Dissertations / Theses on the topic 'Folk songs, Georgian History and criticism'

Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified. The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII). The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions: 1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre. 2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora. 3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives. 4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations. Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

The purpose of the present research was to provide ideas for positive stress management in the orchestra world to help achieve high-level performances. The author developed the Orchestral Performance and Stress Survey and distributed it to 230 musicians of three orchestras that comprised full-time and part-time professional as well as community orchestra musicians. The survey sought to identify stress-causing and performance-enhancing factors in the orchestra environment. Questions on the musicians' background allowed for comparisons to identify groups with particular needs. Results show that musical training often does not include stress management training. Playing-related injuries are common. Two-thirds of full-time musicians who responded have suffered injuries that forced them to stop playing for more than one week. On average, musicians reported that stress neither detracts from, nor enhances performances. The most stressful concert types were classical concerts. Highly critical audiences are the most stressful.
School of Music

The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.
Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.

葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ...
稿本(據電腦打印本複印)
Thesis (M.A.)--香港中文大學, 1989.
Gao ben (ju dian nao da yin ben fu yin)
Includes bibliographical references (leaves 253-262).
Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ...
Thesis (M.A.)--Xianggang Zhong wen da xue, 1989.
嗚謝 --- p.i
序 --- p.iii
地圖索引 --- p.v
歌謠譜例索引 --- p.vi
歌詞例子索引 --- p.viii
圖表索引 --- p.x
音樂例子索引 --- p.xiii
照片索引 --- p.xiv
Chapter 第一部分： --- 論文
Chapter 第一章 --- 前言
Chapter 第一節 --- 研究地區之讓擇 --- p.1
Chapter 第二節 --- 過去及目前之研究 --- p.2
Chapter 第三節 --- 研究目標 --- p.5
Chapter 第四節 --- 資料來源 --- p.6
Chapter 第二章 --- 歌謠之概念及分類
Chapter 第一節 --- 歌謠之定義及概念 --- p.10
Chapter I --- 過往學者對「民歌」所下之定義 --- p.11
Chapter II --- 筆者對西貢地區歌謠所作之定義 --- p.14
Chapter III --- 粤省與西貢地區歌謠之稱謂問題 --- p.16
Chapter 甲 --- 「粤謳」 --- p.16
Chapter 乙 --- 「粤風」 --- p.17
Chapter 丙 --- 「粤歌」 --- p.18
Chapter 第二節 --- 歌謠分類之概念及分類方法 --- p.22
Chapter I --- 歌謠分類的一些概念 --- p.22
Chapter II --- 台灣歌謠之一般分類方法 --- p.24
Chapter III --- 過往國內歌謠之「三分法」 --- p.25
Chapter IV --- 近期國內歌謠「色彩區」之劃分 --- p.26
Chapter V --- 廣東省（粤）歌謠的分類 --- p.29
Chapter VI --- 本港歌謠之分類 --- p.30
Chapter VII --- 筆者對西貢歌謠之分類方法 --- p.32
Chapter 甲 --- 歌謠劃分之層次 --- p.32
第一級分類： 體系 --- p.33
第二級分類： 歌謠方言色彩區 --- p.33
第三級分類： 體裁 --- p.34
第四級及五級分類歌類及歌目 --- p.35
第六級分類： 歌名 --- p.37
Chapter 第三章 --- 西貢歌謠尋根
Chapter 第一節 --- 西貢地區人口組成的一些資料 --- p.42
Chapter 第二節 --- 本地人與蛇歌 --- p.45
Chapter I --- 「輋」字，「畬」字及類似字之字義 --- p.46
Chapter II --- 目前國內及廣東省畬族的狀況 --- p.47
Chapter III --- 西貢地區蛇歌之特色 --- p.49
Chapter IV --- 福建畬歌之特色 --- p.54
