Dissertations / Theses: 'Ethnomusicology'

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Tebbs, Philip. "Studying the blues as ethnomusicology." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321017.

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Kruger, Simone. "Experiencing ethnomusicology : student experiences of the transmission of ethnomusicology at universities in the UK and Germany." Thesis, University of Sheffield, 2007. http://etheses.whiterose.ac.uk/3648/.

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Using ethnographic research-and attendant methods of participant-observation and informal interviewing-at twelve universities in the UK and Germany, Experiencing Ethnomusicology studies the transmission of ethnomusicology, while exploring the ways in which students experience and make sense of their (world) musical encounters. Discussions begin with the contexts and broader organisational structure of higher education in which ethnomusicology is transmitted. Drawing on the voices of ethnomusicologists, the first chapter illustrates the ideological and social practices that inform the disciplining of ethnomusicology and its transmission to students at universities. Subsequent chapters focus on student experiences of the transmission of ethnomusicology and world musics. Specific emphasis is placed on how students make music meaningful and useful in their academic and personal lives, and what and how they learn when ethnomusicology is transmitted in the university classroom. This starts with discussions about students' listening to world musics and ethnomusicologists in order to shed light into their constructing and articulating of sociocultural identity, ideas of authenticity and a heightened sense of democracy. Ile following part explains student experiences of performing ethnomusicology, and assesses students' change of attitude and perspective, while drawing conclusions on the politics of representation and appropriation of world musics in the performing of ethnomusicology. Focusing subsequently on activities involving the composing of ethnomusicology, the final part discusses students' recreation of world musics in the form of transcriptions and creation of ethnography, whilst reflecting on the ways in which composing ethnomusicology transforms students' senses of self and others. The conclusion presents a pedagogy for ethnomusicology that resonates with a music education of the 21st century, drawing on previous discussions to illustrate some of the possibilities of a globally, contemporary and democratically informed sense of music.

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Wendt, Christopher Lee. "Culture mediation and sound preservation : methodologies in ethnomusicology." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285584.

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This thesis explores how the study of culture can benefit from Western technology by reviewing anthropological theoretical and methodological processes and issues concerning reciprocity between the ethnographers and research subjects. In this case I am exploring the process of digitizing and dissemination of 400 hours of Kiowa song recordings. New digitizing equipment has made audio preservation and access relatively easy and affordable. These issues are most critical to groups like the Kiowa whose songs I have already started digitizing. In this thesis I closely examine existing collaborative theory and methodology in order to demonstrate the balance that can and should be maintained when using technology to preserve traditional music. In general, applying audio technology to an anthropological problem can enhance or inhibit the ethnographic process. My thesis focuses on how audio technology can contribute to this process without inhibiting, complicating, or distorting the way ethnomusicologists, folklorists, and anthropologists practice go about recording sound.
Department of Anthropology

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Bethencourt, Llobet Francisco Javier. "Rethinking tradition : towards an ethnomusicology of contemporary flamenco guitar." Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1305.

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This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología. In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic.

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Chiang, May May. "Research on music and healing in ethnomusicology and music therapy." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8236.

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Thesis (M.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: School of Music. Musicology Division. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Lumbwe, Kapambwe. "Ubwinga, a subset of Bemba indigenous knowledge systems : a comparative study of pre-colonial and post-independence wedding ceremonies in Lusaka and Kitwe, Zambia." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/12141.

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This study has, by way of ethnographic investigation, compared the Bemba ubwinga ceremonies performed in Lusaka and the Copperbelt during the pre-colonial era and the white wedding ceremonies performed during the post-independence era. It has further investigated the nature and existence of Bemba IKS. This study employed qualitative research methods involving extensive fieldwork in Lusaka and the Copperbelt. Apart from audio-visual recordings and analysing 25 marriage ceremonies, individual and focus group interviews were conducted with participants of wedding ceremonies and a sample of research participants from various age groups. Participant observation was used to collect data, while the interviews served as a means to clarify information about ubwinga ceremonies.

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Miya, Florence Ngale. "Educational content in the performing arts : tradition and Christianity in Kenya." Doctoral thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7973.

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Includes bibliographical references (p.235-263).
The performing arts (a combination of music, dance and dramatisation) in the church in Kenya have not received much scholarly attention. These performing arts as adopted by Christian dance groups in Kenya have not been fully accepted into Christian circles because of the indigenous and popular music influences that govern them. This study therefore sets out to determine the educational role that the performing arts in the church in Nairobi play as demonstrated by a Nairobi Christian dance group, the Maximum Miracle Melodies.

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Aranha, Mark. "Jews and Mappilas of Kerala: A study of their history and selected song traditions." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33626.

