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Hathaway, Christopher M. "Themes of Social Justice in the Choral Music of Jake Runestad." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248404/.
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With his thought-provoking and socially relevant music, American composer Jake Runestad has quickly become one of the most performed choral composers of the 21st century. Although music and social justice have been tied together for centuries, there is a new movement bringing social justice to American choral music in a noticeably increased manor, and Jake Runestad is a leading composer in this movement. In this paper, I provide a detailed analysis into the social justice themes employed by Runestad, interviews with him and several well-respected American choral directors programming and commissioning his music, as well as compositional devices employed within his compositions. The purpose of this study is to show Jake Runestad's place as an American choral composer by offering a historical overview of the social justice themes in American music and Western choral music separately. I will then narrow the scope to Jake Runestad, who since 2013 has been using his choral music to bring awareness to human inequalities within the United States today.
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Eaddy, Jack A. Jr. "Social Consciousness in Wind Band Music of the Early 21st Century, Represented through a Study of Three Wind Band Works: Symphony No. 2-Migration by Adam Schoenberg, Silver Lining-Concerto for Flute and Wind Ensemble by Frank Ticheli, and Of Our New Day Begun by Omar Thomas." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538741/.
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The wind band provides an outlet for composers to use their platform to reach performers, enlighten audiences, and heal communities. This document is an analysis of three composers' approach to incorporate social consciousness in their wind band music. Adam Schoenberg, Omar Thomas, and Frank Ticheli work with specific social justice issues to respond to specific events, allowing them to reach and empower performers and audiences, to heal, thrive and build past these events. The chapters contain each composer's biographical information, then provide detailed information of the three works; background and cursory information, the composer's use and understanding of the social justice issue and an extensive analysis of each work. The composers use compositional design techniques to convey their intent to share a specific message. This document provides insight through each composer's techniques and thought processes, providing a better understanding of the works. The knowledge gained will help conductors and performers understand social consciousness in wind band music.
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Manderson, Desmond. "Songs without music, aesthetic dimensions of law and justice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq30435.pdf.
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Lanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Artiss, Thomas Murdoch. "A social life of songs : Inuitness and music in Nain, Labrador." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707941.
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Haas, Benjamin D. "Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9777.
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Safran, Benjamin. "SOUNDING STRATEGY: COMPOSERS’ USES OF SOCIAL JUSTICE AND POLITICAL THEMES IN CONTEMPORARY CLASSICAL CONCERT MUSIC." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/570955.
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Music CompositionPh.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which I discuss). Concurrently with my research, I composed a large-scale experimental work to be used in a protest to demonstrate the potential for contemporary classical music to support nonviolent movements. I organized a pilot performance that brought together music students and community members in the lobby of a large utility headquarters as part of an ongoing campaign for local green jobs in Philadelphia.
Temple University--Theses
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Laux, Katie M. "Songs in the key of protest how music reflects the social turbulence in America from the late 1950s to the early 1970s /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1184767254.
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Vaillancourt, Guylaine. "Mentoring Apprentice Music Therapists for Peace and Social Justice through Community Music Therapy: An Arts-Based Study." [Yellow Springs, Ohio] : Antioch University, 2009. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1255546013.
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Thesis (Ph.D.)--Antioch University, 2009.Title from PDF t.p. (viewed March 26, 2010). Advisor: Carolyn Kenny, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009."--from the title page. Includes bibliographical references (p. 263-277).
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Laux, Katie. "SONGS IN THE KEY OF PROTEST: HOW MUSIC REFLECTS THE SOCIAL TURBULENCE IN AMERICA FROM THE LATE 1950S TO THE EARLY 1970S." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1184767254.
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Gitonga, Priscilla Nyawira. "Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.
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This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - An overview of the Kenya of today, in particular that of the diverse and hybrid ethnic, linguistic, musical and cultural practices of Nairobi, and of the various youth cultures in that city, as well as in an overview of the extent of the HIV/Aids pandemic in Kenya, especially amongst the youth of Nairobi, with some reflection on existing interventions. - An overview of current trends in popular music analysis and an explanation of the author’s own eclectic semiotic analytical methodology within this context. The study concludes that a repeating strategy may be discerned on the part of the composers and performers in question, namely, to first engage audiences through language and music with which they are familiar, and then to encourage audiences to confront the unknown and unfamiliar in music and language, but also ultimately in terms of their social practices. The known and the familiar is highlighted both in the lyrics and in the music itself. It includes use of commonlyspoken languages and dialects, popular musical styles typical of the particular sub-culture, and references to the day-to-day experiences of the ordinary person.
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Miller, Ashley M. "Analyzing Songs Used for Lyric Analysis With Mental Health Consumers Using Linguistic Inquiry and Word Count (LIWC) Software." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/88.
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Lyric analysis is one of the most commonly used music therapy interventions with the mental health population, yet there is a gap in the research literature regarding song selection. The primary purpose of this study was to determine distinguishing linguistic characteristics of song lyrics most commonly used for lyric analysis with mental health consumers, as measured by LIWC2015 software. A secondary purpose was to provide an updated song list resource for music therapists and music therapy students working with the mental health population. The researcher emailed a survey to 6,757 board-certified music therapists, 316 of whom completed the survey. Respondents contributed 700 different songs that they deemed most effective for lyric analysis with mental health consumers. The researcher used the LIWC2015 software to analyze the 48 songs that were listed by five or more music therapists. Song lyrics contained linguistic indicators of self-focused attention, present-focused attention, poor social relationships, and high cognitive processing. Lyrics were written in an informal, personal, and authentic style. Some lyrics were more emotionally positive, while others were more emotionally negative. While results must be interpreted with caution, it may be helpful to consider linguistic elements when choosing songs for lyric analysis with mental health consumers.
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Mphaphuli, Murembiwa Julia. "Tsenguluso ya kubveledzele kwa ndeme ya nyimbo dza sialala dza Vhavenda." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1240.
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Thesis (MA. (African Languages)) --University of Limpopo, 2013Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.
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Maxfield, Mary. "The Safety Net: Troubling Safe Space as a Social Justice Aim." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460105175.
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Chaplin-Kyzer, Abigail. "Searching for Songs of the People: The Ideology of the Composers' Collective and Its Musical Implications." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157558/.
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The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."
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Dapcic, Samantha. "John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538657/.
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The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.
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Crowl, Justin Nicholas. "An Analysis of Music and Its Influence on Adult Lifestyle Choices and Behavioral Tendencies." Youngstown State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1254324107.
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Davids, John W. R. "Engaged scholarship at the South African College of Music of the University of Cape Town: An exploratory study of the perceptions and practices of full-time music academic staff." Master's thesis, Faculty of Humanities, 2018. https://hdl.handle.net/11427/32091.
