetic, and Methodology for Intercultural Music." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367035.

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This research considers musicians from different cultural backgrounds, improvising together, and ‘improvising’ new musical contexts. It springs from my practice as a composer and improvising guitarist, exploring the borders between South Indian Carnatic music and jazz. The process of collaborating with musicians from different traditions raises questions about the ways that musicians draw on their acquired knowledge in the production of intercultural music: How do musicians from different cultures interpret each others’ musical gestures and negotiate a cohesive performance? At play throughout

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28

Berkowitz, Adam Eric. "Finding a Place for "Cacega Ayuwipi" within the Structure of American Indian Music and Dance Traditions." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096024.

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<p> American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclus

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29

Williams, Matthew Thomas. "The styles of percussionist Bob Becker| Combining and peforming disparate eastern and western musical traditions from Indian tabla and rudimental snare drumming to ragtime." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523326.

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<p> Percussionist Bob Becker is known as an eclectic composer and performer of classical western and world musical styles performed through a wide range of percussive genres. Originally trained to be a classical marimba player and orchestral percussionist, Becker turned his attention to playing music from classical Indian and Ghanaian traditions, as well as the American ragtime xylophone music of George Hamilton Green early in his career during the 1970s. This paper explores Becker's musical training, eclectic and disparate performance repertoire, and his novel and philosophical approaches to

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30

Ola, Adebola Mobolaji. "Cultural interchange along the Indian Ocean during the global middle ages (700- 1500ad): the role of Arabs and Persians in Africa-China musical exchange." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33938.

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The relationship between Africa and China remains one of the most important geopolitical and economic partnerships of the 20th and 21st centuries. The Africa-China relation, although relatively recent, has its foundation in previous relations dating back over 500 years ago. It is against this backdrop of longstanding relations that this research is situated as it aims to trace and examine Africa-China musical exchange between 700-1500AD. The main goal of this research is to answer the following questions: (1) Are there any musical exchange between Africa and China between 700 -1500AD? (2) If t

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31

Stevens, Susan Georgina 1950. "The psychotherapeutic effects of American Indian traditions such as singing, drumming, dancing and storytelling." Thesis, The University of Arizona, 1998. http://hdl.handle.net/10150/278680.

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The Psychotherapeutic Effects of American Indian Traditions Such As Singing, Drumming, Dancing and Storytelling is a thesis comparing the Western Psychotherapeutic view of these activities with the American Indian Literature concerning those artistic actions as well as the American Indian oral tradition and healing ceremonies of the Tlingit, Iroquois, and Sioux and some other Tribes of North American. At different times, some more historic, the two cultural views appear to have many similar psychotherapeutic analyses attesting to the healing qualities of singing, drumming, dancing, and storyte

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Mohkamsing, Narindersing. "A study of rhythmic organisation in Ancient Indian music : the Tāla system as described in Bharata's Nāṭyaśāstra /." Leiden : Universiteit, 2003. http://catalogue.bnf.fr/ark:/12148/cb39141285m.

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33

Cooper, Alexander. "Musical connectivity in sitar and tabla performance." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31235.

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The aim of this dissertation is to define and account for experiences of musical connectivity by exploring the relationship between joint musical action and social experience through a combination of ethnographic and empirical methods. Live sitar and tabla duo performance, in the Hindustānī tradition, forms the focus of the studies. Through its approach and scope, this research contributes to a broadening of knowledge and understanding of how people play music together, and experience varying feelings of 'togetherness' while doing so, from an interdisciplinary, non- Western perspective. The

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34

BRUNING, STEPHANIE A. "THE INDIAN CHARACTER PIECE FOR SOLO PIANO (ca. 1890 - 1920): A HISTORICAL REVIEW OF COMPOSERS AND THEIR WORKS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123179122.

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PERLOVE, NINA MARGARET. "ETHEREAL FLUIDITY: THE LATE FLUTE WORKS OF AARON COPLAND." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053453216.

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36

Rogers, Glenn Andrew. "The application of Konokol to guitar improvisation and composition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1956.

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This dissertation is an exploration of the rhythmic concepts used in two South Indian musical theory concepts, solkattu and konokol. Konokol application largely depends on instrument limitations and musical contexts. The principle focus here is on my personal application of konokol to the guitar both through composed and improvised music. A detailed study of konokol was undertaken through private lessons in India and personal experimentation to determine how these concepts could be adapted to Western improvisation, harmony and composition, as well as right--‐hand classical guitar and plectrum

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37

KESNER, LORI ANN. "KRISHNA MEETS PAN: INDIAN-WESTERN FUSION IN TWO WORKS FOR FLUTE AND HARP BY RAVI SHANKAR AND JOHN MAYER." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1154446863.

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38

Sastry, Avinash. "N-gram modeling of tabla sequences using Variable-Length Hidden Markov Models for improvisation and composition." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42792.