Chapter V --- 浙江畬歌之特色 --- p.56
Chapter VI --- 西貢「九龍蛇話山歌」命名之推想 --- p.59
Chapter 甲 --- 源出於浙江九龍山龍泉縣？ --- p.60
Chapter 乙 --- 源出於粤北九連（龍）山一帶地區？ --- p.60
Chapter 丙 --- 源出於粤北九峰山以南之瑤區？ --- p.61
Chapter 丁 --- 源出於本港九龍城附近一帶地區？ --- p.62
Chapter 第三節 --- 客家人與客家歌謠 --- p.65
Chapter I --- 客籍人士之遷徙過程 --- p.66
Chapter II --- 西貢客家山歌的特色 --- p.68
Chapter III --- 梅縣地區客家山歌之特色 --- p.71
Chapter 第四節 --- 蛋家與蛋家歌謠 --- p.77
Chapter I --- 西貢地區漁民之狀況 --- p.77
Chapter II --- 「蛋家」與「蛋名」沿革 --- p.79
Chapter III --- 「蜑」乃「龍蛇」之後？ --- p.81
Chapter IV --- 廣東蛋民的分佈 --- p.82
Chapter V --- 西貢漁民所採用之方言 --- p.83
Chapter VI --- 西貢蛋歌之特色 --- p.84
Chapter VII --- 客家及鶴佬漁民漁歌之特色 --- p.89
Chapter 第四章 --- 歌唱場合
Chapter 第一節 --- 歌唱場合之概念 --- p.94
Chapter 第二節 --- 本地及客家山歌之歌唱場合 --- p.98
Chapter I --- 戶外及田間之山歌 --- p.99
Chapter II --- 攔路歌 --- p.100
Chapter III --- 情歌及艷情歌 --- p.102
Chapter IV --- 老人山歌 --- p.106
Chapter V --- 鬥歌 --- p.107
Chapter 第三節 --- 圍頭歌之歌唱場合 --- p.110
Chapter I --- 月令歌 --- p.111
Chapter 甲 --- 唱古人 --- p.113
Chapter 乙 --- 唱節氣 --- p.117
Chapter 丙 --- 唱花木、茶菓及字眼 --- p.120
Chapter 丁 --- 唱魚名鳥名及十二生肖 --- p.123
Chapter 戊 --- 唱過番 --- p.124
Chapter II --- 猜謎歌 --- p.125
Chapter 甲 --- 猜字眼 --- p.126
Chapter 乙 --- 猜古人 --- p.127
Chapter III --- 圍名歌 --- p.127
Chapter IV --- 節日吉慶 --- p.129
Chapter 甲 --- 祝壽 --- p.129
Chapter 乙 --- 中秋 --- p.130
Chapter 丙 --- 過年 --- p.132
Chapter 第四節 --- 本地及客家「歌堂歌」及「靈堂歌」之歌唱場合 --- p.135
Chapter I --- 哭嫁與坐歌堂 --- p.136
Chapter 甲 --- 開口喊天喊地 --- p.138
Chapter 乙 --- 第一次哭辭 --- p.139
Chapter 丙 --- 坐凳頭 --- p.141
Chapter 丁 --- 上頭 --- p.143
Chapter 戊 --- 第二次哭辭 --- p.144
Chapter 己 --- 出閣 --- p.146
Chapter II --- 「靈堂歌」之歌唱場合 --- p.150
Chapter 第五節 --- 蛋家之歌唱場合 --- p.153
Chapter I --- 捕魚及行船歌 --- p.153
Chapter II --- 蛋家風俗歌謠及其歌唱場合 --- p.158
Chapter 甲 --- 哭嫁 --- p.159
Chapter 乙 --- 迎娶 --- p.161
Chapter 丙 --- 耍歌堂 --- p.164
Chapter III --- 咸水歌 --- p.166
Chapter 甲 --- 咸水字眼歌 --- p.167
Chapter 乙 --- 歎姑妹 --- p.169
Chapter 丙 --- 艇仔歌 --- p.170
Chapter 第五章 --- 西貢歌謠音樂及歌詞結構的固定因素與非固定因素
Chapter 第一節 --- 歌謠中「歌詞」之「固定」與「非固定」因素 --- p.175
Chapter I --- 歌謠「歌詞」中的「固定」因素、格式、條數規限 --- p.176
Chapter II --- 有「固定格式歌謠」中的「非固定」因素 --- p.182
Chapter 甲 --- 七言四句、三句半及五句板的例子 --- p.182
Chapter 乙 --- 七言四句變五言四句的例子 --- p.186
Chapter 丙 --- 月令歌的例子 --- p.188
Chapter 丁 --- 長篇歌謠的例子 --- p.188
Chapter III --- 「沒有固定格式歌謠歌詞」中之「固定」與「非固定」因素 --- p.198
Chapter 甲 --- 漁民歌謠的例子 --- p.198
Chapter 乙 --- 風俗歌謠的例子 --- p.202
Chapter IV --- 歌謠固定與非固定「襯字」、「襯詞」、及「襯句」 --- p.205
Chapter 甲 --- 客家歌謠例子 --- p.205
Chapter 乙 --- 本地歌謠例子 --- p.209
Chapter 丙 --- 蛋家歌謠例子 --- p.212
Chapter 第二節 --- 歌謠在「音樂」上的「固定」與「非固定」因素 --- p.215
Chapter I --- 有固定曲調歌謠的固定與非固定因素 --- p.215
Chapter 甲 --- 單句式的歌謠例子 --- p.215
Chapter 乙 --- 雙句式的歌謠例子 --- p.218
Chapter 丙 --- 三句半、四句式及五句板例子 --- p.222
Chapter 丁 --- 歌詞次序調換的例子 --- p.225
Chapter 戊 --- 詩詞句法與音樂句法的配合情況 --- p.228
Chapter II --- 「沒有基本曲調」中的固定與非固定因素 --- p.234
Chapter III --- 「襯字」 、「襯詞」、「襯句」與「音樂」之配合 --- p.239
Chapter 甲 --- 歌謠中「不重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 乙 --- 歌謠中「重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 第三節 --- 固定與非固定因素於歌謠中之作用及意義 --- p.243
Chapter I --- 「基本曲調」對歌謠流傳之重要性 --- p.243
Chapter II --- 「襯字」的功能 --- p.245
Chapter III --- 歌謠的「版本」問題 --- p.246
Chapter 第六章 --- 結語 --- p.248
中文參考書目 --- p.253
英文參考書目 --- p.261
第二部份：地圖及歌謠譜例 --- p.262-336

