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Dissertations / Theses on the topic 'Latin American Folk songs'
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1
Mowery, Samantha. "Stephen Foster and American song a guide for singers /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.
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Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.
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Thesis (M.A.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.
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Ward, Marilyn. "The extent to which American children's folk songs are taught by general music teachers throughout the United States." [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000820.
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Baltagi, Ibrahim H. "Relationships among folk song preferences of grade five students." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.
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Oyola, Rebaza Zoraida Alfonsina. "A collection of Peruvian and other South American folk songs adapted for teaching violoncello." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/2254.
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This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students.
The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.
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Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.
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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.
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Burns, Carolyn Diane. "The relevance of African American singing games to Xhosa children in South Africa a qualitative study /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.
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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.
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Kanaridis, Mina, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Investigating a singing voice in diverse genres and styles : a discussion of context and process." THESIS_CAESS_CAR_Kanaridis_M.xml, 2002. http://handle.uws.edu.au:8081/1959.7/241.
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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and selected examples of scores are included to illustrate the findings. The discussion concludes with a synthesis of context and process within the framework of a global perspective celebrating diversity.Master of Arts (Hons)
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Santiago-Saavedra, Fanny V. "Understanding the nature of Puerto Rican folk health practices through the healers perceptions and the somatic assumptions." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1092853553.
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Brown, Stacy Suzanne. "Curanderismo: Teresa Urrea and the Legacy of Dissent." Thesis, Boston College, 2008. http://hdl.handle.net/2345/527.
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Thesis advisor: Dwayne E. CarpenterThe thesis offers an introduction to curanderismo and a critical analysis of the legacy of nineteenth century curandera and folk saint Teresita Urrea. The daughter of an indigenous servant in rural Mexico, Teresita ultimately became an icon of powerful social influence, a political threat to the Mexican dictatorship, a harsh critic of formalized medicine, and an enemy of the Catholic Church. Her legacy, however, is nuanced by her complex and, at times, contradictory life
Submitted to: Boston College. College of Arts and Sciences
Discipline: Romance Languages and Literature
Discipline: College Honors Program
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Rondón, Tulio Jose. "Cultural hybridization in the music of Paul Desenne: An integration of Latin American folk, pop and indigenous music with Western classical traditions." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/267912.
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This project is an analytical and comprehensive study of the music of Venezuelan composer Paul Desenne, concentrating on his sonata, 'Jaguar Songs' for cello solo, written in the year 2002. The sonata, 'Jaguar Songs,' was written for French cellist Iseut Chuat and received the premiere performance by the composer Paul Desenne the following year in London. This sonata is a perfect tool for understanding Desenne's work and what I call his musical hybridization, which I consider to be a groundbreaking compositional style that will shape not only Venezuela's, but also Latin America's musical identity. After several personal interviews with the composer, I was able to deepen my understanding of his work. In the following pages I have analyzed 'Jaguar Songs' for cello solo and explained the influences and characteristics of Desenne's music.
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Ortiz, Camille. "Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984247/.
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Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.
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Mendoza, Marisa B. "Canciones del Movimiento Chicano/Songs of the Chicano Movement: The Impact of Musical Traditions on the 1960s Chicano Civil Rights Movement." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/129.
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This thesis analyzes resistance songs as key representations of the identity and political formation that took place during the 1960s Chicano movement. Examining particular musical traditions, this thesis highlights the value of placing songs of the Chicano struggle in national narratives of history as well as in the context of an enduring and thriving legacy of political and social activism that continues to allow the Chicano community to recognize and validate their current social realities.
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Carballo, Erick. "De la pampa al cielo : the development of tonality in the compositional language of Alberto Ginastera /." Link to electronic version Proquest document ID: 1288649231 Publication number: AAT 3254318 Electronic version, 2006. http://proquest.umi.com/pqdlink?did=1288649231&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.
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Thesis--Indiana University, 2006.Computer printout. "While the present study will focus specifically on the evolution of tonality in Ginastera's compositional style, I begin by surveying the small body of general scholarship pertinent to Ginastera, starting with his own published comments. This critical survey serves two purposes: it provides a general overview of the scholarship to date regarding Ginastera; and it demonstrates the shortcomings of that scholarship in relation to the study of tonality's evolution in Ginastera's music--hence the rationale for the present study."--Leaves 1-2. Includes bibliographical references (leaves 269-284), abstract, and vita.
