Dissertationen zum Thema „Eisteddfods“

This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material<br>Doctor of Philosophy (PhD)

This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material

Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>The purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.

This thesis examines Welsh national identity in the twentieth century through the medium of the National Eisteddfod of Wales. The National Eisteddfod is arguably the largest cultural festival in Europe; it is certainly the largest cultural event in Wales. At the turn of the twentieth century it was a popular festival but very different from its present form. During the course of the past century, the Eisteddfod has evolved into a highly symbolic Welsh-language festival, and one of the more powerful and evocative manifestations of Welsh language culture and nationhood. The ideological imperative given to the festival as a result of its perceived intrinsic connection to the language gives the Eisteddfod much its identity and its political power. However, language is not the only significant device through which the Eisteddfod has demonstrated Welshness; there are other, equally powerful, facets of Welsh identity that resonate from the festival. The chapters demonstrate these different elements, as well as the varied theoretical approaches I am taking in this process. The first chapter focuses heavily on historical cultural geography and looks at the role of location and place in Welsh identity in the twentieth century. The second chapter looks at various contemporary stereotypes of Welsh identity, using a post-colonial framework of Metropole and Periphery, and an emphasis on the role of binary juxtapositions in the construction of identity. Chapter three looks at various structural aspects of the festival itself, considering the formal performance of identity through the Eisteddfodic ritual. Chapter Four looks at the informal performances on the Eisteddfod field (<i>Maes</i>). Finally, the last chapter examines at the role of language and nationalism in the construction of modern Welsh identity. Together they paint a picture of the changing nature of Welsh culture and the correlated construction of identity during the twentieth century.

Taking as its starting point the need to better understand the relationship between tourism and culture in a western European context, this research develops and applies a conceptual framework and methodology to evaluate the attitudes among residents of a tourist receiving community to the sociocultural impacts of tourism. To this end, a case study approach is used to evaluate the attitudes of the residents of Llangollen, a small market town in North-east Wales, to the sociocultural impacts of tourism on their town and way of life. As host to the annual Llangollen International Musical Eisteddfod, and as a popular destination for day visitors and longer stay tourists alike, the community of Llangollen is a mature tourist destination possessing a wide range of tourist and cultural facilities. The study examines a range of appropriate literature and develops a conceptual framework around three key theories: the notion of resident 'coping strategies' to deal with the impacts of tourism, the sociological principle of social exchange theory and the social-psychological theory of social representations, with the latter being central to the study's methodology. There were three elements to the field work. Firstly, preliminary sensitising interviews were carried out in order to highlight key areas of local concern, and to inform the design of the survey work. Secondly, a questionnaire survey was undertaken of the residents of Llangollen, which was then interpreted using two different methods of respondent segmentation and using an assessment of the difference between groups. Finally, focus group discussions were carried out in the town in order to assist in the interpretation of the questionnaire findings and also to provide a systematically-derived set of qualitative data in order to assess the relative merits of taking different methodological approaches to the research. The findings of the research show that the community of Llangollen is generally positive about the impacts of tourism, with the role of the International Eisteddfod being pivotal in cultural terms. The three different approaches to the analysis of the impacts of tourism in Llangollen provided different perspectives and insights. The multivariate technique of cluster analysis gave the clearest picture from the questionnaire of resident perceptions of the cultural impacts of tourism, whereas an equity-based approach gave more indication of exchange processes at work in the community. The use of focus group discussions proved to be by far the most valuable in terms of drawing out not only what were the attitudes of residents, but also how and why such attitudes had come about in the first place. Most importantly, this research has made much clearer the political, economic and cultural contexts within which the residents of Llangollen perceive the impacts of tourism, and how it is these contexts which are influential in the attitudes taken to the impacts of tourism on the community, on groups in the community, and on the individual members of the community. The research also suggests there is a need for tourism research to move away from its traditional reliance on the questionnaire survey, and the search for statistically significant but perhaps socially irrelevant groups. It is suggested that further use of focus group discussions may help to more fully understand the relationships between tourism and culture within local communities.

Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.<br>A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.

Welsh-born harpist and composer John Thomas performed for audiences throughout Europe serving as the harpist to Queen Victoria of England. He was trained in London at the Royal Academy of Music, yet remained loyal to his Welsh heritage throughout his life. He began composing at the age of 16 while still a student at the Academy and continued arranging and composing repertoire for harp well into the Twentieth Century.This document will show that John Thomas was instrumental in the development of virtuosic harp literature and the recognition of the double-action pedal harp as a concert instrument while maintaining a strong sense of Welsh Nationalism as demonstrated in his original compositions. Like the Welsh harpists and composers before him, Thomas collected and preserved Welsh Airs. In addition, Thomas participated at numerous Eisteddfoddau, lectured on the history of the Welsh Harp, and wrote the "Welsh Music History" article in the first edition of the Grove Dictionary of Music and Musicians. However, unlike his predecessors, Thomas composed for the modern pedal harp and employed virtuosic techniques heretofore unexplored in Welsh harp music.Though this harpist, composer, and music historian produced a prolific output of virtuosic works and historical writings, very little has been documented on his life and career. There are no complete works lists in print. Many of Thomas' manuscripts and published works remain out of print in the National Library of Wales. The Groves Dictionary of Music and Musicians contains only a brief article on this composer's life and career.Thomas is internationally recognized as a leading composer and performer among harpists of the Nineteenth Century. His works are still performed by harpists in recitals at international conferences and competitions including the World Harp Congresses. Further, Thomas' students became touring performers and made a significant mark on the performing arena throughout much of the Twentieth Century.