李潔嫦.
論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998.
參考文獻: leaves 99-106.
Li Jiechang.
撮要 --- p.iii
Chapter 第一章 --- 地水南音源流槪說
Chapter 一´Ø --- 引言 --- p.一
Chapter 二´Ø --- 南音的起源和發展 --- p.二
Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四
Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代）
Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八
Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九
Chapter 三´Ø --- 七十年代 --- p.二五
Chapter 四´Ø --- 八十年代至今 --- p.二八
Chapter 第三章 --- 地水南音的音樂風格
Chapter 一´Ø --- 引言 --- p.四三
Chapter 二´Ø --- 唱詞結構 --- p.四四
Chapter 三´Ø --- 板面及過序的處理 --- p.四八
Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四
Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八
Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣
Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八
Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三
Chapter 三´Ø --- 結論 --- p.九十
Chapter 第五章 --- 結論 --- p.九四
參考書目 --- p.九九
附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七
附錄二 《霸王別姬》的唱腔分析 --- p.一一七
附錄三《客途秋恨》的唱腔分析 --- p.一三一
表目
表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五
表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七
表2-3 八十至九十年代南音演出和講座資料 --- p.三九
表3-1 --- p.五五
表3-2 --- p.五七
表3-3 --- p.六五
表3-4 --- p.六九
表3-5 --- p.七二
表4-1杜煥生平年表 --- p.八二
表4-2唐健垣生平年表 --- p.八八