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Minonne, Francesca. "“Yo Soy Joaquín Murrieta”: Los múltiples rostros de Joaquín a través del espacio y el tiempo." Oberlin College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1243514276.
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Abe, Shoko. "Two Argentine Song Sets: A Comparison of Songs by De Rogatis and Ginastera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248378/.
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Latin American classical vocal repertoire is vast, but in the United States, we only hear a fairly limited part of this literature. Much of this repertoire blends western European classical music traditions and native folk music traditions. One example of such a Latin American vocal work that is well-known in the United States is Alberto Ginastera's frequently performed song set from 1943, Cinco canciones populares argentinas. However, another lesser-known, earlier work, Cinco canciones argentinas (1923), by fellow Argentine composer Pascual De Rogatis (1880-1980) deserves attention as well. As with Ginastera's set, De Rogatis' songs are based on Argentine folk genres, but contain stylistic features of European classical music of its time. De Rogatis' neglected songs are a significant, overlooked part of Argentine classical music history, and a full understanding of well-known works such as Ginastera's song set and of the genre as a whole, must include attention to De Rogatis' Cinco canciones argentinas. Beyond vocal repertoire, De Rogatis' songs are an important part of the development of Argentine classical music. While Western musical trends change rapidly, folk music remains largely unchanged. Both De Rogatis and Ginastera were proud of their Argentine heritage, and incorporated traditional music into their compositions. I believe that De Rogatis's composition had a direct influence on Ginastera, and that the similarities between the two sets are not coincidental.
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Collins, Lindsey Ellison. "Post-Revolutionary Mexican Education in Durango and Jalisco: Regional Differences, Cultures of Violence, Teaching, and Folk Catholicism." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2722.
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This thesis explored a regional comparison of education in post-revolutionary Mexico. It involved a micro-look into the relationship between violence, education, religion, and politics in the states of Durango and Jalisco. Research methods included primary sources and microfilms from the National Archives State Department records related to education from the internal affairs of Mexico from 1930-1939 from collection file M1370. It also utilized G-2 United States Military Intelligence reports as well as records from the British National Archives dealing with church and state relations in Mexico from 1920-1939.
Anti - clericalism in the 1920’s led to violent backlash in rural regions of Durango and Jalisco called the Cristero rebellion. A second phase of the Cristero rebellion began in the 1930s, which was aimed at ending state-led revolutionary secular education and preserving the folk Catholic education system. There existed a unique ritualized culture of violence for both states. Violence against state-led revolutionary secular educators was prevalent at the primary and secondary education levels in Durango and Jalisco. Priests served as both religious leaders and rebel activists.
At the higher education level there existed a split of the University of Guadalajara but no violence against educators. There existed four competing factions involved in this intellectual battle: communists followed Marx, anarchistic autonomous communists, urban folk modern Catholics, and student groups who sought reunion of the original university.
This thesis described how these two states and how they experienced their unique culture of violence during the 1930s. It suggested a new chronology of the Cristero rebellion. This comparison between two regions within the broader context of the country and its experiences during the 1930s allowed for analysis in regards to education, rebellion, religion, and politics.
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Panfalone, Anthony Vincent. "Formations of death : instrumentality, cult innovation, and the Templo Santa Muerte in Los Angeles." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6e4824c3-0960-4731-b44f-bd7bd50c066f.