The realisation of the objectives of the South African Schools Choral Eisteddfod (SASCE) is influenced by the national education system and the environment it operates in. This thesis accordingly studies the SASCE within the organisational framework of the Department of National Education. It provides a comprehensive description of the factors that influence the achievement of the objectives of the SASCE in the FET band in the Motheo district of the Free State Province. South African national education policy provides for a single unified democratic system for the organisation, governance and funding of schools. The Department of National Education formulates policy and provinces are responsible for its implementation by means of district offices. In this respect the education system is regarded as an organisation consisting of different sub–organisations that must provide effective education in line with the educational needs of the country. A generic five–point model of effective organisational structure accordingly was applied to determine the factors impacting on the realisation of the objectives of SASCE. Data were gathered and analysed by means of personal observations, document analysis and semi–structured interviews with education officials, school principals and choir conductors. The challenges of the national education system with regard to appropriate facilities, equipment, funding, appropriately trained officials and educators, support staff and effective policy implementation are consistent with the challenges facing the Department of National Education’s enrichment programmes, of which the SASCE forms part. Findings and recommendations are offered for all research questions. A general recommendation pertains to a proposed restructuring of the provincial enrichment programmes sub–directorate in order to address some of its organisational shortcomings and also the challenges facing the SASCE.<br>Thesis (Ph.D (Music))--North-West University, Potchefstroom Campus, 2011.

The project explores the potential for cultural events to facilitate intercultural understanding, global citizenship and peace. This potential was researched through the investigation of the processes and mechanisms of intercultural communication and exchange (ICE) at Llangollen International Musical Eisteddfod (LIME). The study has brought intercultural communication literature together with event design theory to investigate a specific phenomenon of the event experience, ICE, within the cultural event setting. This is a new perspective which adds to the increasing body of knowledge relating to the political and social impacts of festivals and cultural events, in line with the new emerging paradigm of Critical Event Studies (CES). An ethnographic longitudinal case study took place over three years, using a constructionist multi-methods approach to investigate the phenomenon of ICE from a number of perspectives including the researcher’s personal perspective, event organisers, attendees, volunteers and competitors. The methodology placed emphasis on auto-ethnography and the use of photographic evidence as a tool to record and discuss observations. The results of the thesis show that cultural events do have the potential to contribute to greater intercultural understanding, global citizenship and peace through the international languages of music and dance, but also via other processes and mechanisms of ICE. These include external messages via the media, outreach work and modern technology and internal processes and mechanisms of verbal and non-verbal communications, such as signs and symbols, costume and dress, and written materials. In particular the results identified that certain areas of the event site and programme are more critical to the initiation of in-depth ICE than others, such as the provision of informal spaces. From an academic perspective, the overall conclusion is that intercultural communication literature should look to overtly include music and dance as effective forms of communication. Practically and paradoxically, cultural event managers should design their events mindfully in order to provide space, both temporal and physical, to support the development of organic interaction and opportunities for ICE to occur, thus enhancing the experience of both performers and spectators. They should also take full advantage of the opportunities offered by modern technology to provide information on various cultural aspects via apps, interactive displays and other forms of interpretation.

This research project was sparked by the observed patterns of participation in the schools choral eisteddfodau organised by the South African Schools Choral Eisteddfod (SASCE) and the Bosveld Kunstefees by schools in the Polokwane cluster of Circuits, Capricorn District of Limpopo Province - South Africa. The projected image of participation was that participation was divided along racial lines, whereby SASCE events were attended by blacks, found at township and rural schools, whereas former Model C schools attended the Bosveld Kunstefees eisteddfodau. The study intended to reveal whether the projected racial image was founded on racism itself, after 20 years the democratic dispensation, or whether other factors such as choral aptitude, preference of choral style, and/or cultural identity in a pluralistic society influenced such participation. Data were collected and qualitatively analysed by means of a structured questionnaire administered to school principals, choir masters/mistresses and secondary school choristers whose schools participated in either of the eisteddfodau between 2009 and 2011. Findings and recommendations are then offered for the research questions asked, following the analysis of collected data.<br>Dissertation (MMus)--University of Pretoria, 2014.<br>lk2014<br>Music<br>MMus<br>Unrestricted

The purpose of this collective case study was to explore the significance of choral singing for choristers and conductors participating in a national extra-curricular schools choral singing programme in South Africa. Understanding the experiences of choristers and conductors can contribute to principals, administrators of singing programmes, parents and conductors supporting choral singing activities. The method of inquiry was a qualitative collective case study with probing semi-structured open-ended questions to better understand the value and meaning of choral singing. Sampling comprised six purposefully chosen choirs, consisting of three primary and three secondary schools, portraying the unique socio-economic environment found in an agricultural rural town in central South Africa. Twenty-five participants were carefully selected, including 19 choristers and 6 conductors, 9 males and 16 females aged between 10 and 62 years. Eight themes emerged, namely choir singing as a way of living, music-related experiences, learning, growth, bridging, bonding and belonging, wellbeing, the latter including resilience, self-worth, positive affect, and singers’ spiritual experiences. Suggestions for further research include relationships of choral singing with full personhood and spiritual experiences. Certain physical aspects related to rehearsals, specifically regarding fatigue and back pain after standing through long rehearsals, could be investigated further.<br>MA (Musicology), North-West University, Potchefstroom Campus, 2015