吳瑞卿.
Thesis (Ph.D.)--香港中文大學, 1989.
Manuscript (Reprint of computer reprint)
Includes bibliographical references (leaves 314-324).
Wu Ruiqing.
Thesis (Ph.D.)--Xianggang Zhong wen da xue, 1989.
導論
Chapter I´Ø --- 選取木魚書作硏究對象的意義 --- p.1
Chapter 一´Ø --- 作為地方文學的 --- p.1
Chapter 二´Ø --- 作為俗文學的一種 --- p.2
Chapter II´Ø --- 本論文的硏究目的
Chapter A´Ø --- 整理及分析一種地方文學遺産 --- p.2
Chapter B´Ø --- 以木魚書為例論證俗文學的特徵範圍
Chapter 一´Ø --- 俗文學研究的回顧 --- p.3
Chapter 二´Ø --- 俗文學的特徴和領域問題 --- p.7
Chapter 三´Ø --- 木魚書與俗文學 --- p.8
Chapter III´Ø --- 木魚書研究在其他方面能提供的貢獻
Chapter 一´Ø --- 中國相類性質的文學比較硏究 --- p.11
Chapter 二´Ø --- 中、外通俗文學比較 --- p.11
Chapter 三´Ø --- 社會發展史研究 --- p.12
Chapter IV´Ø --- 資料範圍及前人研究回顧
Chapter A´Ø --- 前人硏究的回顧
Chapter 一´Ø --- 敘錄及研究 --- p.12
Chapter 二´Ø --- 文獻筆記 --- p.14
Chapter 三´Ø --- 短文 --- p.14
Chapter 四´Ø --- 其他硏究 --- p.14
Chapter B´Ø --- 本文所用資料範圍 --- p.15
Chapter C´Ø --- 輔助資料
Chapter 一´Ø --- 輔助錄音資料 --- p.18
Chapter 二´Ø --- 殘存曲目 --- p.19
Chapter D´Ø --- 資料的捜集和處理
Chapter 一´Ø --- 資料來源 --- p.19
Chapter 二´Ø --- 資料處理 --- p.20
Chapter V´Ø --- 硏究的局限
Chapter 一´Ø --- 資料的限制 --- p.21
Chapter 二´Ø --- 木魚書年代考証的困難 --- p.22
Chapter 三´Ø --- 文字與口頭間的距離 --- p.23
Chapter 第一章 --- 木魚書的體製與源流
Chapter I´Ø --- 木魚書的體製
Chapter 一´Ø --- 外型 --- p.24
Chapter 二´Ø --- 编制 --- p.25
Chapter 三´Ø --- 出版形式 --- p.27
Chapter II´Ø --- 《木魚》釋名
Chapter 一´Ø --- 《木魚》、《木魚書》和《木魚歌》的定義 --- p.29
Chapter 二´Ø --- 《木魚》名稱的來源 --- p.31
Chapter III´Ø --- 木魚歌起源的論爭
Chapter 一´Ø --- 源於踏歌之說 --- p.33
Chapter 二´Ø --- 源於摸魚歌之說 --- p.34
Chapter 三´Ø --- 源於蜑歌之說 --- p.36
Chapter 四´Ø --- 源於江浙彈詞之說 --- p.38
Chapter 五´Ø --- 源於變文、寶卷之說 --- p.40
Chapter 六´Ø --- 其他說法 --- p.40
Chapter IV´Ø --- 木魚書與廣東說唱曲藝的關係 --- p.41
Chapter 一´Ø --- 木魚曲藝的特徴和源流 --- p.42
Chapter 二´Ø --- 龍舟曲藝的特徴和源流 --- p.43
Chapter 三´Ø --- 南音曲藝的特徴和源流 --- p.44
Chapter V´Ø --- 木魚書的歴史一一發源、興盛與衰落 --- p.45
Chapter 第二章 --- 木魚書的結構和格式
Chapter I´Ø --- 句式
Chapter A´Ø --- 句數 --- p.51
Chapter B´Ø --- 基本句型及組織 --- p.52
Chapter 一´Ø --- 句律平仄 --- p.52
Chapter 二´Ø --- 對句 --- p.53
Chapter 三´Ø --- 音步節奏 --- p.56
Chapter C´Ø --- 起式和煞尾
Chapter 一´Ø --- 起式 --- p.57
Chapter 二´Ø --- 煞尾
Chapter D´Ø --- 雜句 --- p.60
Chapter II´Ø --- 韻式
Chapter A´Ø --- 韻系 --- p.60
Chapter B´Ø --- 押韻
Chapter 一´Ø --- 偶句 --- p.63
Chapter 二´Ø --- 奇句 --- p.66
Chapter 三´Ø --- 換韻 --- p.66
Chapter 四´Ø --- 重覆押韻字 --- p.66
Chapter III´Ø --- 襯字 --- p.67
Chapter 一´Ø --- 襯字的作用 --- p.69
Chapter 二´Ø --- 襯字與曲詞内容 --- p.69
Chapter 三´Ø --- 襯字的規律 --- p.71
Chapter 第三章 --- 木魚書的題材與内容
Chapter I´Ø --- 前人研究的回顧 --- p.78
Chapter II´Ø --- 故事性木魚書的内容結構
Chapter A´Ø --- 引首
Chapter 一´Ø --- 引首的内容 --- p.81
Chapter 二´Ø --- 引首的作用 --- p.88
Chapter B´Ø --- 結尾 --- p.88
Chapter C´Ø --- 故事内容 --- p.90
Chapter 一´Ø --- 才子佳人戀愛奇緣故事 --- p.92
Chapter 二´Ø --- 通俗民間歷史故事 --- p.98
Chapter 三´Ø --- 勸善佛道故事 --- p.106
Chapter 四´Ø --- 仙凡奇緣故事 --- p.108
Chapter 五´Ø --- 神怪故事 --- p.110