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This dissertation restudies the history and selected archival musical recordings relating to the Jews and Mappila Muslims on the Malabar coast of Kerala, India. These two communities arose out of transoceanic migrations and interactions over the longue durée, and in reconstructing their past, this work aims to uncover traces of their links to each other and to others across the seas. This is a part of a larger project, Re-Centring AfroAsia, which seeks to trace human and musical migrations between 700-1500CE. Previous studies, apart from suffering from colonial biases, have tended to focus on a single religion, a single community, or a single discipline, with the aesthetic fields remaining largely untapped as a source. This work combines diverse sources and methodologies – using a musical archive, restudies, field interviews, field recordings, as well as a range of secondary sources, and crosses over multiple fields of study. The field research threw up certain inadequacies in the existing secondary literature, which this dissertation has attempted to untangle: 1) Ideas and reform movements of the twentieth century have affected the interpretation of past cultural practices in Malabar. This is true of studies of both Jews and Mappila Muslims. 2) The role of Sufism and Sufi tariqats in the propagation of Islam in Malabar has been historically underplayed in the literature. The influence of Jewish mystics on the Malabari Jewish community is also rarely identified as such. 3) While the Mappilas' links with Arab nations are known, their Tamil roots are relatively understudied. The latter emerged in my restudy of the archival music selection. 4) A minority of elite Jews in Kerala seem to have taken over the historical narrative of the entire group, skewing almost all secondary literature right from the early colonial period into the twentieth century. It is apparent that the Malabari Jews have been denied a voice in most of these works, and so my field work with the Jews primarily focused on this subgroup.

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Cam, François. "Le mélos dans la musique grecque antique : une approche expérimentale par la restitution de strophes tragiques." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMR147.

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On parle toujours de mélodie quand on analyse la musique grecque antique sans avoir suffisamment questionné la genèse des performances musicales qui ont contribué au développement décisif de la théorie musicale dès le cinquième siècle. Il est grand temps de réévaluer cet essor décisif dans le champ de la musique méditerranéenne autant que de la théorie occidentale de la musique à partir de cette notion essentielle de mélos qui doit modifier notre perception des formes musicales de cette période, induisant un type de représentation et un rapport du spectateur à la scène. Cette recherche s'appuie sur la théorie musicale antique confrontée encore une fois aux reliques de la musique grecque antique et de façon nouvelle à un travail de restitution vocale de strophes lyriques dans le cadre des représentations données par le théâtre Démodocos. Elle s'inscrit donc dans ce mouvement contemporain de revival des genres scéniques de l'antiquité gréco-romaine associant recherche fondamentale et expérimentation
One always speaks about melody when analyzing ancient Greek music without having enough questioned the genesis of musical performances which contributed to the decisive development of musical theory as of the 5th c. It is high time to reassess this decisive rise in the scope of the Mediterranean music as well of the Western theory of music on the basis of this essential concept, melos, which is to modify our perception of this period’s musical shapes, while inducing a type of performance and a spectator’s relationship to the scene. This quest is based on the ancient musical theory facing once again the relic of the ancient Greek music and in a new way a work of vocally rendering lyrical verses in the framework of performances by the theatre company Demodocos. Hence it is part of this contemporary movement of revival in the scenic genres of ancient Greece and Rome joining basic research and experimentation

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Poussin, Adeline. "Le chant militaire et sa pratique actuelle dans les Troupes de marine." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2044/document.

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Cette thèse de doctorat vise à comprendre quel peut être l’apport du chant dans la construction sociale et identitaire d’un ensemble fermé en dégageant les différentes fonctions de ce répertoire. Elle a également pour objectif d’analyser la mesure dans laquelle il intervient dans l’intégration des personnels ainsi que l’impact qu’il peut avoir sur la cohésion des groupes. En ce sens, une place importante a été donnée à l’analyse des aspects contextuels et humains du chant, tels que le rapport au corps dans les pratiques rituelles.Souhaitant aborder les différents enjeux du chant au sein de l’institution, le corpus sur lequel s’appuie cette recherche est assez large et regroupe aussi bien des pièces officielles qu’intimistes. Pour avoir une vision précise du répertoire militaire et interroger sa fonctionnalité, une enquête de terrain a été menée principalement au RICM implanté à Poitiers et au 6e BIMa basé à Libreville. Le choix d’une limitation aux Troupes de Marine est motivé par la spécificité de cette arme, l’une des plus présentes sur les théâtres d’opérations. Ainsi, l’étude des activités rituelles et musicales de la population militaire en situation conflictuelle et post-conflictuelle était possible, en plus d’aborder la place des pratiques chantées dans le quotidien de la vie de garnison. L’étude laisse notamment apparaître que le besoin d’une importante cohésion du groupe est l’une des principales motivations de l’interprétation des chants pendant et en dehors du service. Elle montre également que cette pratique vocale fait partie intégrante de la culture militaire et qu’elle permet la revendication d’une identité collective
This Ph. D. thesis aims at understanding what can be the contribution of song in the social and identity building up of an introverted group by clearing the various functions of this repertoire. It also purposes the objective of analysing the measure in which it intervenes in people integration as well as the impact it can have on groups’ cohesion. Thus, an important place has been given to the analysis of contextual and human singing aspects, such as the relation to the body in ritual practices.Wishing to approach the various stakes of singings in the institution, the corpus on which this research is leaning on is quite wide and gathers official songs as well as intimist ones. To get an accurate vision of the military repertoire and question its feature, a survey has mainly been carried out within the RICM located in Poitiers and within the 6th BIMa based in Libreville. The choice of a restriction to the Troupes de Marine is justified by the specificity of this arm, one of the most present on the theatre of operations. So, the study of ritual and musical activities of the military population in conflicting and post-conflicting situation was possible, besides approaching the place of sung practices in the daily garnison life. The study particularly permits to enhance that the need of an important cohesion of the group is one of the main reasons of songs within ans apart from the duty. It also shows that this vocal practice is an integral part of the military culture and that it allows the claiming of a collective identity

