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Дисертації з теми "Bands (Music) Social aspects"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 19 лютого 2022

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1

Dennis, Simone J. "Sensual extensions : joy, pain and music-making in a police band." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phd4115.pdf.

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Bibliography: leaves 210-226. Based on 18 months ethnographic fieldwork about the ways in which members of the South Australian Police Band make music. Studies their disconnection from the body of the community, acheived via an embodiment of emotional disconnection; the power of the Department to appropriate a particular order of emotion for the purposes of power; and, the misrecognition of the appropriation of emotion by members of the public who are open to the Department's emotional domination. The context material describes the reasons for the existence of the police band in the police vie

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2

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; back

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3

Spencer, William David 1952. "An Attitude Assessment of Amateur Musicians in Adult Community Bands." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277924/.

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The purpose of this study was to ascertain certain factors which lead adults to participate in community band activity. This study attempted to answer the following questions: 1. What are the factors of rewards for community band participants based on the responses of a selected sample to validated attitude statements? 2. What are the relationships that might exist between certain demographic characteristics of the sample such as age, gender, education, occupation, musical training, geographic region (independent variables) and factors of participation (dependent variables) determined by princ

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4

Lima, Marcos Aurelio de. "A banda estudantil em um toque alem da musica." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252389.

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Orientador: Leticia Bicalho Canedo<br>Tese (doutorado) - Universidade Estadudal de Campinas. Faculdade de Educação<br>Made available in DSpace on 2018-08-04T06:18:27Z (GMT). No. of bitstreams: 1 Lima_MarcosAureliode_D.pdf: 16378770 bytes, checksum: 86cf8461371dd431ea6a246a44fcf5c1 (MD5) Previous issue date: 2005<br>Doutorado<br>Educação, Conhecimento, Linguagem e Arte<br>Doutor em Educação

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5

Gould, Jackson S. "The Changing Business of Bands: How New Groups Start, Grow, and Succeed Using Social Media." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340989959.

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6

Lima, Suely Simone Costa. "EDUCAÇÃO E SOCIALIDADE: aspectos do imaginário na Banda de Música do Bom Menino." Universidade Federal do Maranhão, 2006. http://tedebc.ufma.br:8080/jspui/handle/tede/124.

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Made available in DSpace on 2016-08-17T13:54:06Z (GMT). No. of bitstreams: 1 Suely Simone Costa Lima.pdf: 3039995 bytes, checksum: fbbbdd6745c57060c09dcb349aea15bd (MD5) Previous issue date: 2006-03-07<br>This paper searches to try to investigate music as symbolical practical organizer of the sociality of the group that composes the Band of Music of the Bom Menino of the Convento das Mercês formed by children and adolescents. In a perspective of Culturanálise de Grupo deriving of from the study of the Anthropology of the Organizations and the Education, area that reveals the imaginar

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7

Bassalé, Parfait Adegboyé. "Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy?" PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1122.

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The Story and Song Centered Pedagogy (SSCP) is a workshop that uses songs, stories and reflective questioning to increase empathy. This preliminary study tested the prediction that being exposed to the SSCP would increase empathy using, the Emotional Concern (EC) and Perspective Taking (PT) subscales of the renowned Interpersonal Reactivity Index (IRI) (Davis, 1990). Subjects self-reported their answers to the IRI before and after undergoing the SSCP intervention. Comparing their pre and post intervention results, no statistically significant changes were noticed for the EC and PT scales (p-va

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8

Johnston, Mindy Kay. "Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/437.

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This study is based on interviews conducted with twenty-two musician-activists in the Pacific Northwest region of the United States in 2009 to explore perspectives about the role of music in community engagement with the aim of considering how music might be used in the field of conflict resolution. The study followed the qualitative approach of constructivist grounded theory as designed by Charmaz (2000, 2002). Two themes, "Music for Self," and "Music for Society" emerged from interviews and comprise the internal and external meanings of music to the research informants. The results of the st

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9

Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.

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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an orga

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10

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 t

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11

Warr, Richard Lloyd. "Music consumption : the impact of social networking, identity formation, and group influence." Thesis, Swansea University, 2015. https://cronfa.swan.ac.uk/Record/cronfa43122.