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Debates concerning the concept of 'engaged scholarship’ (ES) in terms of university-society connectivity have become part of the discourse within the shifting South African higher education landscape after 1994. Given the legacy of historical inequalities continuing to permeate all spheres of South African society including higher education, the idea of social-justice-centred engaged scholarship forms the main thrust of the narrative in this thesis. Furthermore, with music inherently geared towards societal engagement, and 'engaged scholarship’ included in UCT’s latest Social Responsiveness Policy Framework, this thesis critically examines the ES responses - in terms of their perceptions and practices - of music academics at the SACM in post-1994 South Africa.
The opening chapter outlines the largely two-pronged research methodology approach pertaining to the analysis and findings of: (1) literature and documents, and (2) in-depth interviews of a representative sample of full-time SACM music academics. Chapter 2 provides a historical sociology unpacking the ES concept as part of an emergent University Third Mission. With developments largely unfolding at American universities, the first part of Chapter 2 shows the development of ES as essentially following two routes. Firstly the Triple Helix notion of university-industry-government (U-I-G) relations since the mid-20th century, identified by Etzkowitz as a 'Second Academic Transformation’ grafted on an earlier 19th century 'First Academic Transformation’ which began in Germany. Then secondly, in the 1990s a broadened view of scholarship aimed at making universities more relevant to the needs of society (i.e. via U-CS or university-civil society links) proposed by Boyer.
With the issue of an emergent University Third Mission also entering the South African higher education discourse after 1994, the second part of Chapter 2 highlights conceptual confusion by considering policy and conference debates on 'community engagement’ (CE), the preferred expression for university-society relations in South Africa. Unfolding developments at UCT however have resulted in a discourse of ES becoming integral to this university’s Social Responsiveness Policy Framework after 2012. Moreover with social justice largely absent from CE discourse and the Triple Helix, Cooper has proposed a Quadruple Helix whereby civil society is added as fourth helix (i.e. resulting in U-I-G-CS). The approach of this study, therefore, explores the concept of a social-justice-centred engagement (outlined in part three of Chapter 2) with which it strongly resonates.
Chapter 3 focuses attention on the milieu and ethos of UCT and the SACM, putting SACM music academics, part of an elite historically 'white’ university, in perspective. This highlights the entrenched hegemony of the historically 'white’ European settler institutional culture and 'orphan’ status of music indigenous to Africa at the SACM. Against this backdrop Chapter 4 provides a snapshot of the ES perceptions and practices of SACM music academics derived from the in-depth interviews. Importantly, with music largely absent from ES discourse, including at UCT, the critical analysis of the narratives of music academics form the basis for this thesis creating four music-specific ES categories in this chapter, and a proposed typology of music-specific ES in Chapter 5.
In addition, a particularly important finding in Chapter 5 depicts the SACM as probably the most engaged UCT department, mainly displaying elements of the Quadruple Helix (U-I-G-CS), but with this engagement significantly skewed towards largely 'white’ civil society. Moreover, given the historically Eurocentric ethos of the SACM, western classical music has retained its uncontested hegemony (including within the SACM student curriculum) despite the introduction in the 1980s of new streams of non-western classical music, including music indigenous to Africa. With reference to ES, the engagement of the majority of SACM music academics was, furthermore, found overwhelmingly to be with the elite social classes. However, 'black’ academics were significantly more engaged with the 'black’ working class than their 'white’ counterparts.
Considering the core findings above, pathways enabling the development of more balanced SACM-society relationships, particularly with the 'black’ working class majority have been proposed in the concluding chapter. A crucial recommendation is the decolonisation of the institutional culture and curriculum of the SACM, thereby restoring the former 'Other’, to 'Self’. These being spaces outside the comfort-zone of most music academics, it is suggested that music-specific ES research, potentially able to shift embedded reasoning, should become integral to the decolonisation process.
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Yafele, Anki. "Musik, förändring och framtidsdrömmar : En kvalitativ studie av det sydafrikanska musikutbildningsprojektet, Acess Music Project." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67374.
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This study is an examination of how a music education that is run by a NGO, Non Governmental Organisation, in South Africa works. The organisation Arkwork for Art NPC, and their artistic programme Access Music Project, AMP, based in Grahamstown in Eastern Cape province, works as an case study. This study shows what different opportunities and challenges are of the work with the project and describes who the young participants enrolled in the project are and how they experience the music education. Further more this work explore the relationship between music education and social justice. Information was gathered through qualitative semi-structured interviews with the participants and project founder and leadership of the project. Partly information also was gathered through unstructured observations. The result shows that Arkwork for Art is filling an important gap where the government lack resources to offer music education for youth in marginalised communities. The organisation struggle with many things, most difficult for them is to get stable funding. AMP have many big future plans and want for instance to change the curriculum of music education in the future. My examination shows that the participants are very satisfied to be a part of AMP and that the project has an important role in their lifes and the community where they are based.
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Gibbs, Levi Samuel. "Song King: Tradition, Social Change, and the Contemporary Art of a Northern Shaanxi Folksinger." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371429829.
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Lively, Beth. "Mediated depictions of child physical abuse : a narrative analysis." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864925.
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In recent years, the media have publicized the social problem of physical child abuse. This study examined three artifacts of physical abuse: the children's book Robin's Story, the popular song "Luka," and the television documentary Scared Silent: Exposing and Ending Child Abuse. Chapter One described each artifact and provided a literature review which detailed the writings about physical child abuse and artifacts discussing this topic. The chapter then posed research questions about how the artifacts viewed abused children and their abusers, the causes of abuse, and the solutions proposed for ending physical abuse.Chapter One finally discussed the narrative framework of rhetorical analysis used to examine the three artifacts. The narrative method used in this analysis employed three steps: 1) An examination of narrative structure, which discussed the plot of the story, the crucial points of the story and the events which supplemented those points, and the steps of breach, crisis, redress, and reintegration in the narrative; 2) An examination of narrative rationality, which talked about the completeness and true to life quality of the story and evaluated the reasons the rhetors gave for following the course of action endorsed by the story; and 3) An examination of narrative standards, including truth standard or how the narrative compares with what the audience believes is true; aesthetic standard or the grammar, setting, and characterization within the story, and ethical standard or the values expressed within the narrative. Chapter Two applied this framework to the children's book Robin's Story. Chapter Three viewed the popular song "Luka" through the narrative framework. Chapter Four discussed the documentary Scared Silent in terms of narrative analysis.Chapter Five then discussed the conclusions of the analysis for each artifact, artifacts discussing physical abuse, and for rhetoric. Some of the conclusions reached were that artifacts discussing physical child abuse should attempt to make their stories universal, that such artifacts need to distinguish between abuse and physical punishment, and that artifacts dealing with this problem must provide concrete courses of action to end physical abuse. This analysis concluded that, while narrative analysis provided the answers to the research questions, this framework needs to be made into a concrete method of rhetorical analysis to ensure that narratives are effectively evaluated. Narrative analysis was positive in this analysis, however, in that it supported the definitions of rhetoric as value, epistemology, motive, drama, meaning, and argument. This analysis found that, to end the problem of physical child abuse, rhetors must work with experts in this field and tailor artifacts from different perspectives to various audiences using different forms of media.Department of Speech Communication
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Escalante, Samuel. "When Does Race Matter in Music Education?: An Exploration of Race, Racial Hegemony, and Predominantly Latinx Secondary Music Programs through the Theory of Racial Formation." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609151/.