Chapter 六´Ø --- 民間公案故事 --- p.112
Chapter 七´Ø --- 家庭倫理故事 --- p.115
Chapter III´Ø --- 非故事類木魚書 --- p.119
Chapter 一´Ø --- 故事摘錦 --- p.120
Chapter 二´Ø --- 有關婦女生活 --- p.120
Chapter 三´Ø --- 有關方土習俗和生活 --- p.127
Chapter 四´Ø --- 勸世文 --- p.128
Chapter 五´Ø --- 諷剌時弊 --- p.129
Chapter 六´Ø --- 關懷國是 --- p.133
Chapter 七´Ø --- 純供娛樂 --- p.134
Chapter 第四章 --- 木魚書的流行情況及其傳播型態
Chapter I´Ø --- 木魚書的流行情況 --- p.136
Chapter 一´Ø --- 現存木魚書的數量 --- p.137
Chapter 二´Ø --- 同書異名的現象 --- p.138
Chapter 三´Ø --- 從出版商的數目反映木魚書流行的情況 --- p.139
Chapter II´Ø --- 木魚書的傳播型態 --- p.142
Chapter A´Ø --- 傳播方式
Chapter 一´Ø --- 口頭傳播 --- p.143
Chapter 1. --- 群眾聚集欣賞藝人的演唱 --- p.143
Chapter 2. --- 藝人沿門賈唱 --- p.144
Chapter 3. --- 家庭内的傳唱 --- p.145
Chapter 4. --- 文人間的酬唱 --- p.146
Chapter 二´Ø --- 文字傳播 --- p.146
Chapter B´Ø --- 傳播型態的特色
Chapter 一´Ø --- 口頭與文字傳播並行 --- p.147
Chapter 二´Ø --- ¨ёł離口頭傳播的局限 --- p.148
Chapter 三´Ø --- 橫跨讀書人與民眾的世界 --- p.148
Chapter III´Ø --- 推廣的概念一一雛型廣告的出現 --- p.149
Chapter 第五章 --- 木魚書的作者、傳播者和受眾
Chapter I´Ø --- 社會背景：明清社會階層結構的改變 --- p.153
Chapter II´Ø --- 木魚書的作者
Chapter A´Ø --- 作者的類別 --- p.156
Chapter 一´Ø --- 文人 --- p.156
Chapter 二´Ø --- 藝人 --- p.158
Chapter 三´Ø --- 職業编撰人 --- p.159
Chapter B´Ø --- 作者的創作對象 --- p.159
Chapter C´Ø --- 作者的創作動機
Chapter 一´Ø --- 表面動機 --- p.160
Chapter 二´Ø --- 現實動機 --- p.161
Chapter 三´Ø --- 潛藏動機 --- p.161
Chapter III´Ø --- 木魚書的受眾
Chapter 一´Ø --- 說唱曲藝的觀眾和聽眾 --- p.163
Chapter 二´Ø --- 憑曲自娛的受眾 --- p.164
Chapter 三´Ø --- 說唱藝人 --- p.165
Chapter 四´Ø --- 讀者 --- p.165
Chapter 五´Ø --- 其他 --- p.166
Chapter IV´Ø --- 木魚書的傳播者一一出版商和藝人 --- p.166
Chapter A´Ø --- 出版商
Chapter 一´Ø --- 出版商的興起 --- p.167
Chapter 二´Ø --- 木魚書的出版情況 --- p.170
Chapter 三´Ø --- 木魚書出版商的角色 --- p.171
Chapter B´Ø --- ¨®Ơ唱藝人 --- p.172
Chapter V´Ø --- 作者、“守門人´ح和受眾間的關係 --- p.174
Chapter 一´Ø --- 從商業活動的角度 --- p.174
Chapter 二´Ø --- 從大眾娛樂的角度 --- p.175
Chapter 三´Ø --- 從教化的角度 --- p.175
Chapter 四´Ø --- 矛盾和協調 --- p.176
Chapter 五´Ø --- 方言與作者、受眾的關係 --- p.177
Chapter 六´Ø --- 作者、守門人和受眾間關係的特性
Chapter 1. --- 實用性 --- p.179
Chapter 2. --- 商業性 --- p.179
Chapter 第六章 --- 木魚書的思想意識
Chapter I´Ø --- 前人的論說 --- p.182
Chapter A´Ø --- 傳统木魚書的思想意識 --- p.183
Chapter 一´Ø --- 世界觀的構成
Chapter 1. --- 個人的主體存在 --- p.183
Chapter 2. --- 世界的主宰 --- p.183
Chapter 3. --- 人與人、人與社群的關係 --- p.184
Chapter 二´Ø --- 對生命的觀察與信仰
Chapter 1. --- 人的無自主性
Chapter i) --- 天命不可違 --- p.185
Chapter ii) --- 緣份不可抗拒 --- p.187
Chapter iii) --- 倫理道德不能拂逆 --- p.189
Chapter iv) --- 人生如夢 --- p.189
Chapter 2. --- 人的自主性
Chapter i) --- 因果報應 --- p.191
Chapter ii) --- 至誠可以感天 --- p.194
Chapter 三´Ø --- 木魚書所認同的行為規範與生活態度
Chapter 1. --- 忠、孝、節、義的觀念 --- p.195
Chapter 2. --- 妥協、忍耐、不反抗的態度 --- p.197
Chapter 四´Ø --- 木魚書所隠藏的深層不滿和補償意識 --- p.199
Chapter 1. --- 對天命不滿的補偾´ؤ´ؤ天的人格化 --- p.199
Chapter 2. --- 對人倫關係的不滿一´ؤ女性的強化 --- p.283
Chapter 3. --- 對食官污吏的不滿´ؤ´ؤ清官與皇帝的理想化 --- p.209
Chapter 4. --- 對禮教道德的不谋´ؤ´ؤ大膽的兩性描寫 --- p.212
