Relevant bibliographies by topics / Weddings Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Weddings Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Weddings Music"

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Baraldi, Filippo Bonini. "All the Pain and Joy of the World in a Single Melody: A Transylvanian Case Study on Musical Emotion." Music Perception 26, no. 3 (2009): 257–61. http://dx.doi.org/10.1525/mp.2009.26.3.257.

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THE STUDY OF MUSICAL EMOTIONS IS A CHALLENGE for psychology and neuroscience, but the ethnomusicological account is often excluded from the debate. The present article focuses on types of performances that differ from the model of Western classical music: weddings and funerals in a Gypsy community of Transylvania. Analysis of musical activity and expression of emotions in these contexts showed that aesthetic meanings are transformed when music is embedded in social action: the same tunes are played while people dance at weddings and while they cry at funerals. The major anthropological hypothe
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Petrovic, Ankica, and Jane Sugarman. "Engendering Song: Singing and Subjectivity at Prespa Albanian Weddings." Yearbook for Traditional Music 31 (1999): 171. http://dx.doi.org/10.2307/768006.

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Korolkova, Inga V. "Group Lamentations during Weddings in the Traditions of Novgorod:A Comparative Analysis." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (May 2015): 12–15. http://dx.doi.org/10.17674/1997-0854.2015.2.19.012-015.

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Buchanan, Donna A., and Jane C. Sugarman. "Engendering Song: Singing and Subjectivity at Prespa Albanian Weddings." Ethnomusicology 43, no. 1 (1999): 167. http://dx.doi.org/10.2307/852701.

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Swedenburg, Ted. "Rai's Travels." Middle East Studies Association Bulletin 36, no. 2 (2003): 190–93. http://dx.doi.org/10.1017/s0026318400044837.

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Rai music has traveled far and undergone remarkable transmutations since the early days of its development in Wahran (Oran) during the first decades of the twentieth century. Originally performed at weddings and in bars, mostly by women singers known as cheikhat, the instrumentation was simple (a reed flute known as a qasba, a single-stringed viol or rbab, and a hand drum known as the gellal) and the vocals, raucous and sometimes bawdy. The lyrics consisted of formulaic couplets, and mostly dealt with relations between men and women. The early recordings of rai's greatest female vocalist, Chei
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Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to
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Fraser. "Pop Song as Custom: Weddings, Ethnicity, and Entrepreneurs in West Sumatra." Ethnomusicology 55, no. 2 (2011): 200. http://dx.doi.org/10.5406/ethnomusicology.55.2.0200.

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Lucas, Ann. "Understanding Iran Through Music: A New Approach." Middle East Studies Association Bulletin 40, no. 1 (2006): 79–89. http://dx.doi.org/10.1017/s0026318400049439.

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Within the realm of Iranian studies, music remains mostly outside the purview of larger social and political discussions of the region. At first glance this may seem appropriate, since even musicians often consider their work beyond the reach of sociological discussions. But the behavior of Iranians suggests that music has a broader social and political role beyond narrowly defined musical contexts. Music is a common part of everyday life in Iran. In traditional contexts such as weddings and other family gatherings as well as in modern settings such as the car, the computer, or the concert hal
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Pratama, Narendra Yudha, and Mochammad Usman Wafa. "Eksistensi Grup Musik Tegalan Joend Pro Di Slawi Kabupaten Tegal." Jurnal Seni Musik 9, no. 2 (2020): 119–26. http://dx.doi.org/10.15294/jsm.v9i2.33109.

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Tegalan music is typical music of Tegal regency which lyrics use Ngapak language. A piece of music group that still exists until now is Joend Pro. Joend Pro's musical group was formed in the year 2009 by Imam Joend. Joend Pro's musical group is on the basis of the consciousness of Imam Joend, about the importance of the existence of the art area of the music as a characteristic of the regional arts of Tegal Regency. This research aims to know, describe, and analyze the existence of the Tegalan Pro music Group in Slawi Tegal Regency. This research uses qualitative descriptive methods with data
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Nikmatullah, Nikmatullah. "Kontekstualisasi Hadis Pernikahan dalam Tradisi Islam Lokal: Nyongkolan di Lombok." Hikmah: Journal of Islamic Studies 14, no. 2 (2018): 27. http://dx.doi.org/10.47466/hikmah.v14i2.106.