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Parent, Marie-Christine. "Le moutya à l'épreuve de la modernité seychelloise : Pratiquer un genre musical emblématique dans les Seychelles d'aujourd'hui (océan Indien)." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2002/document.

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Pratique musicale issue du contexte esclavagiste des îles Seychelles à partir de la fin du XVIIIe siècle, le moutya est à la fois un chant, une musique tambourinée et une danse. Cette pratique, presque absente sur le terrain, est nommée moutya otantik par les Seychellois. Les entretiens menés avec des travailleurs culturels et des musiciens ont permis de comprendre le concept de moutya otantik, né en parallèle avec celui de l’identité culturelle « créole seychelloise », s’avère une construction politique à la base de la Nation, suite au coup d’État qui a mené à la Révolution seychelloise, en 1977. Cette thèse examine d’abord une représentation d’un moutya otantik présentée par des travailleurs du ministère de la Culture. Elle s’oriente ensuite vers des pratiques qui se sont adaptées et renouvelées, principalement sur scène, lors d’événements officiels ou dans le milieu touristique, ou encore au sein de l’industrie musicale locale. Cette démarche permet d’aborder les processus de créolisation des musiques dites créoles, avec lesquelles le moutya partage des affinités évidentes, et de mettre ainsi le moutya en relation avec d’autres phénomènes culturels locaux et régionaux.Les nouveaux espaces de production et de diffusion sont ici observés par le biais d’études de cas basées sur des expériences individuelles et collectives, ainsi que sur des parcours d’artistes. Des analyses du matériau sonore et des performances musicales visent enfin l’élaboration d’une caractérisation du moutya et démontrent que ce dernier s’exprime aujourd’hui sous diverses formes, dans une interrelation dynamique avec différentes musiques. Dans cette optique, il doit nécessairement être abordé selon une conception élargie et complexe
Moutya is a musical practice born out of slavery in the Seychelles islands (Indian Ocean) from the end of the 18th century. It is made of singing, drumming and dancing. During our fieldwork, this practice, known as moutya otantik (authentic moutya) by the Seychellois, was hard to find, not to say absent. Interviews with cultural workers and musicians contributed to our understanding of the concept of moutya otantik born in parallel with the “creole Seychellois” cultural identity, as a political construction that served national purposes following the coup that led to the Seychelles Revolution in 1977. This dissertation first examines the representation of a moutya otantik as organized and presented by workers of the Ministry of Culture. It then looks at how moutya has been adapted and renewed when staged and recorded mainly during official events, at touristic venues or within the local music industry. This approach makes it possible to talk about the historical and dynamic processes of creolization that are inherent to creole music, with which moutya shares obvious affinities, and also to connect moutya with other local, regional and, more generally, Creole cultural phenomena. New production and presentation spaces are observed through case studies based on musicians’ individual and collective experiences. Analyses of sound material and musical performances attempt to better define moutya and show that it is now expressed in a diversity of forms and in a dynamic interrelation with different music. In this context, it must necessarily be approached in a broad and complex way

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OhAllmhurain, Gearoid. "The concertina in the traditional music of Clare." Thesis, Queen's University Belfast, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335451.

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Dawe, Kevin. "Performance and entrepreneurialism : the work of professional musicians in Crete." Thesis, Queen's University Belfast, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261882.

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Akapelwa, Emma Ziweyi Mwangala. "Problems of music education : a comparative study." Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336035.

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Lewin, Olive Wilhelmina. "Jamaican folkmusic with special reference to Kumina and the work of Mrs. Imogene 'Queenie' Kennedy." Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261815.

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Braun, Mark. "Musical values and modes of music education in Mafi-Ewe communities: Case studies from Sasekpe, Kutime, Srekpe, and Gidikpe." View abstract/electronic edition; access limited to Brown University users, 2008. 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:3318297.

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Thesis (Ph.D.)--Brown University, 2008.
Vita. Advisor : Marc Perlman. The CD's listed as accompanying this dissertation did not accompany the dissertation. Includes bibliographical references (leaves 307-322).