Chapter B´Ø --- 清末民初短篇木魚的思想意識 --- p.214
Chapter 一´Ø --- 革命及愛國思想 --- p.215
Chapter 二´Ø --- 社會改革思想 --- p.217
Chapter V´Ø --- 從木魚書反映人民的鳥托邦世界
Chapter 一´Ø --- 人民理想中的世界 --- p.219
Chapter 二´Ø --- 理想世界的構成 --- p.221
Chapter 三´Ø --- 理想世界的根源 --- p.223
Chapter 第七章 --- 木魚書的語言和表逹技巧
Chapter I´Ø --- 正统文學與“民間文學´ح之間的灰色地帶 --- p.226
Chapter II´Ø --- 木魚書在語言上所出現的特殊現象
Chapter 一´Ø --- 音字 --- p.227
Chapter 二´Ø --- 錯別字 --- p.229
Chapter 三´Ø --- 俗寫字或創新字 --- p.230
Chapter 四´Ø --- 砌詞就韻 --- p.231
Chapter III´Ø --- 濃厚的地方色彩
Chapter 一´Ø --- 方言的運用 --- p.232
Chapter 二´Ø --- 品物和比喻 --- p.233
Chapter IV´Ø --- 表逹技巧和語言公式化 --- p.236
Chapter V´Ø --- 模倣性超越創造性 --- p.240
結論
Chapter I´Ø --- 俗文學及“民間文學´ح研究發展出現的問題 --- p.243
Chapter II´Ø --- 過去有關俗文學特徴的矛盾 --- p.248
Chapter 一´Ø --- 傳播方式的問題 --- p.248
Chapter 二´Ø --- “大眾性´ح與“群體性´ح的問題 --- p.249
Chapter 三´Ø --- 作者的問題 --- p.250
Chapter 四´Ø --- “新鮮而未經雕琢´ح的問題 --- p.250
Chapter III´Ø --- 從木魚書看俗文學的特徴問題 --- p.251
Chapter 一´Ø --- 民族性和鄉土性 --- p.251
Chapter 二´Ø --- 進步的抑保守的 --- p.252
Chapter 三´Ø --- 新鮮的抑模倣的 --- p.253
Chapter 四´Ø --- 吸收性及融和性 --- p.254
Chapter 五´Ø --- 勸世與社會認可性 --- p.254
Chapter IV´Ø --- 木魚書與“商俗文學´ح --- p.255
Chapter 一´Ø --- 大規模的集體傳播性 --- p.255
Chapter 二´Ø --- 城市化 --- p.256
Chapter 三´Ø --- 商業化 --- p.257
Chapter V´Ø --- 從木魚書研究看俗文學的領域問題 --- p.258
Chapter VI´Ø --- 從木魚書看俗文學研究的重要性及展望 --- p.263
附件目錄
Chapter A´Ø --- 附表
Chapter 附表一： --- 現存主要木魚書藏處目錄 --- p.325
Chapter 附表二： --- 木魚書同書異名表 --- p.346
Chapter 附表三： --- 木魚書出版商及作者資料表 --- p.349
Chapter 附表四： --- 失佚原書之木魚書標題表 --- p.366
Chapter 四A： --- 中山大學風俗硏究室於一九二九年發表所藏廣東唱本目錄 --- p.367
Chapter 四B: --- 《梁氏所藏所見木魚書敘目》 --- p.371
Chapter 附表五： --- 廣州共和報1922年至1925年間所刊登南音、龍舟、木魚曲詞目錄 --- p.374
Chapter B´Ø --- 附錄
Chapter 附錄一： --- 南音木魚書格律示例 --- p.376
Chapter 附錄二： --- 龍舟木魚書格律示例 --- p.377
Chapter 附錄三： --- 三首演唱曲格律示例 --- p.378
Chapter 附錄四： --- 南音《再生緣》之《上林苑題詩》（唱曲及木魚書比較） --- p.379
Chapter 附錄五： --- 《客途秋恨》（唱曲及木魚書比較） --- p.381
Chapter 附錄六： --- 《紅樓夢》之《夢遊太虛》木魚書曲詞 --- p.383
Chapter 附錄七： --- 《五諫刁妻》木魚書曲詞 --- p.384
Chapter 附錄八： --- 《賢妻諫賭》木魚書曲詞 --- p.387
Chapter C´Ø --- 附圓
Chapter 附圖一： --- 木魚書封面圖 --- p.390
Chapter 附圖二： --- 木魚書封面圖 --- p.391
Chapter 附圖三： --- 木魚書的木刻插圖 --- p.392
Chapter 附圓四： --- 木魚書内文编排圖版例一 --- p.393
Chapter 附圃五： --- 木魚書内文编排圖版例二 --- p.394
Chapter 附圖六： --- 粗劣木魚書刻板示例 --- p.395
Chapter 附圖七： --- 木魚書拼揍成書圖版示例一 --- p.396
Chapter 附圖八： --- 木魚書拼揍成書圖版示例 --- p.397
Chapter 附圓九´Ø一： --- 《丁山打雁》、《二度梅》内文圖版 --- p.398
Chapter 附圖九´Ø二： --- 《生祭李彦貴》、《車龍公子花燈記》内文圖版 --- p.399
Chapter 附圖九´Ø三： --- 《閨諫瑞蘭》、《朝上鶯歌》内文圖版 --- p.400
Chapter 附圃九´Ø四： --- 《盤龍寳扇》、《三棄梨花》内文圖販 --- p.401
Chapter 附画九´Ø五： --- 《金生挑盒》、《梁天來告御狀》内文圖版 --- p.402
Chapter 附圖九´Ø六： --- 《五諫刁妻》、《考世条》内文圖版 --- p.403
Chapter 附圖九´Ø七： --- 《鳳儀亭訴苦》、《五弄琵琶》内文圖版 --- p.404
Chapter 附圔九´Ø八： --- 《梁李爭第一》、《英台回鄉》内文圖版 --- p.405
Chapter 附圖九´Ø九： --- 《石女嘆五更》、《金橋問卦》内文圖版 --- p.406
Chapter 附圔九´Ø十： --- 《天九歌》、《蘇娘嘆五更》内文圖版 --- p.407