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Previous researchers such as McGuire & Slater (2005) noted that people have an inherent need to share favourite music with other people, and also theorised that a democratisation of culture is taking place with consumers effectively standing by (or in some cases even replacing) traditional tastemakers by sharing music with one another through the Internet; thus shaping culture and in turn themselves. In addition, this theory supports the notion that once music consumers discover others online who have similar or interesting tastes, they may begin to interact with one another; therefore leading

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12

Wong, Chi-chung Elvin, and 黃志淙. "Making and using pop music in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.

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13

Lawrenson, Ilean. "Anthropologizing musical performance, the quest for a rapprochement of classical music production and practice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42167.pdf.

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14

Demeuldre, Michel. "Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.

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15

Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.

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16

Atwood, Brett D. "The role of Rap and Hip-hop music in value acceptance and identity formation." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/631.

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This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely

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17

Ponchione, Cayenna R. "Tracking authorship and creativity in orchestral performance." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:038d450e-f009-4ab0-879f-71d8f77bd77b.

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This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor

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18

Chen, Chen. "Development of the western orchestra in China." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118237.

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The subject of this study is the historical development of a vehicle for a form of western art (the orchestra) in China from 1840 to the present. The writer was primarily concerned with how the orchestra developed in broad socio-economical, political-cultural, and historical contexts with an emphasis on elaborating certain conditions responsible for the specific features of this development. The following major aspects of the development of the orchestra in China are discussed:1)The uniqueness of China's culture before accepting western culture;2)Reason and procedures by which China accepted w

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19

Roberts, Brian Alan. "The social construction of 'musician' identity in music education students in Canadian Universities." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2141.

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This research concerns itself with the development of a theory in the grounded tradition to account for the social construction of an identity as musician by music education students in Canadian universities. The principal data gathering techniques were semi- and unstructured interviews and participant observation, first at the Faculty of Education and the Faculty of Music, University of Western Ontario with further periods of interviewing at the University of Alberta and the University of British Columbia. The pilot study was conducted at Memorial University of Newfoundland where the author w

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20

Dick, Terence. "Functional music and consumer culture (instrumental version)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/MQ30210.pdf.

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21

Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.

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Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how roc

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22

Holbrook, Benjamin Scott. "Music and the Movement: Understanding Occupy Wall Street." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/489.

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On September 17, 2011, protestors set up camp in Zuccotti Park in New York's financial district, initiating a 59-day social and political movement known as Occupy Wall Street. Writing about the protest, James C. McKinley Jr. of the New York Times declared that the movement "lacks a melody" compared with protest movements of the previous century. Despite the common perception that little music accompanied the movement, organizers released Occupy This Album: 99 Songs for the 99%, a collection of songs connected with, written for, or written about the Occupy Wall Street movement. This thesis inve

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23

Ceulemans, Cédric. "Three essays in the economics of music: reputation and success of musicians." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209455.

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The music industry is a market of superstars, that is a market where a relatively small number of people earn enormous amounts of money and dominate the activity in which they engage (Rosen,1981). Theories on the superstars phenomenon suggest that luck (Adler, 1985) or talent (Rosen, 1981) are the driving forces behind success. Thus, the “superstars models” left performers with no “active” role: successful artists are either endowed with an innate talent far above the average or are extremely lucky. However, all musicians (talented or not; lucky or not) take continuously decisions that affect

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24

Wong, Chi-chung Elvin, and 黃志淙. "The working of pop music culture in the age of digital reproduction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44140101.

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25

Laplante, Audrey. "Everyday life music information-seeking behaviour of young adults: an exploratory study." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22017.

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The aim of this qualitative research was to contribute to a richer understanding of the everyday life music information-seeking behaviour of young adults. The objectives were (1) to uncover the strategies and sources young adults use to discover new music artists or genres, (2) to understand what motivates young adults to engage in information-seeking activities, and (3) to explore what clues young adults look for in music items to make inferences about the relevance or utility of these items.Fifteen young adults (18 to 29 years old) of the French-speaking Montreal Metropolitan community part

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26

Leung, Lai-yue Ciris, and 梁麗榆. "The social organization of a Cantonese opera performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29751093.

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27

Leavell, Brian K. ""Making the Change": Middle School Band Students' Perspectives on the Learning of Musical-Technical Skills in Jazz Performance." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277968/.

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Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and cod

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28

Murdock, Mervin Charles. "An Investigation of the Relationship Between Seventh, Tenth, and Twelfth Graders' Participation in School Choir and Their Perceived Levels of Self-Concept and Social Support." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332715/.