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Tragaki, Dafni. "Urban ethnomusicology in the city of Thessaloniki (northern Greece) : the rebetiko music revival today." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401905.

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Kippen, J. R. "The traditional tabla drumming of Lucknow in its social and cultural context." Thesis, Queen's University Belfast, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373551.

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Gabrillo, James. "The New Manila Sound : music and mass culture, 1990s and beyond." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/286224.

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This dissertation provides the first detailed account of the mass musical culture of the Philippines that originated in the 1990s and continues to be the most popular style of musical entertainment in the country - a scene I dub the New Manila Sound. Through a combination of archival research, musical analysis, and ethnographic fieldwork, my examination focuses on its two major pioneers: the musical television programme Eat Bulaga! (Lunchtime Surprise) and the pop-rock band Aegis. I document the scene's rise and development as it attracted mostly consumers from the lower classes and influenced other programmes and musicians to adapt its content and aesthetics. The scene's trademark kitsch qualities of parody, humour, and exaggeration served as forms of diversion to au- diences recovering from the turbulent dictatorship of Ferdinand Marcos from 1965 to 1986, when musical works primarily comprised of state-commissioned nationalist anthems, Western art music, and protest songs. In the second part of the study, I trace the New Manila Sound's contemporary revival in popularity through the aid of digital technology, resulting in an expansion of the modes of content-creation, dissemination, and audience participation in the country's entertainment industry. Eat Bulaga! and Aegis hold a significant place in Philippine culture: not only have they influenced the tastes and identities of their audience, their brand of entertainment has also trickled down to the musicality of everyday social contexts in the country. As the first study of contemporary Philippine musical traditions that combines historical documentation and the ethnographic study of performers and audiences, my research expands our understanding of the country's popular music industry as an influential force that has bestowed on its mass audience assurances of cultural and social authority.

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Abbot, Simone Rochelle. "Sounds and spectacle : the highland bagpipe in Adelaide /." Title page, contents and introduction only, 1990. http://web4.library.adelaide.edu.au/theses/09AR/09ara129.pdf.

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Ukpanah, Ime Dan. "The music of Nigeria's Akwa Ibom State : a critical perspective and evaluation, with special reference to Ebre, Ekpo and Uta traditions." Thesis, Queen's University Belfast, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333853.

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Sanger, A. E. "The role of music and dance in the social and cultural life of two Balinese villages." Thesis, Queen's University Belfast, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377383.

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Peterson, Rachel Marilyn. "TOSHIKO AKIYOSHI'S DEVELOPMENT OF A NEW JAZZ FUSION." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193410.

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This thesis examines the life and work of Japanese jazz composer, pianist and band-leader Toshiko Akiyoshi (b. 1929), one of the most successful women in modern jazz. Over the course of her career, Akiyoshi performed and traveled extensively with musicians in Japan and in the United States, courting two audiences through and earning respect and success in both countries. Analysis of three pieces, from three albums representing different stages of her career, and a live performance from June 2010 are used to illustrate the maturation of Akiyoshi's work and how she combined American and Japanese musical traditions and styles, including bebop and Japanese Noh, to create her own style and a new type of jazz fusion.

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Gregory, Jonathan. "A musical ethnography of the Kaapse Klopse carnival in Cape Town, South Africa." Thesis, Queen's University Belfast, 2018. https://pure.qub.ac.uk/portal/en/theses/a-musical-ethnography-of-the-kaapse-klopse-carnival-in-cape-town-south-africa(d0e3e18d-34d9-4cc8-b2e4-2d5b7083a22d).html.

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This research explores the interplay between culture and politics from a musical ethnography of the Kaapse Klopse carnival in Cape Town, South Africa. This cultural expression can be traced to colonial slavery when Cape slaves were given a day off on 2 January. Since the early 20th century, carnival troupes have gathered in football stadiums as a medium of socialisation to perform and compete against each other for trophies, profit, status, and bragging rights. The research is divided into four parts. In the first part, I discuss the impact of violence in township areas, the locus of carnival and where the majority of participants live, where I examine the role of carnival in the mitigation of physical and emotional distress, and the legacy of klopse music as symptoms of deeper divisions rather than historical imperatives. In part two, I discuss the functions and characteristics of klopse competitions, seeking to understand the reward scheme, motives and strategies for enticing players, as well as the effects of winning and losing, team work and pride on the individual and group. Part three focuses on the more negative aspects of competition, drawing on notions of persuasion, control and manipulation, as well as empirical discussion of how individuals compete for positions of power and status, and on how their quest for success in carnival reflects their position in the formal economy. Finally, in the last part, I examine the music of the Kaapse Klopse and explore its place within a rapidly changing South Africa, in which carnival and the political mainstream are moving in opposite directions, focusing on notions of ethnicity, entrainment, and solidarity, and the effects of power and money on the social field. Specifically, I use Durkheim's concept of collective consciousness to explain how the conscience collective is imperative to establishing moral order and the continuity of parades and competitions.