吳瑞珠.
"2002年7月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 152-156).
附中英文摘要.
"2002 nian 7 yue".
Wu Ruizhu.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 152-156).
Fu Zhong Ying wen zhai yao.
致謝 --- p.iv
摘要（中文） --- p.v
摘要（英文） --- p.vi
Chapter 第一章 --- 導論 --- p.1
人類學與民族音樂學 --- p.6
音樂傳統與文化認同 --- p.12
研究問題與理論架構 --- p.18
研究地點和研究方法 --- p.22
本文章節安排 --- p.25
Chapter 第二章 --- 福建泉州南音 --- p.27
何謂南音? --- p.27
歷史沿革 --- p.30
曲譜類別、樂器及音樂特色 --- p.39
南音和閩南風俗及其音樂功能
從名稱上看南音的發展 --- p.46
南音裡的男女現象 --- p.48
南音面對的困難 --- p.49
Chapter 第三章 --- 地方組織與表演 --- p.53
泉州市工人文化宮南樂社 --- p.54
泉州南音樂團 --- p.61
浮橋仙景南音學校 --- p.67
南音表演裡的男女角色 --- p.74
地方組織和南音的保存 --- p.75
Chapter 第四章 --- 傳統與改革 --- p.81
南音的演變 --- p.82
傳統南音的局限和新南曲的特點 --- p.88
動態的傳統 --- p.91
新南音的弱點 --- p.95
傳統文化與文化認同 --- p.101
Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106
閩南移民和跨國網絡的建立 --- p.106
境外華人和泉州的南音組織 --- p.110
境內外南音團體的聯繫 --- p.111
傳統的被利用 --- p.114
音樂傳統和懷舊情懷、文化認同 --- p.122
Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127
國際組織和世界文化遺產的保護 --- p.128
泉州南音申報世遺的背景 --- p.129
各界的表現 --- p.132
世遺的價值 --- p.137
世遺和文化認同 --- p.139
Chapter 第七章 --- 結語 --- p.144
附錄（新南曲唱詞） --- p.149
參考書目 --- p.152