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Latinx students are underrepresented among high school music students in the United States, nationally. However, localized demographics in some parts of the country reveal secondary music programs that are comprised nearly entirely of Latinx students. Still, the experiences of such a large and racially marginalized population as Latinx students remain under-researched in the field of music education. To explore how Latinx racial identity may inform the experiences of Latinx music students and their music teachers, I conducted a post-qualitative study of students and teachers in music classes at large secondary schools in which the Latinx population is 95 percent or more. Data were collected through in-depth, semi-structured interviews with music students and their teachers. To guide my thinking on the role of race in the lives of the participants, I incorporated Omi and Winant's (2015) theory of racial formation throughout the data analysis. Overall findings indicated that race informs much of the experiences of the participants in varying, sometimes subtle ways. Through racism, racial resistance, the formation of racial identity, and the incorporation of both colorblind ideology and race consciousness, the participants provided nuance as to how we may regard the role and significance of race in music education. Implications for developing a racial-justice-oriented paradigm in music education are also discussed.
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Drewett, Michael. "An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.
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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.
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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
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Erenrich, Susan J. "Rhythms of Rebellion: Artists Creating Dangerously for Social Change." Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.
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Black, Taiarahia. "Kāore te aroha-- : te hua o te wānanga : a thesis presented for the degree of Doctor of Philosophy in Māori Studies at Massey University, Palmerston North, Aotearoa, New Zealand." Massey University, 2000. http://hdl.handle.net/10179/1117.
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Te Ora Ē noho anā nō i te koko ko Ōhiwa, kia whakarongo rua, Aku taringa ki te Tai o tuarā e o Kanawa, E āki ana mai ki uta r o Ōhakana. Ki te whānau a Tairongo, Kai Tāuwhare rā ko te kopua-o-te ururoa, Ko te kai rāria noa mai te raweketia e te ringaringa, Me whakarangi-pūkohu e au ki Tītītangi ao ki te Te Aitanga-ā-Wheturoa, Kia whītikiria taku hope ki te maurea whiritoi, Kia noho au ki Puhi-nui tonu ki Te Maungarongo a Te Rangiāniwaniwa, Ka mawhiti tonu rā taku haere ki ngā tihi tapu ki Maungapōhatu kia Taiturakina; Kia titiro iho au ki Ruatāhuna ki Manawarū ē ko Te Aitanga-ā-Tūhoe.... Ko te hua o te wānanga o a Tūhoe kōrero tuku iho hāngai ki ana waiata tawhito te pūtake o tēnei tuhinga roa kia auhi noa mai te wairua o ngā tūtakinga kōrero kia riro ko ēnei kōrero tuku iho hei matua hikihiki, whakataratara i te hinengaro, i te wairua, e mau ai tēnei o ngā whare whakairo kōrero o te hua o te wānanga a Tūhoe. Kia kaiaohia aua kōrero ki te ura mai o te motu ki runga i ngā pae maunga o Huiarau tau iho ki a tātau e pōkai kaha nei, e tau awhi nei ki runga i te mata o tēnei whenua ātaahua. Ka paenga rā ngā tau ka kitea, ka rangona tēnā pu kōrero, tēnā whare whakairo kōrero, whakairo waiata. Mea rawa ake kua whakangaro atu ki te tira e tauwhare mai rā. Hika rawa ake, kua mawhiti kē te haere ki te mākau nui o te iwi e tīraha mai rā, tē whakaaratia! Kia rangona, kia kitea noa e tātau te mata kōrero kia eke rā ki runga, taihoa rawa ēnei taonga e ngaro, taihoa rawa nei taonga e haukotia. Ka huri whakauta ki te hua o te wānanga, ko te waiata tawhito tēnā, ko te momo rerenga kōrero i hua mai ai i roto i ngā noho tahitanga a te tangata. He kupu ēnei hei whakaata i te hinengaro, wairua, te taiao, ngā rākau, te wai, te moana, ngā whetu, te whenua, ngā pakanga, te kawa o te marae, te noho tahitanga a ngā tūākana\tāina\tuāhine. Te reo o mātua, o kuia, koroua, ngā kaipupuri i te ahi kā roa o te wā kāinga. Inā hoki ko nga āhuatanga o te tangata tēnā tōna hanga, tōna whakatipu, ōna whakaaro, tōna ngākau, tōna wairua, me ngā momo hāhi i tipu ake ai te pono, ka titiro iho te tika i te rangi ka oti nei he waiata e tipuria ai te hua o te wānanga ki roto i a tātau katoa. Waihoki ko aua waiata nei te ahi whakakā roa o te ngākau,kei kona ōna timatatanga, engari kāore nei ōna whakamutunga. Ka pikitia ake te toi huarewa kia kite noa atu i te kaha o te whakaaro. Ko te wāhanga nui ia kia hapaina tēnei tuhinga roa, hei whakaoho, hei tuku, hei tātari i ngā whiriwhiringa kōrero ā-tuhi, ā-wāha kei roto i te whare kōrero o te whānau, hapū, iwi e timata ai, e mau ai te hua o te wānanga o te whaitua whenua. Tae atu ki ngā takahanga whakaewa ka oti nei he waiata tawhito hei kaiarataki ki ngā tihi maunga o te whakaaro. Ko te kapunga whakaaro ko te whātoro, i te tātari i te kupu, ki te whakamārama i te hua o te wānanga hei tumu whakarae kōhikohi mōhiotanga ki runga, ki raro ki ngā tai timu o te hua o te wānanga. I roto i tēnei tuhinga roa ka takea mai te wānanga i te kore, i te pō, i te ao mārama e tohea ai ngā kete e toru o te wānanga hei anga tohutohu, piki tūranga whakaakoranga ki hea mai nei! Mai i roto i aua kete ka nanahu te hinengaro kōkoi o tātau tīpuna mai anō i te ao Māori. Ko te ao mārama tēnā, ko te ao whenua tēnā, ko ngā pakanga tēnā, ko ngā