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Bidgood, Lee. "Review: Bluegrass Music: Sounds and People in Motion - Penny Parsons. Foggy Mountain Troubador: The Life and Music of Curly Seckler (2016) and Bill C. Malone. Bill Clifton: Bluegrass Ambassador to the World (2016)." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3245.

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Bidgood, Lee. "Towards a Definition of the ‘Mash’ Approach to Bluegrass: Sound, Style, and Gesture." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3247.

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Hewitt, Donna G. "Compositions for Voice and Technology." Thesis, University of Western Sydney, Penrith, 2006. https://eprints.qut.edu.au/9386/1/HewittPhD2007_Compress.pdf.

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The PhD consists of a portfolio of electro-acoustic compositions and is accompanied by a scholarly dissertation. The portfolio of works explores the development of real-time electro-acoustic composition techniques using microphone captured audio. The portfolio focuses particularly of the voice as a sound source and aims to bring together the authors background as a popular vocalist with her 'music concrete' influenced electro-acoustic compositional work. The portfolio culminates in the development of a HCI (Human Computer Interface) called the eMic (extended mic-stand interface controller), which allows the performer to control sound parameters in real-time via common popular music performance gestures.

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Bidgood, Lee. "Czech Bluegrass in Play." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1036.

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Drawing from scholarship on play, ritual, and performance, I propose that Czech bluegrass thrives – as does my fieldwork – in a state of in-betweenness, in a territory that is between work, play, here and there, self and other. Being comfortable with this kind of in-between state is important for fieldwork, and for music-making – play, I find, is both a central activity and metaphor in both. The bluegrass play I discuss in this essay can become a response to the encroachment of Americanization in economic and cultural globalization, but also a way of being “Americanist” – and entirely Czech.

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Recob, Elizabeth R. "Ethnomusicology in the Classroom: A Study of the Music Education Curriculum and its Inclusion of World Music." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574507820991207.

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Iacovazzi, Giovanna. "Un bruit pieux. La musique des bandas à la fête de Santa Maria Mater Gratiae à Zabbar (Malte)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040123.

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À Zabbar, un village maltais du Nord-Est, la banda Maria Mater Gratiae et la banda San Mikiel, rivales depuis leur fondation, en 1883, sont intégrées dans la vie villageoise et animent la fête patronale de Santa Maria Mater Gratiae, tous les ans, le 8 septembre. La musique des bandas – des marches – est une musique populaire, festive, religieuse et écrite. Elle ne joue pas seulement un rôle décoratif ou d’utilité ni de stricte nécessité sociale, elle constitue un véritable fait social total. Elle s’inscrit dans une pratique collective du quotidien et produit des sociabilités multiples, des échanges, des univers sonores, un imaginaire musical riche en mouvement. La première partie de cette thèse, d’un caractère ethnographique, décrit le contexte musical du village, en mettant l’accent sur les bandas, leur siège – le kazin –, leur histoire, leur rôle dans le contexte musical maltais. Dans une deuxième partie, la musique des bandas se révèle être au centre d’échanges - des musiciens et des partitions – et de rivalités dans l’espace villageois et de l’île. Enfin, après une description de la musique dans la fête et une étude comparée qui montre l’origine même de ces formations dans la double histoire des orchestres de cuivre et d’harmonie, une dernière partie est consacrée à l’analyse musicale et a pour but de découvrir la logique de ces musiques paraliturgiques
In Zabbar, a village in north-east Malta, two bandas, Maria Mater Gratiae and San Mikiel, have been rivals since they were founded in 1883. They are part and parcel of village life and bring life to the Santa Maria Mater Gratiae village festival each year, on the 8th of September. The music of bandas, of marches, is a popular, festive, religious, written music. Its role is neither decorative nor utilitarian, nor is it a strict social necessity, it is an actual complete social fact. It is part of a collective pratice in daily life and produces multiple sociabilities, exchanges, musical worlds, an imaginary musical universe full of movement. The first part of this thesis, which is ethnographic, describes the musical context of the village, drawing attention to the bandas, their seats (or kazin), their history, the role they play in the Maltese musical context. In the second part, banda music is discovered to be central to exchanges (musicians and music scores) and rivalries within the village space and the island itself. Then comes a description of the music within the festival and a comparative study meant to show how the bandas found their origins in the history of brass bands and orchestras. Finally, a last part is dedicated to musical analysis and aims at discovering the logic within those paraliturgical musics

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Amedzi, Jesse Kosi. "The role of music in the education of the Ewedome people of Ghana : a study of cultural transformation and transmission with particular reference to Borborbor and Gabada." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298284.

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Lewis, Paul. "A model for culture-independent music analysis : 'sounding form' and musical communication." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361468.