This study examines both the social and musical characteristics of klapa singing. Comparative analysis of the klapa in Dalmatia, its place of origin, and the klapa in Vancouver is the focus. The field work for this project took place on two occasions: during the regular practices of klapa "Zvonimir", and in a series of individual interviews. The interviews were with the oldest member and one of the organisers of the klapa "Zvonimir", Jozo Cvitanovic. A traditional folk klapa was, and to an extent still is, an informal group of friends, usually brought together by similar interests, age group or occupations. Festival klapa, on the other hand, is a formally organized group with regular rehearsals and performances, whose members, as a rule, are people of various occupations and diverse musical tastes. Socially and musically, klapa singing has always been progressive for its time, which is surely the reason why this folk tradition has remained successful for such a long period.

This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

Firstly, while the Yao people inhabit in wide geographic regions stretching across Southern China and South East Asia, even overseas, the Paiyao, a branch of the Yao who inhabits only in the Liannan district of the Guangdong province, is unique not only in their geographical inhabitancy but also cultural characteristics.
Secondly, while Yao people's Getang ritual is a wide spread ritual practice with local variations, there has not been any in-depth study on the Getang ritual of the Paiyao people.
The significance of this study are Three-fold.
The thesis aims to study the soundscape of Paiyao ethnic nationality's "Getang Ritual" in Guangdong Province.
Thirdly, with a musicological concern, this thesis approaches its subject from the perspective of "soundscape of the ritual enactment", (Tsao Penyeh 2006: 81) and aspires to reach an understanding of the wider meaning of the Getang ritual among the Paiyao people and their society.
This study consists of the following three processes: (1) Fieldwork to investigate and compile ethnographic texts from both the researcher's observation and insiders' oral narrations and relating to actions in the makings of the ritual soundscape. (2) Analysis of the ritual "sounds", in terms of themselves and their extra-musical factors. (3) Interpretation of the meaning of ritual sounds and their soundscape of Paiyao's Getang ritual within the framework of the belief system that consists of a trinity of sounds and soundscape, ritual enactment and belief.
This thesis has seven chapters, with its theoretical and methodological reverences indebted to ritual studies by Tsao Penyeh (his research of ritual and ritual soundscape of China's belief systems) and Clifford Geertz (his many writings on anthropological theory and methodology, as well as his study of "reinterpretation to other's interpretation").
周凱模.
Adviser: Pen-Yeh (Poon-Yee) Tsao.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2945.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 289-317) and indexes.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Zhou Kaimo.

In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

Text in English
This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.

The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948.
Music
Thesis (M.A.)--University of South Africa, 1997.

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns.
Art History, Visual Arts & Musicology
D. Litt et Phil. (Musicology)

Accompanying music files attached (mp3)
The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group.
Arts History, Visual Arts & Musicology
D. Mus.

Rang byung rdo rje (1284-1339), the third Karmapa, was an important figure in the development of Tibetan Buddhism. He is most famous for his commentaries and treatises that systemised the lineages of tantric Buddhism he inherited, works that have been the subject of numerous studies. Until this present study, however, his personal writing, both his biographical liberation-stories (rnam thar) and his songs (mgur/glu) have not been translated in full or studied. As much of his writing in these two genres was composed while he travelled around first Tibet, then Mongolia and China, travelling is one of these works' major themes, and therefore the thematic subject of this thesis. The study's thematic approach to these compositions has allowed it to examine them as both literature and historical sources. A combination that, in turn, has not only provided many more details about his life than earlier studies, but also enabled an investigation of Rang byung rdo rje's contribution to Tibet's literary culture, in which the two genres of rnam thar and mgur/glu have played a central role. As this thesis explains, what becomes evident in this literary and historical examination of Rang byung rdo rje's writings in these genres is that his influence on Tibetan culture was not limited to his contribution to Tibet's intellectual history. He also played a pivotal role in the development of two other important elements of Tibetan culture: the sacralisation of Tibet's environment and the tradition of recognising reincarnated gurus, both of which he helped establish on his travels. Moreover, this investigation shows how intertwined these processes were in Rang byung rdo rje's writing: how much Rang byung rdo rje's presentation of the Karmapa reincarnate lineage - the first reincarnate lineage upon which others were modelled - depended on the sacralisation of the Karmapas' environments to sustain their status across lives; and how much the sacralisation of the Karmapas' environments depended on both their sanctified presence, and their cultural "landscaping" of these sites through architecture, art and most influentially literature. In establishing this connection between sacred sites and the development of Tibet's first reincarnation lineages, this thesis further demonstrates how Rang byung rdo rje's participation in both these projects depended on his claims to and articulation of otherworldly visions. Through these visions he established a religious, otherworldly, periphery-focused authority upon which he could make claims about identity and territory that stood in opposition to those made on the same region by its this-worldly rulers, the Mongol Empire. It also shows how this alternate vision was aided by Rang byung rdo rje's promotion of the mahamudra tradition, a tradition whose sceptical approach to all phenomena suggested experiences of this and other worlds were equally unreal.

PhD (African Studies)
Centre for African Studies
It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for others who enjoy indigenous Xitsonga music and dance. There exists, however gaps regarding documentation, preservation and notation of this music and dance practices. In this study, therefore, indigenous Xitsonga music and dance genres are analysed descriptively and documented (with notation of common songs) for posterity. A qualitative approach was used to conduct this musicological study. A study such as this one can also contribute towards African indigenous knowledge systems and be used by the Department of Education.
NRF