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Nyongkolan is one of the Islamic marriage seremony Sasak made
 by way of the procession the bride and her family along the way
 which aims to announce the wedding and the hospitality weaves
 between both parties. This tradition is acculturation between
 Islam with customary local of Sasak practiced by Muslims Sasak.
 As a devout muslim and religious fanatic, Sasak Muslims wedding
 announcement on hadith actualize in the form Nyongkolan. The
 spirit of hadith is about the procession that very accommodated
 towards local traditions. He as a form of harmoni
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Dissertations / Theses on the topic "Weddings Music"

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McKinley, Kathy. "Ritual, performativity and music : Cambodian wedding music in Phnom Penh /." View online version; access limited to Brown University users, 2002. http://wwwlib.umi.com/dissertations/fullcit/3050934.

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Thesis (Ph.D.)--Brown University, 2002.<br>Available in film copy from University Microfilms International. Vita. Thesis advisor: Jeff T. Titon. Includes bibliographical references (leaves 278-286). Also available online.
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Cieminski, Theresa. "A Wedding Ceremony: Processional, Kyrie, Alleluia!, Hosanna!, Recessional." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279062/.

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A Wedding Ceremony is a composition of approximately 17 minutes in duration and is scored for horn in F, two trumpets in B-flat, trombone, two percussionists (timpani, roto toms, chimes, snare, triangle, suspended cymbal), 2-part boys choir, female soprano, and organ. The work consists of five parts of a mass, the Processional, Kyrie, Alleluia!, Hosanna!, and Recessional, with texted sections being taken from the Latin mass. The work is intended for a sacred wedding service of any denomination. The work was composed with the traditional aspects of the Latin mass in combination with a contempor
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Ioannidou, Andrea. "Greek Cypriot wedding music and customs : revival and identity." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/16811/.

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In many cultures, weddings are the most important event in people’s lives. Greek Cypriots use weddings as a means of expressing their identity and linking themselves to their roots, with the conscious aim of preservation of their musical tradition and customs. As a result, weddings are especially important in their musical culture because of the threats to their identity posed by the island’s long history of foreign rule and colonisation. However, an upheaval has occurred in the folk music and customs of Greek Cypriot wedding ceremonies over the last ten years, creating an urgent need for a st
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Dino, Rose M. "Contemporary ties: wedding 20th-century musical theatre to opera using the same source material." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6724.

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Polyniki, Antigoni. "From wedding dance floors to music classrooms : narratives of learning to play traditional music instruments amongst Greek Cypriots (1930-2010)." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558792.

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In recent years there has been a noteworthy revival of traditional instrumental mUSIC III Cyprus with the setting Up of schools and organizing workshops of traditional music, and the emergence of a new generation of Greek Cypriot professional instrumentalists and teachers. This study examines the narratives of learning to play traditional music instruments amongst Greek Cypriot musicians in the period 1930-2010. In doing so this study explores the development of the music learning system from its genesis in wedding celebrations, the influence of western music and training methods on the perfor
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Mugandani, Viola Nyemudzai. "Jangwa music and musical performance by the Manyika people of Zimbabwe." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/60400.

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Jangwa music is traditional to the Manyika people of Zimbabwe. The Manyika are a sector of the Shona people, occupying a portion of Manicaland Province in the eastern part of Zimbabwe. African societies carefully craft songs for different contexts to serve a functional and educational purpose. The aim of the study was to explore the origin and the structure of jangwa music, the sociological and social psychological functions of the music and its performance, as well as its aesthetic values among the Manyika people. The study utilised focused ethnographical methods. A large group of elderly Man
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Shaheen, Andrea Lynn. "The Zurna, Oboe, and Syrian Musical Practice: Authenticating a Musical Modernity." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/238615.