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Hoh, Lyndsey. "The sound of metal : amateur brass bands in southern Benin." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:d47d74ec-39f0-4ed8-87fa-91094174009d.

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This thesis contributes an empirically informed understanding of postcolonial experience and musical expression in West Africa through an ethnographic study of amateur brass bands (fanfares) in the Republic of Benin. During the nineteenth and twentieth centuries, the Western hegemonic cultural tradition of the brass band was exported across the globe through imperialist institutions such as the military and the church. Music in colonial Dahomey was an integral part of the French civilizing mission, and the brass band took center stage. Brass bands remain pervasive in present-day Benin and perform in a multitude of political, social, and religious contexts. Previous scholarship subsumes postcolonial musical performance into social scripts of resistance, framing brass bands in particular within cultural modes of mimesis, indigenization, or appropriation. Pushing against these canonical narratives, this thesis illustrates apolitical, affective, and embodied modes of experiencing colonialism's material and musical debris. Broadly, the ethnography presented here speaks to four themes. The first of these is material. Evident in musicians' accounts are materials' sonic inclinations: how instrument design and disrepair constrain musical ideals, and how different metals encourage particular pitches and timbres. Present, too, is the social and affective capacity of material: how ideas about brass instruments shape histories, erect styles, construct tastes, move bodies, induce anxieties, and proffer futures. The second theme is precarity. Fanfare musicians âget byâ in an exploitative (musical) economy, are made anxious by ambiguous understandings of brass instruments, and manage an undercurrent of uncertainty in a social milieu rife with rumor and distrust. A third theme arising is that of the body, broadly conceived. This thesis illustrates the corporeal demands of fanfare performance, the embodied experience of blowing brass instruments, and the social value of bodily strength and exertion. The fourth theme is entanglement. Beninese musicians' experience of fanfare is entangled within (at times contradictory) ideas of the past, imaginings of the outside, emotions in the present, and expectations for the future. Entanglement likewise extends to musical instruments: the multiple valences of materials collide in brass instruments, as do histories, traditions, and feelings.

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Skipworth, Lachlan. "HONNIN NO SHIRABE : SEARCHING FOR A COMPOSITIONAL RESPONSE TO THE TRADITION OF SHAKUHACHI HONKYOKU." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15435.

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In learning honkyoku, the ancient solo repertoire for the Japanese bamboo shakuhachi, the student undertakes a lifelong search aspiring to make each piece an extension of their inner self. The con-cepts of honnin no kyoku and honnin no shirabe reflect this, translated as "one's own song" and "one's own search" respectively. This thesis, presented as a portfolio of ten compositions and a writ-ten exegesis, illustrates that these concepts run deep within my compositional practice after the first seeds were sown during my time learning shakuhachi honkyoku in Japan. The exegesis argues that my musical language, aesthetics and forms all arise from collisions between my internalised sense of honkyoku and my background in western art music. Detailed analyses of the compositions in the portfolio bear this out, showing that through deep exploration of my first-hand musical experience I have crafted a uniquely personal approach and musical style that extends upon, and in some in-stances transmits, the shakuhachi honkyoku tradition.

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Bidgood, Lee. "Czech Bluegrass Media, An Overview." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3246.

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Bidgood, Lee. "The Broken Circle Breakdown and Belgian Bluegrass." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3248.

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Bidgood, Lee. "Czech Bluegrass: Fieldwork, Americanness, and Media In Between." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3249.

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No other place in the world has a romance with American bluegrass like the Czech Republic. Banjo Romantika introduces the musicians who play this unique bluegrass hybrid. Czechs first heard bluegrass during World War II when the Armed Forces Network broadcast American music for soldiers. The music represented freedom to dissatisfied Czechs living in a communist state. Czechs’ love for the music was solidified when Pete Seeger visited and performed in 1964. Inspired by classic American bluegrass sounds, an assortment of musicians from across the formerly communist Czech Republic have melded the past, the political and the present into a lively musical tradition entirely its own.

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Bidgood, Lee. "Review: Fiddler's Dream: Old-Time, Swing, and Bluegrass Fiddling in Twentieth Century Missouri." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3244.

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Verron, Damien. "" De Leitrim à Sligo " : des sessions de musique traditionnelle instrumentale à danser irlandaise : systématique, interactions musique/environnement." Phd thesis, Université Jean Monnet - Saint-Etienne, 2012. http://tel.archives-ouvertes.fr/tel-00939408.