tinihanga ēnā, ko te apakura, ko te hakamomori ka hua nei te wānanga. Nō reira he mahi, he kaupapa nui tā tēnei tuhinga roa ki te whakakao mai i ngā waiata e mohio ana tātau hei papa kōrero, hei wānanga mā te hunga kei te piki ake i ngā takutai moana o te whakaaro, o tēnei ao e wehi mai nei ki a tātau. Kāre e mihi kei te hopo te iwi, te hunga mau i ēnei waiata ki runga i o tātau marae kei ngaro memeha noa ēnei taonga a tātau. Ae! Kei te tika tā rātau hopo. Inā hoki kua riro kē te reo whakaarorangi i te oro o te waiata i ngā tai nenehawa, whakapōrearea e hukahuka mai nei. Ahakoa tēnei kei te whakaara ake ēnei waiata i runga tonu i te kaha o tēna, o tēna ki te whakaara. Kei te tahuri nui mai te hunga rangatahi, taiohi ki ēnei waiata koia tēnei te tūmatanui o tēnei tuhinga roa, hei tāhu whakaea mo te hinengaro, mo te ngākau o aua whakatipuranga e hiahia nei rātau ki ēnei taonga. Mā te karakia hei waere te whenua, mā te taki i ngā kōrero mo ngā atuā te whakataukī, te whakapepeha ka pupuke mai te hihiri o te mahara i ō tātau tipuna kōkoi e whakakitea nei tātau i ēnei rā ki aua tohu. Ka huia rnai aua pitopito kōrero katoa hei kākahu maeneene ki roto i te kupu o te waiata tawhito, kā mau. He whakaatu tēnei tuhinga roa kei te ora tēnei o ngā momo whare pupuri kōrero i te pū; i te more, te weu me ngā pātaka iringa kōrero o te ao ō Tūhoe ō neherā, tae noa mai ki ēnei rā. Kāti he wā anō i roto i taua ora ka tōia te whakaaro ō Tūhoe, ō te Māori e tauiwi hei tinihanga māna. Engari e kitea ai i roto i tēnei tuhinga roa, ko te toki hei kaupare atu i taua tinihanga ko te kōrero i tuarātia rā: 'Hokia ki o maunga kia purea koe e ngā hau o Tāwhirimātea' Koia tēnā te kaupapa o tēnei tuhinga roa he tātari i te hānuitanga, te taiwhakatū o taua kōrero: Hokia ki o maunga... Ma taua kōrero Hokia ki o maunga ... ka rangona te mātaotao o te hua o te wānanga o te pakanga o te whenua, o ngā pikikōtuku i tukitukia, kātahi ka kōrero ai ki roto i tā Tūhoe whakatau i ana whakaaro, e taea ai te ruruku ka puea ake. Koia tēnei ko te mana i roto i ngā whakatakotoranga kōrero e mau ai te kurataininihi, te kurataiwawana o te whakaaro. He hua wānanga tēnei e whakaatungia ai e te hinengaro ngā takahanga motuhake, me te hāngai o ā rātau kupu mo ngā whakaaro e tau nei ki tēnei Ao Hurihuri. Nā ngā mahi a ō tātau tīpuna, te para i te huarahi kia takahuritia ai ngā mahi kikino o te riri Pākehā i tū ake ai ngā poropiti o aua tau kikino i rnurua ai ngā whenua, i tukua ai te iwi ki raro. I tū ake ai rātau te hunga poropiti ki te rapu i te ora i te kaupapa tōrangapū mo ngā whenua i hahanitia. Mai i ēnei kaupapa ka hau te rongo o te waiata tawhito hei tūāpapa whakaohooho, whakanekeneke i a tātau katoa, ahakoa ko wai. Whā tekau katoa ngā waiata o tēnei tuhinga roa rnai i tēnā kokona o Tūhoe, rnai i tēnā kokona o Tūhoe e kawe ana i te hua wānanga hei whakaata, hei kōwhiri i te hunga i kaha i rnau tonu te ngangahau i ngā totohe kōrero, totohe tangata, totohe whenua. I kona ka hua te wānanga ka tohea te riri ka mau, i ea ai tētahi wāhi o te mamae. Koia tēnei ko te whakaatu i te kaha o te tohe i te pō, i te awatea. Ko te kawa o te marae te ātamira whakatāhu, tuku i aua hua wānanga i nei rā e rangona ai te kōrero ā-iwi, te hī o te mita o te reo waiata hei hokinga atu ki te nohoanga o te kupu. Ko tētahi anō kaupapa o tēnei tuhinga roa he whakahoki mai anō i te rnatapihi o Matariki, kia meinga ai ki te kairangi o te kawa o te marae, ka tau ki te whenua i maringi ai te toto. Ko ēnei hua wānanga te oro o te ngākau o Te Ūrewera, te whītiki o te kī mo te tuakiri mo tēnā whakatipuranga, rno tēnā whakatipuranga. Ae! Mā te hua wānanga a Tūhoe e whakaea te mamae e puta ai te pātai. Ko wai rā au? I ahu mai taku wānanga i whea? E ahu ana au ki whea? No te rā nei kua riro mā tēnei tuhinga roa e whakaatu ētahi o ngā hau kikino i whakawhiua kirunga i te iwi e te kāwanatanga i a ia e āki mai ana mo ngā rawa a te iwi, hei tuku he tangatakē. Nō reira i tikina ai te tauparapara a Te Kapo o te Rangi hei whakatauira i te takenga mai ongā kōrero mai i te koko ki Ōhiwa ki te pō, ki te pouri, ki te ao mārama. 'Hokia ki maunga' ko te tangata, ko te iwi, ko te hapū, ko te whānau te tīmatanga o te hua o te wānanga. Koia tēnei tētahi anō kaupapa o tēnei tuhinga roa, he āhuru i aua pukenga tautōhito kōrero kia mau te rangi, kia mau te hā, kia rangona te hua wānanga, oho ake ki te ao ka oti nei he waiata tawhito hei hoa haere whakamua. Ko te kōpae o te whare tēnā e tautokona ana hoki te ahu whakamuatanga o ngā mōrehu kōrero e arohatia nei e tātau. He huarahi atu tēnei hei āwhina, hei tohu i te kei o te waka ki ngā ngaru kokoti e pukepuke rnai nei. Ko te whakapae o tēnei tuhinga roa e titikaha ai ki te hinengaro o Tūhoe me mau ana momo kōrero ki ngā momo hangarau o tēnei ao hurihuri kā tika. Kua roa ēnei taonga e ārikarika ana hei whakarei i te kupu kōrero ki te hunga mate, ki te tira e tatari rnai rā i te waharoa o te marae ki te whakaeke. Kei roto i te wairua o tēnei mahi ka tukua āianei ēnei taonga kia kore ai tātau e taka ki roto i te korekore o te hinengaro, hei whakamahi mā te tamaiti o Tūhoe e hiki ake nei i ngā pae tata, i ngā pae tawhiti. Ko tēnei tuhinga roa te kura kimihia o te ura rnai o te motu i tua atu o Huiarau. Kia hau ai te rongo o a tāitau kōrero ki mua i a tātau hei homai i te aroha kia au ai te matatū tonu, ka maranga kei runga. Kia taria te roanga o te kōrero. Ae! Me hoki rā kā tika: Kā hoki nei au ki te mauri o taku waka a Mātaatua Ko Pūtauaki ki a Ngāti Awa Ko Tāwhiuau, ko Tangiharuru Ko te rae rā o Kohi ki a Awatope Ko Mānuka tūtahi ki Whakatāne, kia Apanui Ko te mauri haria mai nei hei whakaoho i taku moe Ē kō kō ia e ara ē!