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In contemporary Damascus, the modern oboe and an instrument known as its predecessor, the zurna, are heard on a daily basis as they continue to be employed in Syrian popular and folk music practices. After observing the pervasiveness of the sounds of these instruments in Syria, I proceeded to investigate the socio-cultural processes surrounding their usage. This study provides a history of the zurna, traces its development in Europe into the modern oboe, and explores the oboe's re-entry into musical practices in the Middle East. Through empirical fieldwork, I collected data that allowed me to
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Zagros, Nahro. "Social gatherings of the Ezdi diasporas in contemporary Armenia : the music of funeral and wedding rituals." Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538645.

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"傳統的延續與改變: 紹興婚慶儀式中的銅管樂". 2013. http://library.cuhk.edu.hk/record=b5549246.

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迎親燈籠、裝點精緻的花轎、幾十人的迎親隊伍和傳統的吹打樂隊，勾勒出一幅上世紀初紹興傳統的婚禮畫面。無論排場大小，吹打樂在當時紹興婚慶中一直是不可缺少的。直到20世紀20年代，一支名為「新聲」的銅管樂隊為紹興帶來了不同以往的音響和表演形式，並很快開始在當地上層階級的婚禮中流行。從第一支樂隊創立至今，紹興已有多達百余支銅管樂隊，兩千多名樂手。但我在一年多的田野調查中卻發現一直被冠以「洋氣」、「時髦」的銅管樂隊仍延續著很強的紹興當地的傳統文化特徵。<br>這其中有很多有趣且值得思考的問題：現用的銅管樂緣何被帶入紹興並成為婚慶音樂？在演奏和傳承過程中，它是如何適應當地的禮俗以及當地人的觀念？西方樂器與紹興當地文化之間的結合又揭示了什麼？帶著這些問題，本文的論述內容主要分為三個部分：1、追溯銅管樂隊在紹興產生和發展的歷史，瞭解不同時代背景下，銅管樂隊如何適應傳統婚慶儀式；2、通過記述近期紹興婚禮儀式的描述及口述歷史中的紹興婚慶習俗，探究它們之間的關係，以及樂隊和音樂在當地婚禮中的角色；3、探討文化、社會環境和政治因素對婚禮音樂的影響，以及紹興婚禮「傳統」在不斷延續和變化中，當地人對銅管樂隊、樂手和音樂的理解和看法。<br>本文認為儘管紹興婚慶的儀式、樂手、樂器、音樂都在改變，傳統文化的影響和人們的音樂觀念仍然在看似「洋化」了的銅管樂中延續，而被改變了的銅管樂也正締造著新的傳統。<br>Red
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"鄂西土家族哭嫁歌之音樂特徵與社會涵義". 1999. http://library.cuhk.edu.hk/record=b6073779.

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余詠宇.<br>論文(博士)--香港中文大學, 1999.<br>附參考文獻(p. 210-222)及索引.<br>中英文摘要.<br>Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Yu Yongyu.<br>Lun wen (bo shi)--Xianggang Zhong wen da xue, 1999.<br>Fu can
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Books on the topic "Weddings Music"

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Foard, Pamela. Wedding music essentials: A complete music planning guide with a cassette of wedding music classics. Préludes Nouveaux, 1992.

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Foard, Pamela. Wedding music essentials: A complete music planning guide with a cassette of wedding music classics. Préludes Nouveaux, 1993.

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Roos, Anne. The bride's guide to musicians: Live wedding music made easy and affordable. Hal Leonard Books, 2010.

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Handbook of church music for weddings. Liturgy Training Program, Archdiocese of Chicago, 1985.

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The knot guide to wedding vows and traditions: Readings, rituals, music, dances, and toasts. Clarkson Potter, 2013.

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The musician's guide to brides: How to make money playing weddings. Hal Leonard Books, 2008.

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Engendering song: Singing and subjectivity at Prespa Albanian weddings. University of Chicago Press, 1997.

