Dissertations / Theses on the topic 'Music South America'

Orientador: Lenita Waldige Mendes Nogueira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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entre outros nomes - tem suscitado grande interesse nas últimas décadas, e vem ganhando destaque em congressos e encontros científicos. Entretanto, ainda há poucas publicações que delineiem e discutam a área, o que dificulta sua aceitação dentro do paradigma científico, que continua a caracterizá-la como atividade extra-acadêmica, realizada de forma empírica pelos pesquisadores interessados. Esta pesquisa teve como objetivo delinear, a partir de referências dos campos da etnomusicologia, antropologia e metodologia da pesquisa-ação, alguns pontos teóricos sobre a etnomusicologia participativa, com base em dois estudos de casos bastante distintos: o Arquivo Musical Timbira, sediado em Carolina/Maranhão e gerido pela ONG Centro de Trabalho Indigenista entre as comunidades indígenas Timbira do Maranhão e Tocantins; e ações do Laboratório de Etnomusicologia, Antropologia e Audiovisual, sediado na cidade de Cachoeira, no Recôncavo Baiano, que abriga diversas tradições afrodescendentes. A pesquisa teve como base o estudo bibliográfico, a permanência em campo com a postura de observação participante e a realização de entrevistas. O ponto central deste trabalho consiste na reflexão sobre as metodologias adotadas por esses projetos de pesquisa e ação em etnomusicologia, no intuito de trazer contribuições para um aprofundamento no debate sobre a etnomusicologia participativa no Brasil, fortalecendo sua importância e colocando-a como alternativa para a realização de estudos acadêmicos, especialmente no âmbito da extensão universitária.
Abstract: The participative ethnomusicology - also called applied ethnomusicology, among other terms - has been concerning much interest on last decades, and is a spreading theme in scientific conferences and meetings. However, there are still few publications which delineate and discuss the field, what turns difficult its acceptation in scientific paradigm, which continues to characterize it as an extra-academic activity, empirically conducted by the interested researches. The main goal of this research was to delineate, based in references from ethnomusicology, anthropology and action-research methodologies fields, some theoretic concepts about participative ethnomusicology, focusing very different case studies: the Timbira Musical Archive, hosted in Carolina/Maranhão, Brazil, and supported by the NGO Centro de Trabalho Indigenista among the Timbira indigenous communities in Maranhão and Tocantins states; and the initiatives from the Laboratory for Ethnomusicology, Anthropology and Audiovisual, hosted in Cachoeira city, on an area of Bahia state called Recôncavo, which has many afro-descendants traditions. The research is based in bibliographic studies, fieldwork with participative observation posture and the collecting of interviews. The central point of this work consists on the reflection about the methodologies adopted by those projects of research and action in ethnomusicology, objectifying to add contributions to deepen the debate among participative ethnomusicology in Brazil, fortifying its importance and defining it as an alternative to the development of academic studies, especially concerning university outreach programs.
Mestrado
Musica
Mestre em Música

Orientador: John Manuel Monteiro
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as regras da Companhia de Jesus, no que se refere à música, e para suas adaptações e debates em missões na Ásia e na América Portuguesa. Aspectos das culturas nativas possibilitam a passagem das normas às práticas, em três espaços: costa e planalto paulista na metade do século XVI, Amazônia seiscentista e sertão nordestino nas últimas décadas do século XVII. Busca-se, assim, contar uma história de constantes negociações, na qual a música desempenha papéis plurais, onde atores colocam em jogo sonoridades que se revelam indispensáveis ao diálogo religioso entre ameríndios e missionários
Abstract: This thesis explores musical relations between Jesuit missionaries and Amerindian peoples in colonial Portuguese America (Brazil and the State of Maranhão) during the sixteenth and seventeenth centuries. Based mainly on Jesuit sources, this work focuses initially on the musical conventions adopted by the Society of Jesus and on their discussion and adaption within the missionary contexts of Portuguese Asia and America. The thesis then argues that different aspects of native cultures enabled the transition from conventions to practice, with emphasis on three spatial contexts: the sixteenth-century coast and São Paulo plateau, the seventeenth-century Amazon, and the northeastern hinterland. In sum, the thesis develops a story of constant negotiation, where music played multiple roles and where different historical agents exchanged sounds that proved to be indispensible in the religious dialogue between Amerindian peoples and European missionaries
Doutorado
Historia Social
Doutor em História

Excerpt from Introduction" Social class is one of the fundamental analytical categories for studying southern cultures. Exploring southern society as the context for cultural life is an enduring concern of scholars from such disciplines as sociology, social history, anthropology, social psychology, and political science, among others, and this volume shows the vital public policy connections to scholarly issues of social class.