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Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Muriithi, Paul Mutuanyingi. "A case for memory enhancement : ethical, social, legal, and policy implications for enhancing the memory." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/a-case-for-memory-enhancement-ethical-social-legal-and-policy-implications-for-enhancing-the-memory(bf11d09d-6326-49d2-8ef3-a40340471acf).html.
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The desire to enhance and make ourselves better is not a new one and it has continued to intrigue throughout the ages. Individuals have continued to seek ways to improve and enhance their well-being for example through nutrition, physical exercise, education and so on. Crucial to this improvement of their well-being is improving their ability to remember. Hence, people interested in improving their well-being, are often interested in memory as well. The rationale being that memory is crucial to our well-being. The desire to improve one’s memory then is almost certainly as old as the desire to improve one’s well-being. Traditionally, people have used different means in an attempt to enhance their memories: for example in learning through storytelling, studying, and apprenticeship. In remembering through practices like mnemonics, repetition, singing, and drumming. In retaining, storing and consolidating memories through nutrition and stimulants like coffee to help keep awake; and by external aids like notepads and computers. In forgetting through rituals and rites. Recent scientific advances in biotechnology, nanotechnology, molecular biology, neuroscience, and information technologies, present a wide variety of technologies to enhance many different aspects of human functioning. Thus, some commentators have identified human enhancement as central and one of the most fascinating subject in bioethics in the last two decades. Within, this period, most of the commentators have addressed the Ethical, Social, Legal and Policy (ESLP) issues in human enhancements as a whole as opposed to specific enhancements. However, this is problematic and recently various commentators have found this to be deficient and called for a contextualized case-by-case analysis to human enhancements for example genetic enhancement, moral enhancement, and in my case memory enhancement (ME). The rationale being that the reasons for accepting/rejecting a particular enhancement vary depending on the enhancement itself. Given this enormous variation, moral and legal generalizations about all enhancement processes and technologies are unwise and they should instead be evaluated individually. Taking this as a point of departure, this research will focus specifically on making a case for ME and in doing so assessing the ESLP implications arising from ME. My analysis will draw on the already existing literature for and against enhancement, especially in part two of this thesis; but it will be novel in providing a much more in-depth analysis of ME. From this perspective, I will contribute to the ME debate through two reviews that address the question how we enhance the memory, and through four original papers discussed in part three of this thesis, where I examine and evaluate critically specific ESLP issues that arise with the use of ME. In the conclusion, I will amalgamate all my contribution to the ME debate and suggest the future direction for the ME debate.
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Bouttiaux, Anne-Marie. "La danse des hommes, la jubilation des esprits: masques guro de la région de Zuenoula, Côte d'Ivoire." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211693.
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García, Molina Andrés Jacobo. "Aural economies and precarious labor: Street-vendor songs in Cuba." Thesis, 2020. https://doi.org/10.7916/d8-8ybd-gr75.
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This dissertation examines the economic, aesthetic, and affective significance of the resurgence of street vendors and their song in Cuba after nearly five decades of silence following the Cuban Revolution of 1959. Their temporary disappearance came hand in hand with the banishment of private modes of labor and entrepreneurship on the island. From colonial times until 1959, street vendors and their songs were a central component of everyday sociality and street economies in Cuba, as well as an integral part of a transnational popular music repertoire. Their recent resurgence overturns prior labor and economic policies in a general context of precarity and accumulated scarcity originating from Cuba’s complex historical position in the global reconstitution of Cold War politics. Since 2010, the Cuban state has sanctioned economic reforms that reintroduce massive forms of self-employment. Significantly, the majority of these can only be exercised through ambulatory vending. As such, the very notions of self-employment, entrepreneurship, and consumption that arise in contemporary Cuba depend, to a large extent, on the mutual circulation of sound and goods. For many self-employed Cubans, no transaction is possible without potential listeners.
This research is based on ethnographic fieldwork conducted in Cuba between 2015 and 2019, focusing on questions that emerge in the interaction between vendors, consumers, and the state, as mediated by vocal practices, listening techniques, and the circulation of sound within the particular architectural configuration of Havana. Throughout the dissertation, I develop the term, aural economy, as encompassing the ways in which sound enables modes of exchange as much as sound itself becomes an object of transaction and regulation. I argue that the aural economies arising in contemporary Cuba provide a central way to understand how Cubans negotiate a life worth living under precarious conditions, proposing ways in which to interrogate the unique relationship between aurality and the economy currently reconfiguring the Cuban public sphere.
The first chapter examines the aural and racial imaginaries of internal migration from Cuba’s Eastern provinces to the capital, interrogating forms of storytelling that in turn theorize the relationship between notions of song, labor, and dwelling. The second chapter examines the life and labor of a famous peanut vendor in Havana’s old town, interrogating the complex and unequal relationships that unfold between Cuban workers and tourists. The third chapter examines artistic interventions that interrogate the nature of street-vendor songs and approach them as objects of aesthetic experimentation, raising questions about how race, gender, and music hierarchies are linked through questions of labor on the island. The fourth chapter presents a contrastive case study around the aural economy of “el paquete,” an alternative mode of internet consumption in Cuba that circumvents limited access in the island. Taken together, these chapters approach sound as an entry point into the multiple ways in which the mutual relationships between work and life are articulated and contested in contemporary Cuba, linking the affective and the aesthetic with the economic and the infrastructural.
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Ntsihlele, Flora Mpho. "Games,gestures and learning in Basotho children's play songs." Thesis, 2003. http://hdl.handle.net/10500/1768.
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Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures.
It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators.ART HIST, VIS ARTS & MUSIC
DLITT ET PHIL (MUSICOLOGY)
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"Music Education for Social Justice: A Case Study of the North Park Middle School Band." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17984.