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The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significa

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29

Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students." Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.

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The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performa

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30

Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.

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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the c

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31

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: - A

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32

Hambridge, Katherine Grace. "The performance of history : music, identity and politics in Berlin, 1800-1815." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283937.

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33

Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.

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34

Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.

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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the sa

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35

Southcott, Jane Elizabeth, and mikewood@deakin edu au. "Music in state-supported schooling in South Australia to 1920." Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104134.

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This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodo

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36

Moore, Christopher Lee. "Music in France and the Popular front (1934-1938) : politics, aesthetics and reception." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102813.

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The French Popular Front was a coalition of left-wing political parties (Communists, Socialists, and Radicals) united through a common desire to combat fascism and improve the living conditions of France's workers. Between 1935 and 1938, the ideology of the Popular Front, largely informed by that of the Parti Communiste Francais (PCF), exerted tremendous influence on the cultural life of the French nation. Many cultural and musical organizations heeded the Popular Front's call for broad-based anti-fascist solidarity among intellectuals, artists, and the working class. In the realm of culture,

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37

Jeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959." Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.

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38

Sowle, Jennifer. "The castrato sacrifice was it justified /." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/August2006/Open/sowle_jennifer_ruth/index.htm.

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39

Polychronakis, Ioannis. "Song odyssey : negotiating identities in Greek popular music." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.

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40

Van, Rensburg Adriana Janse. "Songwriting in adolescence : an ethnographic study in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/20901.

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Thesis (D. Phil.)--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curr

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41

Antinora, Sarah Hill. "Frank Zappa and Mikhail Bakhtin: Rabelais's carnival made contemporary." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/141.

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For this project, the author uses Bakhtin's theory of carnival to illuminate Zappa's sound and rhetoric. The author hopes that by using this theoretical lens allows audiences to understand Zappa's choices in subject matter. Those who can see his work as satire and understand the use of carnivalesque techniques in challenging authority see the genius in his work.

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Schneider, William Steven. "Music and Race in the American West." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/3674.

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This thesis explores the complexities of race relations in the nineteenth century American West. The groups considered here are African Americans, Anglo Americans, Chinese, Mexican Americans, and Native Americans. In recent decades historians of the West have begun to tell the narratives of racial minorities. This study adopts the aims of these scholars through a new lens--music. Ultimately, this thesis argues that historians can use music, both individual songs and broader conceptions about music, to understand the complex and contradictory race relations of the nineteenth century west. Proce

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Man, Oi-kuen Ivy. "Cantonese popular song in Hong Kong in the 1970s: an examination of musical content and social context inselected case studies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221476.

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Montano, Edward James. "DJs, clubs and vinyl the cultural commodification and operational logics of contemporary commercial dance music in Sydney /." Phd thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/19792.

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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007.<br>Bibliography: p. 291-313.<br>Introduction -- "Back to this subculture thing": literature review and methodology -- "The crowd went berserk": dance music and club culture in Sydney and Australia -- "Once you find a groove you've got to keep it locked": the role and significance of the DJ -- "There's a great myth about that": DJ culture in Sydney -- "You're not a real DJ unless you play vinyl": technology and formats: the progression of dance music and DJ culture -- "What is underground

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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.

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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 4

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Boyd, Michelle. "Music and the Making of a Civilized Society: Musical Life in Pre-Confederation Nova Scotia, 1815-1867." Thesis, 2011. http://hdl.handle.net/1807/31695.

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The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was n

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Miller, Steven J. "Group cohesion and performance in university concert bands." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1462721.

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Sikazwe, Nondo-Jacob. "Hear space, see music: experiencing collective culture by experiencing music." Thesis, 2016. http://hdl.handle.net/10539/21144.

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A research report submitted to the Faculty of Engineering and the Built Environment, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Architecture (Prof), 2016<br>‘Africa United in Cultural Diversity’ is what is written in bold on a musical event poster outside Home Affairs, during the 2015 xenophobic riots in Johannesburg. In smaller writing it says ‘Opening the doors of learning and culture from Cape to Cairo ’.This thesis is an exploration of how music can act as a universal medium of engagement in an urban space, where

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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 mar

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Gonzalez, Melissa. ""Cien por Ciento Nacional!" Panamanian Música Típica and the Quest for National and Territorial Sovereignty." Thesis, 2015. https://doi.org/10.7916/D8319TTD.

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This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama's rural-urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, música típica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes

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