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This thesis examines the Templo Santa Muerte in Los Angeles, a small, loosely organized spiritual group dedicated to the veneration of La Santa Muerte, or the Holy Death. Although originating in the urban barrios (neighborhoods) of Mexico City, Santa Muerte is now venerated in the southwestern United States as well, primarily among working-class Mexican Americans. Although Santa Muerte has been condemned by the Catholic clergy and vilified in mass media and popular culture for its ties to crime and gang violence, my fieldwork at the Templo Santa Muerte demonstrates that not all devotees of Santa Muerte can be characterized in this way. For Templo members, Santa Muerte is foremost a supernatural instrument whose appeal is in large part derived from her singular commitment to satisfying their corporeal needs and material wishes. While this quality is also attributed to many Catholic saints, Santa Muerte is believed to operate independently of Church orthodoxy and is viewed to be more powerful because of this. The Templo Santa Muerte, on the other hand, incorporates some features of formal Catholic liturgy while simultaneously organizing its services around the individual petitions of its members. In doing so, the Templo’s founders maintain an effective balance between liturgical features familiar to their mostly Catholic members and the fundamentally instrumental relationship they have with Santa Muerte. I argue that this balance is central to the appeal of the Templo and to the logic of its founders, who took advantage of the tolerant and diverse cultural atmosphere of Los Angeles to establish a spiritual enterprise that is truly the first of its kind. My methodology and theoretical approach acknowledges this, favoring an ethnographic examination grounded in respondent testimonies, direct observations, and relevant ethnohistorical interpretations of the symbolism and ritual behavior associated with Santa Muerte. At its most general, my analysis of the cult and Templo of Santa Muerte is framed around three separate but mutually interactive and informative dimensions: the instrumental and social manifestations of the cult and Templo, respectively, and the structuring influence that Catholic soteriology and cultural materialism exerts over both.
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Monsalve, Mejía Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.
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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.
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Owen, Ceri. "Vaughan Williams, song, and the idea of 'Englishness'." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.
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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.
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Hsu, Chieh, and 徐婕. "The Using of Latin American Folk Element for Shoes and Bags Design." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/16608931886560968738.
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碩士嶺東科技大學
流行設計研究所
98
The inspiration of this collection was originally from Latin American cultural component, in terms to apply this idea onto the work of shoe and bag design; thus, the ultimate goal is to create a unique product collection with cultural element and fashion conscious. This report will deliver the process with a holistic research work on Latin-American culture arts, color, and spirit; furthermore, along with an analysis which will be focused on current market products with similar concept. At the end of this paper, this report will present readers the details and design style about this collection which is inspired by Latin-American culture. This project has been completed with three processes: the decision of making up the design work topic, development of this collection (including material purchasing process), last but not least, a presentation with a catwalk show.
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"Modern Latin American Repertoire For Classical Saxophone: A Recording Project and Performance Guide." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14381.
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abstract: During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America.Dissertation/Thesis
D.M.A. Music 2011
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Camann, Mark David. "David Guion's vision for a musical Americana." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2349.
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American composer David Guion (1892-1981) created and expressed in much of his music a unique and unmistakably American voice. Though he is remembered today mostly for piano pieces, especially Turkey in the Straw and Arkansas Traveler, he was famous for championing cowboy songs, African-American spirituals and folk songs as the truly authentic representations of the American experience. He also wrote many original works, including a substantial number of songs in Black dialect. In 1930 Guion starred in a cowboy show at the Roxy Theatre in New York, drawing upon his western-themed music. The next year he had a weekly radio show, broadcast around the country and featuring his music exclusively, with the title Hearing America with Guion. He played a substantial role in transforming Home on the Range into the best-known of all cowboy songs. His magnum opus, the ballet Shingandi, was highly regarded but has yet to be recorded.
This dissertation examines those genres among Guion’s compositions that reveal his vision for a musical Americana. Much of his music is based on songs that circulated first in oral tradition before he adapted them for the concert stage. This dissertation surveys the breadth of the oral tradition of these songs, identifies his direct sources, and examines his treatment of melody, rhythm and harmony as he infused his music with such characteristic national flavor that his audiences were, in effect, “Hearing America.”
A complete list of Guion compositions is attempted, and to the extent possible, probable dates of composition are established from recital programs and publication agreements. The scripts of his radio shows are reconstructed from papers in his archives and presented here.text
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"African Healing in Mexican Curanderismo." Master's thesis, 2016. http://hdl.handle.net/2286/R.I.38422.
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abstract: The worldviews and associated healing traditions of West and West Central sub-Saharan Africans and their Afro-Mexican descendants influenced the development of curanderismo, the traditional healing system of Mexico and the Southwest United States. Previous research on curanderismo, e.g. Colson (1976), Foster (1987), Ortiz de Montellano (1990), and Treviño (2001), generally emphasizes the cultural contributions of Spanish and Mesoamerican peoples to curanderismo; however, little research focuses on the cultural contributions of blacks in colonial Mexico.