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This work presents a novel approach for the design of a predictive model of music that can be used to analyze and generate musical material that is highly context dependent. The system is based on an approach known as n-gram modeling, often used in language processing and speech recognition algorithms, implemented initially upon a framework of Variable-Length Markov Models (VLMMs) and then extended to Variable-Length Hidden Markov Models (VLHMMs). The system brings together various principles like escape probabilities, smoothing schemes and uses multiple representations of the data stream to c

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39

Pope, Lindsay (Choral conductor). "Beyond the Binary: The Intersection of Gender and Cross-Cultural Identity in Reena Esmail's Life and Choral Works." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505203/.

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Beyond the Binary explores the intersection of gender with cross-cultural identity in composer Reena Esmail's professional life and choral music. This intersection manifests in her musical style, which accesses the resonant spaces between Western and Indian classical music. I argue that it is through the convergence of Esmail's gender identity with her cross-cultural identity that her compositions challenge gender norms and break down perceived barriers between East and West, inviting her listeners into an intersectional feminist space. This project synthesizes musicological, theoretical, and

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40

Salamon, Justin J. "Melody extraction from polyphonic music signals." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/123777.

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Music was the first mass-market industry to be completely restructured by digital technology, and today we can have access to thousands of tracks stored locally on our smartphone and millions of tracks through cloud-based music services. Given the vast quantity of music at our fingertips, we now require novel ways of describing, indexing, searching and interacting with musical content. In this thesis we focus on a technology that opens the door to a wide range of such applications: automatically estimating the pitch sequence of the melody directly from the audio signal of a polyphonic music re

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Burgess, Stephanie J. "Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5196.

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Pacavar, Emina. "Kulturell appropriering i musikvideos : Med fokus på den indiska kulturen och den amerikanska urbefolkningens kultur." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-37269.

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This research will study cultural appropriation that is presentable in 2010th music videos by famous artists/bands like Coldplay, Beyoncé, Lana Del Rey, No Doubt and Iggy Azalea. The term cultural appropriation is about the taking over of practices, artistic forms or themes from usually a minority culture. The focus will lay on two different cultures, Indian culture and Native American culture. I will with the help of researchers like Erich Hatala Matthes and James. O Young argue the harms of cultural appropriation, where I will include bell hooks to supports my arguments. My task will also be

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Kaehne, Jake Robert. "The Path of the Wind: An Instrumental Bridge across Cultures through the Native American Flute." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460054559.

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Schmidt, Markus. "Ästhetik und Emotion in der nordindischen Kunstmusik." Osnabrück epOs Music, 2006. http://www.epos.uni-osnabrueck.de/music/templates/buch.php?id=71.

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Moreira, Gabriel Ferrão. "O elemento indígena na obra de Villa-Lobos: observações músico-analíticas e considerações históricas." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/1587.

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Made available in DSpace on 2016-12-08T17:06:52Z (GMT). No. of bitstreams: 1 gabriel1.pdf: 7615917 bytes, checksum: 9bd71bdba3f6aecbf12f2b5e52854616 (MD5) Previous issue date: 2011-02-22<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This research is mainly aimed to discuss, through music analysis and bibliographical studies the ways in which Heitor Villa-Lobos developed his compositional structures using indigenous elements and built a facet of his style very characteristic, pointing to the Brazilianness through the exotic and wild. Assuming that there is a peculiar way o

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Nowak, Florence. "Regional music goes digital : challenges of the Garhwali music industry (North India)." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0668.

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Ma thèse porte sur l'industrie musicale du Garhwal, une région himalayenne de l'Inde du Nord. Une importante production en dialecte local étiquetée « garhwali music » ou « garhwali geet » s'y est développée depuis les années 1950, d'abord sous forme de cassettes, puis de disques compacts et de clips vidéo ; mais après un développement important de la diffusion numérique dans les années 2000, la production semble à présent être entrée en crise. Concomitamment, la création de l'état d'Uttarakhand en 2001 a suscité la mise en place d'une politique culturelle régionale, tandis que la généralisatio

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Thompson, Gordon Ross. "Music and values in Gujarati-speaking Western India." An electronic book accessible through the World Wide Web; click for information, 1987. http://proquest.umi.com/pqdweb?did=753729281&sid=1&Fmt=2&clientId=78910&RQT=309&VName=PQD.

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Jones, Eric. "In-between Music: The Musical Creation of Cholo Identity in Cochabamba, Bolivia." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3957.

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Hyman, Brent A. "Choral repertoire selection experiences required of undergraduate choral music education majors at selected Indiana universities." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1540701.

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This study investigated the repertoire selection experiences that undergraduate choral music education majors are given at two different universities in Indiana. The lives of the instructors who teach undergraduate choral music majors how to select repertoire were examined with the goal of getting a better understanding of what life experiences may have influenced their decisions about the types of repertoire selection activities they would require of their students. Both instructors give their students repertoire selection experiences; however, their life experiences and current teaching situ

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Castro, J. Justin. "Music heard deeply : song and ethnic interaction in the Cherokee Ozarks /." Read online, 2008. http://library.uco.edu/UCOthesis/CastroJJ2008.pdf.

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