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abstract: The North Park Middle School Band, in Pico Rivera, California, is an exemplary model of a band program grounded in the principles of social justice. Three facets guide the program: Social Outreach, Cultural Outreach, and Kids Helping Kids. This qualitative study explores what led the director to create this program, its current structure as well as its historical development, and the impact the program is having on the students involved and the community to which they reach. Between the months of September and December 2012, I spent a total of three weeks with the students, parents, and the director of the North Park Band, Ron Wakefield. In that time, the students were observed during band rehearsals on typical school days. Additionally, I traveled with the band to three separate outreach concerts at the Los Angeles Veterans Healthcare Facility, nursing homes and assisted living centers, as well as the Isaiah House, a homeless shelter for women and children. I observed the students and their interactions with the residents of those facilities, and took detailed observation notes. In addition, a survey was distributed to students in the top two bands, interviews were conducted with current students and a former student, a parent and a former parent, and the director. The North Park Band program structure leads students to develop an unusually high level of responsibility. Students gain an understanding of current issues in society and demonstrate compassion towards other human beings. In many cases, the students discover a sense of life purpose through the program and feel that they have a responsibility to help their community. While a central focus of the program is on humanistic values, it is evident that the students also receive a quality music education.Dissertation/Thesis
D.M.A. Music 2013
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"香港「兒歌」與香港社會文化研究(一九八零-)." 2007. http://library.cuhk.edu.hk/record=b5893396.
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杜綺明."2007年12月".
論文(哲學碩士)--香港中文大學, 2007.
參考文獻(leaves 90-96).
"2007 nian 12 yue".
Abstract also in English.
Du Qiming.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (leaves 90-96).
摘要 --- p.iii
目錄 --- p.iv
Chapter 第一章 --- 導論 --- p.1-10
Chapter 第二章 --- 民族音樂學與香港「兒歌」的硏究 --- p.11-19
Chapter 第三章 --- 從歷史看「幼童時期」Childhood的槪念與香港「兒歌」 的關係 --- p.20-35
Chapter 第四章 --- 中國兒童歌謠與香港電視「兒歌」 --- p.36-48
Chapter 第五章 --- 香港電視廣播有限公司與香港「兒歌」的發展 --- p.49-73
Chapter 第六章 --- 校園裡兒歌與兒童生活及成長 --- p.74-81
Chapter 第七章 --- 總結 --- p.82-89
書目 --- p.90-96
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Giancola, John A. "Rage from within the machine protest music, social justice, and educational reform, a collective case study /." 2009. http://digital.library.duq.edu/u?/etd,130758.
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Mulcahy, Krista. "The effects of resources on the performance of competitive high school marching bands." Thesis, 2017. https://hdl.handle.net/2144/20867.
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High school marching bands have several performance options beyond the Friday night football game. These options range from non-competitive regional festivals to performance circuits that culminate in a final national contest. All of these extra-curricular events require resources such as funding, equipment, staffing, and parental involvement (Corral, 2001).
The fundamental question was created to investigate opportunities available for participation in music regardless of socioeconomic status, geographic location, etc. Participation in music was explored from the vantage point of marching band – one of the most resource intensive programs in music. Marching band was used in this study because the activity often requires resources that go above and beyond what many administrators, parents, and some directors claim justifiable.
The purpose of this causal-comparative study was to examine the effects that resources, financial and otherwise, have on directors’ decisions to participate in marching band competitions. High school marching bands from across the United States were compared to determine the amount of finances and resources invested by each program. The purpose was to find out if resources play a role in a band director’s decision to compete at various national or non-national events.
Students who desire to participate in music should have the opportunity to participate in any extra-curricular event without regard to economic distinction. Even though marching arts are not offered at all high schools, those who do commit to investing extreme time and resources to the activity. The nature of marching band, coupled with the relatively small amount of scholarly research on marching bands and resources, made it a unique scenario worthy of further inquiry.
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Erb, Andrew Sheehan. "Socioeconomics and music education in a Western Pennsylvania public school: a collective case study." Thesis, 2019. https://hdl.handle.net/2144/38241.
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Equal access to music education is a concern in public schools. Certain populations, including minority and low socioeconomic students, remain underrepresented in instrumental ensembles across America. This phenomenon has been well documented, and socioeconomics have been repeatedly identified as a reliable predictor of instrumental music participation in school ensembles. Research into specific and detailed ways in which socioeconomic factors and instrumental music participation intersect and best practices for alleviating any resulting negative effects on instrumental music participation are limited. Researchers often collected emic data from disadvantaged students in the majority of existing studies on these topics.
I collected both etic and emic data from seven parent/guardian study participants from diverse socioeconomic backgrounds and from two instrumental music teachers in a school district that served a large population of low socioeconomic and minority students. I also compiled data from field notes, observations, and artifacts associated with the school district and town in which the study took place. I analyzed and interpreted the data, applying Bourdieu’s concepts of habitus, capital, and field.
My findings indicated that socioeconomic factors including cultural differences, community building, peer group relationships, ensemble travel, geographic location, socioeconomic segregation, parental bias, privilege, and prior family musical experiences all potentially affected students’ decisions to participate in instrumental music ensembles. My research also indicated that attempts to assuage negative effects of low socioeconomics on instrumental music participation, including instrument loaner programs and fundraising, were sometimes undermined and did not completely address the problem.
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Zondi, Nompumelelo Bernadette. "Bahlabelelelani : why do they sing? : gender and power in contemporary women's songs." Thesis, 2008. http://hdl.handle.net/10413/656.
Full textAbstract:
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 the culture. The study is based on a community of women
from Zwelibomvu near Pinetown, South Africa but goes beyond this as I believe that
women in general speak for the majority of other women especially with regard to
issues around gender and power inequalities. Songs have been selected as a genre and
as a special form of expression that women in particular find easier to use to raise
issues that affect them in their daily lives. The three hour DVD rendition that forms
part of this study captures a synoptic view of the amount of raw data found in this
study. Through the medium of song, and strengthened by the stories that they share,
Zwelibomvu rural women are able to get a sense of relief and consolation from the
burdens that they have and which they would like to share.
Presented as a two part field work process, the first process involves the collection of
songs in ceremonies and occasions and observing an d being part of the occasions and
ceremonies where the songs that are sung by women are performed. This process
culminates in the production of the three hour DVD rendition that forms part of this
study and which captures a synoptic view of the amount of r aw data found in this
dissertation. The second part mainly involves interviews of categories of respondents
in similar settings/districts observed where ceremonies were attended and attempts to
provide some insight into why women sing and the question of gender and power in
contemporary women’s songs. Finally, the last chapters involve an analysis of songs
with regard to themes that emanate from these songs as well as a review on their oral
composition.Thesis (Ph.D)-University of KwaZulu-Natal, Durban, 2008.