Mexico had the second-largest enslaved African population and the largest free black population in the Western Hemisphere until the early nineteenth century (Bennett 2003:1). Afro-Mexican curanderos were regularly consulted by members of every level of Spanish colonial society (ibid:150, 165, 254–55; Restall 2009:144–45, 275), often more commonly than indigenous healers (Bristol and Restall 2009:174), placing Afro-Mexican curanderos “squarely in the mainstream of colonial curing practices” (Bristol 2007:168). Through analysis of literature on African medicine, enslaved Africans in colonial Mexico, and Afro-Mexican healing practices, I suggest that the ideas and practices of colonial blacks played a more important role in the formation and practice of curanderismo than previously acknowledged. The black population plummeted after Mexico gained its independence from Spain in 1821 CE; however, through analysis of African-American, Afro-Caribbean, and Afro-Latino religious and healing traditions, La Santa Muerte, and yerberías and their products in twentieth and twenty first century Mexico, I suggest that black healing traditions continued to influence curanderismo throughout Mexico’s history.Dissertation/Thesis
Masters Thesis Religious Studies 2016
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Procházková, Mariana. "Bob Dylan v kontextu amerického protestsongu." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-333318.
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The tradition of protest songs in the United States is a continuum, which began in colonial times with the British Broadside Ballads, was nurtured in the 19th century through the Negro spirituals, and throughout the 20th century by performers such as Joe Hill, Woody Guthrie, Pete Seeger, and Bob Dylan. Out of necessity, blacks developed strategies of veiled protests to a fine art during the 19th century. The perennial cause of the black protest was the status forced on them by white supremacists. The spirituals encouraged them to persevere in their efforts to free themselves from the shackles of slavery. Many of the spirituals were modified in the 1950s to accommodate the needs of the Civil Rights Movement. This appropriation of the Southern rural folk music tradition was the genesis of a phenomenon which has become known as the American folk music revival. The foremost figure of the movement was Woody Guthrie, the author of "This land is Your Land." Guthrie is cited as major influence on his disciple Bob Dylan, who was pronounced the folk messiah of the folk circles. This paper seeks to determine whether Dylan was, in contrast to his assertions, a topical songwriter writing about particular events or whether he was in fact an apolitical artist, whose personal insight and feelings simply happened to fit the...
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Azcona, Stevan César 1972. "Movements in Chicano music : performing culture, performing politics, 1965-1979." 2008. http://hdl.handle.net/2152/17735.
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More than a confined account of the musical activity of the Chicano Movement, my research considers Chicana/o music of the period as a critical part of the protest music genres of Latin America (eg. Nueva canción, canto nuevo) and the Unites States (eg. labor/union and civil rights songs). Consequently, although situated squarely within the context of the Chicano Movement, this project necessarily examines the musical yet political links between Chicano musicians and their counterparts in the American labor movement, Civil Rights Movement, and Latin American social movements of the period. Coupled with the mobilization of their own Mexican musical and cultural traditions, Chicano musicians engaged these other repertoires of struggle to form the nexus of Chicana/o musical expression during the Movement. By viewing Chicana/o music within this broader lens, my research demonstrates that the complexities of the movimiento and Chicana/o political struggle cannot be adequately understood without thinking about how Chicano cultural producers engage a diversity of other race, ethnic, and regional struggles. Rather than assume a homologous relationship between music and identity, my research historicizes musical practices in the context of their struggle for political, social, and cultural rights and resources and the strategies employed by diverse communities working together to overcome the failures of governmental and institutional programs. The creative dialogues and musical exchanges that occurred among Chicano musicians suggest not only forms of ethnic solidarity but also the culturally “hybrid” expressions that shape even nationalist movements. Key to this approach is recognizing the simultaneously global and local character of Chicana/o musical production, where the flows of transnationalism circulated not only ideas, peoples, and sounds, but also political struggles. This project thus raises a number of critical questions about Chicano Movement music and its political import. Ultimately, I suggest that it was the ability to perform authoritatively within the bi-cultural and increasingly transnational space of the Chicano experience that empowered movimiento music to express the feelings of autonomy engendered by the Movement.text