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Instants et espaces investis par la musique, les sessions sont actuellement en Irlande un marqueur d'expression culturelle.En surface, celles-ci peuvent être définies en tant que regroupement prévu ou spontané de plusieurs musiciens dans le but de faire de la musique et de passer un agréable moment ensemble. Toutefois, un travail d'enquête réparti sur sept années de recherches dans le nord-ouest irlandais a révélé qu'en profondeur, les sessions représentent un phénomène socioculturel complexe, phénomène social autant que musical, fait musical autant que social, édifice symbolique mixte tissé d'interactions dont la combinatoire à chaque fois renouvelée implique un jeu de relations entre facteur individuel et les stratégies collectives qui, radicalement, affectent l'ensemble de la structure de l'évènement.Comprendre le fonctionnement d'une session revient alors à poser un certain nombre de questions ayant pour finalité de révéler la manière dont les deux pôles du social et du musical se trouvent, en même temps que distincts, inextricablement liés, à partir d'une procédure de mise en série, il est proposé d'apprécier les liens entre structure et contexte à travers l'analyse comparée d'un corpus de 26 pièces musicales, collectées dans le cadre de 7 situations de sessions distinctes. Il s'agit d'observer si 1)les spécificités sonores immanentes d'une performance musicale en session dépendent des rapports entretenus par les musiciens et leur environnement ; et si 2) des indices musicologique tangibles de cela existent, en même temps que suffisent à rendre compte des différents processus interactionnels auxquels on les suppose liés - l'idée en question étant bien ici celle d'une possible incarnation des faits interactionnels lesquels, figés en quelque sorte dans la musique, s'inscrivent dans le produit symbolique à l'instar pourrait-on dire du fossile prisonnier de la roche. Le sonore, comme objet formerait alors le témoin matériel d'une réalité symbolique mixte, la musique, aux contours restant toutefois à définir sur bien d'autres plans.

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Johnson, Henry Mabley. "The symbolism of the koto : an ethnomusicology of the form and function of a traditional Japanese musical instrument." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357620.

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Colson, Geoffroy. "Compositional Ethnomusicology and the Tahitian Musical Landscape: Towards Meta-Sustainability through Creative Practice Research Informed by Ethnographic Fieldwork." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15347.

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Taking the contemporary musical landscape of Tahiti as a case study, this thesis jointly in ethnomusicology and composition combines an ethnographic and ethnomusicological enquiry with a practice-based artistic research applied to ethnomusicology. It contributes to a greater understanding and appreciation of issues surrounding contemporary indigenous cultural identity and musical change, and includes scholarly and field-informed collaborative musical works. This research contends that the creative exploration of musical syntheses represents an effective alternative to processes of cultural revival through engagement with an indigenous community. It relies on the concept of a sustainability extended to the global cultural environment, which is termed meta-sustainability. In allowing aspects or elements of Tahitian music to be transmitted by way of a repository of global intangible culture, it enacts a proactive and cosmopolitanist response to perceptions of out-of-control globalization processes. The first volume of the thesis introduces compositional ethnomusicology, an emergent paradigm aiming to contribute to the meta-sustainability of musical tradition, and which articulates ethnomusicological methods with creative practice. Subsequently, this volume sets out an ethnographic description of the contemporary Tahitian musical landscape and its dynamics of change, depicting it as a broad, complex system of overlapping fields. Grounded in the related findings, the second volume delivers substantial artistic research outcomes. These fieldwork-informed musical fictions demonstrate the possibilities of a new aesthetics for the meta-sustainable development of Tahitian musical tradition. They include on the one hand a folio of six pieces for small ensembles bridging Tahitian musical heritage with jazz and improvisation, on the other hand an operatic work in Tahitian language.

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Wilkins, Frances. "The old ship of Zion singing in Evangelicalism in North-East and Northern Isles Scottish coastal communities, 1859-2009 /." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=25878.

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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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Yegnan, Angeline. "Les arcs musicaux d'Afrique dans quelques musées d'Europe : une étude organologique, acoustique, musicologique et ethnologique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040214.

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Si dans son aspect physique l’arc musical est simple, à l’issu de notre étude, nous nous rendons compte qu’il n’est plus indiqué de le qualifier comme tel. Car dans sa forme fondamentale (branche arquée maintenue dans cette position par une lanière), il renferme une complexité qui se dévoile à nous par les liens qui existent entre les différents éléments qui composent l’arc. Sa complexité est également apparente dans la variété des arcs musicaux, dans le jeu propre à chaque arc et dans la divergence des techniques et circonstances de jeu. L’analyse acoustique des sons de cet instrument en révèle d’avantage sa complexité à travers la variété de la nature des sons puis leur fluctuation que nous avons eu le temps de constater. Enfin, dans la signification que les populations donnent à cet instrument, la complexité de l’arc musical se fait plus flagrante car elle laisse se dévoiler un aspect de l’identité sociale des peuples aussi bien ceux qui l’observent dans les musées que ceux chez qui sont collectionnés ces instruments. Car si pour les uns il est instrument de divertissement, pour les autres, il est objet de rituel, instrument parleur et médiateur, objet chargé d’une profonde et riche histoire des peuples d’Afrique. Nous espérons enfin que notre étude permettra une bonne collaboration entre le nord et le sud, pour une connaissance plus juste de l’autre, une connaissance fondée sur des valeurs et non des préjugés
If the mouthbow appears simple in its physical aspect, the research we have undertaken proves the opposite. In its basic form (a hooked branch held together by a strip), it contains a complex reality which could only be understood by considering the links which exist between the different elements which make up the bow. Its complexity can equally be perceived in the variety of musical bows, the uniqueness of each bow as well as the divergent techniques and circumstances under which they are played. The acoustic analysis of the sounds of this instrument reveals even more its complexity through the variety of the nature of the sounds, as well as their fluctuation that we have been able to observe through our study. Finally, through the meaning that the people give to this instrument, the complexity of the musical bow is even more blatant in the sense that it brings to bare an aspect of the social identity of the people to those who observe this instrument in the museums as well as those who keep them as private objects. If for some it is a simple instrument for entertainment, for others, it is a ritual object, a talking and mediatory instrument which encloses a deep and rich history of the people of Africa. It is our hope that our research will call for a deeper collaboration between the North and the South in such matters, a real desire to know the other based on values and not on prejudices