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Mudzanire, Benjamin. "An interrogation of the context referentiality of postcolonial Shona popular music in Zimbabwe : a search for the contemporary leitmotifs." Thesis, 2016. http://hdl.handle.net/10500/22600.
Full textAbstract:
The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessment of the discourse of politics and socio-economic issues in popular music. For all the analysis, an Afrocentric eye view informs the thesis.
Being qualitative in perspective, the research mainly uses the hermeneutic research design as an operational framework for the interpretation of lyrical data. Hermeneutics, as a method of textual analysis, emphasizes the socio-cultural and historic influences on qualitative interpretation. Postcolonial Shona popular music is purposively sampled and critically studied using the hermeneutic method to tease out latent social and political nuances in lyrical data. Interviews are roped in as alternative opinions to validate hermeneutic data.
The research observes that the legislative environment in which Zimbabwean popular music is composed is, on paper, very conducive for the art but in practice severely restrictive. The constitution allows the artiste sufficient space to sing any subject but confessions by some critics alert on the incidences of some censored products. Even against that backdrop artistes have gone on to compose politically suggestive music. However, from the first decade of independence, the tendency for the artiste has been to flow with the meta-narrative or hegemonic discourses of the state, while in the later decades the artiste sounds critical of the nationalist government. Realising the power of music to articulate serious national issues; among other prescriptions, the study recommends that government creates a flexible and democratic legislation that allows for unbounded creativity and consumption of artistic products.African Languages
D. Litt. et Phil. (African Languages)
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Van, Niekerk Letitia. "Intimidation as a factor in the liberation struggle in South Africa with special reference to Bela Bela (Warmbaths) : an anthropological perspective." Diss., 1999. http://hdl.handle.net/10500/17744.
Full textAbstract:
INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF
SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA
(WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE
The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for
interpreting religious, political and other revitalisation movements. This study focuses on
political revitalisation movements. Participation in the activities of revitalisation movements does
not always occur voluntarily. Leaders of such movements apply techniques and methods of
intimidation enforcing change and participation. In South Africa, political revitalisation was
inter alia brought about by the ANC as political liberation movement who used methods of
violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to
support the movement and enforce political change. The ANC inter alia used charactersitic
cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure
unanimity, participation and ultimately to achieve political liberation. Cultural components that
were exploited included communality, group solidarity, administration of justice, songs and
dances.INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik.
Anthropology and Archaeology
M.A. (Anthropology)
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Evans, Claire Lisa. ""Where is your song?" : exploring the use of songs in therapeutic conversations." Diss., 2004. http://hdl.handle.net/10500/1139.
Full textAbstract:
This study explored the interaction between persons and songs in therapy, and was described according to the ideas of Social Constructionism and the Narrative Approach (Freedman & Combs, 1996; Gergen, 1985, 1994; Hoyt, 1998). The meanings around songs and the therapist-client interaction were explored. A flowing process evolved that allowed for new ideas to become part of the therapeutic conversations (Anderson & Goolishian, 1988; Hoffman, 1994).
The research was qualitative as befits the above-mentioned epistemology. Therapeutic conversations evolved with a single client, in which songs and music were used to explore her life story. An unstructured interview was conducted to explore the therapeutic process underlying the incorporation of songs in therapeutic conversations. The hermeneutic method of analysis was employed to identify themes and meanings that encompassed the research participant's life story as well as the therapeutic process in which songs were utilised to facilitate therapeutic dialogues. It was found that the themes elicited in this study reflected the themes discussed in the literature.
The following themes underlying the therapeutic process of songs were identified: songs created an emotional release; they elicited memories, feelings and imagery; they facilitated relaxation, coloured relationships and provided a new skill. This exploration of the themes allowed for rich descriptions of the participant's story and the therapeutic conversations, to emerge.Clinical psychology
M.A. (Clinical psychology)
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Khotso, P. "Masculinity as a popular theme in the development of Basotho accordion music." Thesis, 2017. http://hdl.handle.net/10500/24534.
Full textAbstract:
Text in English and some in SesothoThis thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of the existing form of masculinity among the Basotho. The study concludes that the present form of masculinity among the Basotho is precarious, not only to women and to children, but also to men in their two categories: those who exhibit masculinity as well as those who do not show evidence of it. Therefore, the study recommends that the Basotho masculinity should pay attention to the limitations of masculinity in order to minimize and consequently eradicate its negative side while simultaneously promoting its positive side towards men, women and children at large.
Linguistics and Modern Languages
D. Phil. (Language, Linguistics and Literature)
44
Hlungwani, Hasani Richard. "Nxopaxopo wa vuyimbeleri bya matswa bemuda hi ku kongomisa eka nkongomelo, nkoka na a matirhiselo ya ririmi erixakeni ra Vhatsonga." Diss., 2016. http://hdl.handle.net/11602/404.
Full text
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Esdaille, Elroy Alister. "The Notion of Song, Identities, Discourses, and Power: Bridging Songs with Literary Texts to Enhance Students’ Interpretative Skills." Thesis, 2020. https://doi.org/10.7916/d8-39kn-9s34.
Full textAbstract:
Sometimes students struggle to interpret literary texts because some of these texts do not lend themselves to the deduction of the interpretative processes with which they are familiar, but the same is not true when students pull interpretations from songs. Is it possible that students’ familiarity with songs might enable them to connect a song with a book and aid interpretation that way? This study attempted to explore the possibility of bridging songs to literary texts in my Community College English classroom, to ascertain if or how the use of song can support or extend students’ interpretive strategies across different types of texts. I investigated how songs might work as a bridge to other texts, like novels, and, if the students use songs as texts, to what extent do the students develop and hone their interpretative skills? Because of this, how might including songs as texts in English writing or English Literature curriculum contribute to the enhancement of students’ writing? The students’ responses disclosed that the songs appealed to their cognition and memories and helped them to interpret and write about the novels they read. Moreover, the students’ responses revealed that pairing or matching songs with novels strengthened interpretation of the book in a plethora of ways, such as meta-message deduction, applying contexts, applying comparisons, and examining thematic correlations. When a novel is bridged or paired with a song, interpretation can also be derived by examining different perspectives, characterizations, personal connections, and life experiences. Exploring emotional connections as well as signs and symbolism can also enable interpretation. Another way to deduce interpretation, according to the students, is to locate a reoccurring issue or thread in a song and transfer the analysis from the song to the novel. However, although a few students might not use songs to interpret literary texts, they might still be able to recognize that the possibility exists to grasp meaning that way.