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Seifert, Herbert. Der Sig-prangende Hochzeit-Gott: Hochzeitsfeste am Wiener Hof der Habsburger und ihre Allegorik, 1622-1699. Musikwissenschaftlicher Verlag, 1988.

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Nātha, Pramoda. Uttarabaṅgera ādibāsī janajībane biẏera gāna. Arpitā Prakāśanī, 2007.

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Sūr va sīt biyāram: Pizhūhishī darbārah-yi marāsim-i ʻarūsī va rābiṭah-yi ān bā sīt biyāram dar Luristān. Shāpūr Khvāst, 2009.

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Book chapters on the topic "Weddings Music"

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Garrido, Sandra, and Jane W. Davidson. "Weddings." In Music, Nostalgia and Memory. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02556-4_11.

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COOLEY, TIMOTHY J. "MOUNTAIN WEDDINGS IN CHICAGO." In Music in the American Diasporic Wedding. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvj7wnbh.16.

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Harris, Rachel. "Memories of Music, Memories through Music." In Singing the Village. British Academy, 2004. http://dx.doi.org/10.5871/bacad/9780197262979.003.0004.

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This chapter examines the types and functions of Sibe music. It provides biographical sketches of village musicians including Ga'altu of the Anjia clan, Guo Rongxing, and a certain Shoulintai. The chapter highlights the social functions of songs and their role as vehicles of formalised expression of human relations in the Sibe community. It describes the songs and musical activities at weddings, funerals, and calendric festivals.
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RACY, A. J. "THEORETICAL PERSPECTIVES ON WEDDINGS, LOCALLY AND BEYOND." In Music in the American Diasporic Wedding. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvj7wnbh.6.

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MACMILLEN, IAN. "TAMBURA MUSIC, FLAGS, AND THE DETERRITORIALIZATION OF RITUALIZED VIOLENCE AT CROATIAN AMERICAN WEDDINGS." In Music in the American Diasporic Wedding. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvj7wnbh.9.

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DANIELS, M. "music and entertainment." In Wedding Planning and Management. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-7506-8233-6.50024-x.

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"music and entertainment." In Wedding Planning and Management. Routledge, 2007. http://dx.doi.org/10.4324/9780080471471-28.

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Mazor, Yaakov. "The Badkhn in Contemporary Hasidic Society: Social, Historical, and Musical Observations." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0015.

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This chapter discusses the badkhn in contemporary hasidic society. Hasidic society does not approve of radical innovations in relation to religious custom, and this is certainly true of the activities of badkhonim at weddings. Nevertheless, the hasidic leadership has been able to channel such activities into preferred directions, in accordance with its own conceptions and usages. Earlier practices that clashed with hasidic customs and beliefs have been discarded. On the other hand, mystical interpretation has invested some traditional values with new meanings. The badkhn's position has thus been strengthened, thanks to the legitimization of his activity from a religious point of view. The same is true of the badkhn's verses and the accompanying music. It would appear, however, that the shift of emphasis from form to content, to the inner meaning of the badkhn's activities, has resulted in the formation, on one hand, of rigorous new constraints and, on the other, of new possibilities for the creation of local or even individual, personal styles, depending on the relative involvement of the tsadikim in such activities.
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Griffiths, Paul. "Stravinsky: The Wedding Symphony of Psalms." In Choral Music on Record. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511586118.019.

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NETSKY, HANKUS. "JEWISH WEDDING MUSIC IN THE NEO-KLEZMER ERA." In Music in the American Diasporic Wedding. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvj7wnbh.14.

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Conference papers on the topic "Weddings Music"

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Wardhana, Resmitra, Susanto Susanto, and Warto Warto. "Classification of Wedding Entertainment Music in Social Context in Surakarta." In Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296723.

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Chen, Yu-An, Lai-Chung Lee, and Chi-Hao Lung. "A study on the music co-creation event based on activity theory - with an example of wedding cultural industry." In 2017 International Conference on Applied System Innovation (ICASI). IEEE, 2017. http://dx.doi.org/10.1109/icasi.2017.7988488.

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