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Bergseth, Heather A. "Music of Ghana and Tanzania: A Brief Comparison and Description of Various African Music Schools." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1312917493.

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Hall, Peggy Ann. "It takes a village to raise an Andy a low-fi portrait /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1499HallPA/umi-uncg-1499.pdf.

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Thesis (M.L.S.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Mar. 3, 2008). Directed by Gavin Douglas; submitted to the Master of Arts in Liberal Studies Program. Includes bibliographical references (p. 84-87).

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Scarfe, Jill. "Primary school music : the case of British Punjabi Muslims." Thesis, University of Derby, 2001. http://hdl.handle.net/10545/304839.

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Morgan, Anthony. "An investigation into the learning environments associated with the band and music service worlds in Northern Ireland : a qualitative comparison of formal with non-formal learning." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342529.

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Durham, Blake. "Regulating dissemination : a comparative digital ethnography of licensed and unlicensed spheres of music circulation." Thesis, University of Oxford, 2018. https://ora.ox.ac.uk/objects/uuid:2912f7b5-b88b-4a8c-af7a-11c6a51fda0c.

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This thesis examines the transformations of music circulation and consumption brought about by new media platforms. Specifically, it shows how the social and technical design of online music platforms link the consumption of music immanently to its circulation. The thesis makes contributions to ethnomusicology, media studies, and digital anthropology, as well as to the study of music's technical cultures. It is based on a comparative ethnographic study of music circulation and consumption within two field sites: the commercial streaming service Spotify and the extralegal, unlicensed peer to peer platform 'Jekyll'. Governance comes to the fore in both sites: the study shows how practices of music curation, collection and consumption are regulated by the technical design of these platforms. Surprisingly, music consumption and circulation on Jekyll generates a variety of social relations, including pronounced social hierarchies. This is far less apparent on Spotify, due to the platform's individuated mode of address. The subjectivities of online music consumers are mediated by both their personal histories and by the broader technical genealogies of the platforms they use. The thesis illuminates the mutual interdependencies of the licensed and extralegal spheres, two domains often portrayed as not only separate but antagonistic. It also provides insight into the hybrid modes of exchange that generate digital music platforms. Through examining the entailments of circulatory participation, the study offers new insights into digital polymedia and to labour, exchange and governmentality online, as well as providing nuanced understandings of the ownership and collection of music in digital environments. Moreover, it advances new concepts to identify core aspects of digital music cultures, namely 'circulatory maintenance' and 'circumvention technology'. The thesis shows overall how Spotify and Jekyll are not merely emblematic of emergent consumption practices engendered by new media, but are bound up in the mutual co-creation of culture, engendering novel musical subjectivities, practices, socialities and ideologies. The complex musical, technical and social assemblages formed around music circulation online point to the affective potentials of music itself, producing inalienable attachments to the objects through which music is formatted, experienced, and circulated.

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Yeagle, Kalia. "Devil in the Strawstack, Devil in the Details: A Comparative Study of Old-Time Fiddle Tune Transcriptions." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3743.

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This thesis asks what transcriptions of old-time fiddle tunes might tell us about their underlying purposes and the nature of transcription. How could differing approaches to transcription reflect the intentions of the author, and what are those intentions? What does this suggest about how aural information is prioritized? Through a comparative analysis of three transcriptions of the same recording—Tommy Jarrell’s “Devil in the Strawstack”—this thesis examines how musical information is prioritized and how transcribers have adapted their methods to better reflect the nuances of old-time music. The three transcriptions come from Clare Milliner and Walt Koken (The Milliner-Koken Collection of American Fiddle Tunes), Drew Beisswenger (Appalachian Fiddle Tunes), and John Engle. The analysis of these transcriptions suggests new frameworks for interpreting old-time fiddling, further conversations about the possibilities and limitations of transcription, and provides insight into the underlying purposes of transcription.

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Dissertations / Theses on the topic 'Ethnomusicology'

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