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Hess, Juliet. "Radical Musicking: Challenging Dominant Paradigms in Elementary Music Education." Thesis, 2013. http://hdl.handle.net/1807/43593.
Full textAbstract:
This project examines the work of four elementary music educators who strive to challenge the dominant paradigm of music education. I employed the methodology of a multiple case study (Merriam, 1998; Yin, 2009) to consider the discourses, practices, and philosophies of these four educators. I observed in each school for an eight-week period for two full days each week, conducting semi-structured interviews at the beginning, middle, and end of each observation process. At each school, I followed an observation protocol, in addition to completing three interviews, and keeping a journal. In this work, I mobilize a tri-faceted lens that combines the theoretical frameworks of anti-colonialism, anti-racism, and anti-racist feminism toward counterhegemonic goals.
The teachers' diverse practices include critically engaging with issues of social justice, studying a broad range of musics, introducing multiple musical epistemologies, creating space for students to own the means of cultural production, contextualizing musics, considering differential privilege, and subverting hegemonic practices. In many ways, these four individuals interrupt the traditional Eurocentric focus on Western classical music to explore different possibilities with their students. However, within this work to subvert, there were moments in each classroom where the dominant paradigm was reinscribed. These subversions and reinscriptions are instructive to music education and carry broader implications for the discipline.
Ultimately, this thesis argues that a truly radical music education involves shifting from a liberal to a critical paradigm. Many values and strategies traditionally found in liberal education can be reread radically, and doing so puts forward tenets of a radical music education. Within these four classrooms, there were myriad examples of this shift from a liberal to a critical orientation. However, this work also raises questions of positionality and asks explicitly which bodies are able to do radical anti-oppressive work in music education, acknowledging that it is possible to unintentionally reinscribe dominant power relations while working to subvert them.
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Caleta, Josko. "Social and musical structure of the klapa singing style, Dalmatia and Vancouver." Thesis, 1994. http://hdl.handle.net/2429/5244.
Full textAbstract:
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, age group or occupations. Festival klapa, on the other
hand, is a formally organized group with regular rehearsals and
performances, whose members, as a rule, are people of various
occupations and diverse musical tastes.
Socially and musically, klapa singing has always been progressive
for its time, which is surely the reason why this folk tradition
has remained successful for such a long period.
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Malobola-Ndlovu, Johanna Nurse. "Functions of children's games and game songs with special reference to isiNdebele : the young adult's reflections." Thesis, 2018. http://hdl.handle.net/10500/25254.
Full textAbstract:
Children’s games and game songs are part of the traditional literature that was handed down from generation to generation by a word of mouth. The study focuses on the functions of children’s games and game songs as reflected by the young adults. The research study was conducted amongst the Southern amaNdebele in Gauteng and Mpumalanga provinces. The researcher chose two municipalities in Mpumalanga province, which is Dr JS Moroka and Thembisile Hani. In Gauteng, the research was conducted in the three townships, which are Soshanguve, Mamelodi and Atteridgeville. The researcher used both quantitative and qualitative methods to collect and analyse data. Data was collected by using interviews, questionnaires, observation and other related books and documents. The coding schemes i.e. open coding and axial coding were used to collect and interpret data. Open coding helped the researcher to identify different types of games and game songs performed by children. Axial coding assisted the researcher to regroup games and game songs with similar skills and attributes together for further analysis. Lastly, the axial coding provided the researcher with the broader functions of games and game songs. To achieve the aim of the study the researcher collected children’s games and game songs, identified different types of games and game songs and provided a detailed analysis of their functions. The functions of games and game songs were outlined as follows: physical, social, emotional, psychological, moral, and fun or entertainment, mental development and to while away time. Additionally, the researcher discovered that games and game songs help in the cleaning of the environment. She further established that some games and game songs were carried forward by word of mouth from generation to generation without any changes and that neighbouring languages have influenced some. The researcher asserts that children in schools perform most games and game songs and they learn them from their peers and from the environment in which they grow up. The researcher recommended that some games and game songs could be integrated in the formal programs of teaching and learning. Furthermore, the games and game songs that have been collected should be preserved for future use.African Languages
D. Litt. et Phil. (African Languages)
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Van, der Merwe Janelize. "Music education as/for artistic citizenship in the Field Band Foundation / Janelize van der Merwe." Thesis, 2014. http://hdl.handle.net/10394/15637.
Full textAbstract:
This study views the Field Band Foundation’s activities through the lens of artistic citizenship. The aim of this study is to create an expanded theoretical framework for music education as/for artistic citizenship by analysing the related literature and data gathered from the Field Band Foundation in the Gauteng area.
In Another Perspective: Music Education as/for Artistic Citizenship Elliott (2012a) gives practitioners three goals to realize if they wish to empower participants to achieve artistic citizenship. These three goals may be summarized as: 1) putting music to work in the community 2) infusing music with an ethic of care and 3) making music as ethical action for social justice. These three goals served as the initial compass during the conception and analysis stages of this study.
This study was designed as an instrumental case study. The eclectic data set is made up of literature, interviews, documents, visual and audio-visual data gathered from March 2013 to July 2014. Atlas.ti7 was used to analyse the data. A preliminary theoretical framework was created from the literature. In this framework each of the three themes, expressed through Elliott’s goals, are expanded to include various categories. This framework was used as a priori codes to better understand artistic citizenship as lived in the Field Band Foundation. During the analysis of the data gathered from the Field Band Foundation the categories identified in the literature was expanded to include sub-categories. After analysing the data, gathered in the Field Band Foundation, an expanded theoretical framework for artistic citizenship was
created. From the view point of artistic citizenship a community music education project, such as the Field Band Foundation, is shown to empower participants to achieve personal and communal transformation.MMus (Musicology), North-West University, Potchefstroom Campus, 2015
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Human, Werner J. "Three men's experience of their journey to and through divorce: the unheard songs." Diss., 2006. http://hdl.handle.net/10500/1196.
Full textAbstract:
The psychological effects on, and the experience of divorce by women and children are widely researched. However little data is available on how divorce affects men and how they experience a marriage break-up. This study aims to explore and describe the `voices' (experiences) of divorce from three men's perspectives. The randomly selected sample for this study consisted of three participants'. Data was collected in the form of the participants own written testimonials. Out of the written testimonials themes were identified and explored by the researcher. This was done from an ecosystemic epistemological stance within the post-modern paradigm, with the symbolic use of music / popular songs to further `enhance' the exploration and description of the research participants' experiences of divorce. A qualitative methodological design was followed, allowing `unique' and personal `meaning' and experience to emerge. This study's results were presented in the form of `integrative' and descriptive text. Overall the study explicated unique descriptions of men's experiences of divorce with the creative application of music to enhance descriptions and experiences.Psychology
M.A. (Clinical Psychology)