The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied.

This narrative chronicles the dissemination of sacred music from the eastern seaboard to the West and South spanning a time frame from the colonial era to the latter part of the Early Nationalist Period (1700-1820). Musical culture in its migration away from the eastern seaboard also parallels the greater western and southern expansion of the United States from its initial configuration of localized regional subgroups to the beginnings of a larger national identity. From this conceptual base, sacred music becomes a vehicle for understanding not only religious and musical changes over time, but also the broader maturity of a nation. Focusing on this period allows for inquiries both into the development of hymnody in the Middle Atlantic, and the subsequent developments of the West and South. These chronological delimitations allow for a discussion of musical practice beginning with formative sacred music developments and continuing to the incorporation of techniques shaped by reform-minded musicians from the eastern seaboard. The following topics guided the construction of this thesis: explicating how the Middle Atlantic region shaped compositional trends, aesthetic, and performance practice of the American West and South; identifying the various southern cultures as understood by eighteenth and nineteenth-century southerners and their application to sacred music practice; understanding how nineteenth-century Americans distinguished between the West and the South; understanding how southern and western music relates to individual denominations and cultures within these areas; and understanding performance practice common to the evangelical and non-evangelical branches of individual sects. Identifying patterns of development in American sacred music of the South and West involves documentation of performance practice, denominational aesthetics, and tunebook bibliography. The study of eighteenth-and-nineteenth-century material by twentieth-and-twenty-first-century writers has falsely defined cultural borders of this region according to a post-bellum conceptualization of the boundaries of the North and South. Prior to 1850, writers defined their borders according to a different set of geographic boundaries than today. Consequently, this thesis differs in terms of geographic and cultural definitions of the North and South from current scholarship because of this writer’s application of colonial and Early Nationalist understandings of American culture.

With the success of the O Brother, Where Art Thou? soundtrack, T Bone Burnett spent his cultural capital on repurposing traditional American music in subsequently successful soundtracks and artistic productions, providing a spark for a 21st century cultural movement that moves beyond music. This study aims to position Burnett has a cultural catalyst by grounding his work, and those abiding by a similar ethic, in the American South. In the process, I examine what Burnett’s soundtracks and select artistic productions communicate about contemporary Southern cultures and identities, while negotiating the ever-enigmatic generational issues of identity and authenticity. By extending the analysis to artists, producers, and cultural tastemakers who operate by a similar ethic as Burnett as well, I also address the characteristics of and spark igniting the preservationist, heritage movement in contemporary roots music, and how this music community contributes to ongoing conversations regarding contemporary Southern identity? The purpose of my study is to explore these connections, the culture in which they reside, and most specifically the role T Bone Burnett plays in a contemporary cultural movement which seeks to (re)present a traditional American music ethos in distinctly Southern terms. Furthermore, I will set the movement within the contemporary context in which such sounds, symbols, and narratives reside. Within this study, I read films, songs, soundtracks, albums, fashion, and performances, each loaded with symbols, archetypes, and themes that illuminate intersection past and present issues of identity. By weaving ethnographic interviews (with musicians, producers, and other cultural tastemakers) with cultural analysis, I investigate how relevant cultural issues are being negotiated, how complicated discussions of history, tradition, and heritage feed the ethic, and how the American South as a perceived distinct region factors in to the equation.

In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.

This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students. The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.

In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.

The notion of cultural identity as a crucial constitutive element of guitar performance was powerfully expressed in the career of Agustín Barrios, a major but neglected figure in the development of the guitar in the twentieth century. Barrios’ adoption in the 1930s of the persona of Mangoré, a Guaraní Indian from the sixteenth century, provided both a theatrical persona of musical exoticism and primitivism, and a potent statement of Latin American cultural independence. The concept of cultural identity, which has been central to the development of the discipline of ethnomusicology, is here adopted as a theoretical framework against which Mangoré is discussed. The cultural and musical environment of Latin America in the early decades of the twentieth century, and the iconic status of the guitar in those countries, is considered as the background to the case study proper, that of Barrios as Mangoré between 1930 and 1934. It is argued that as Mangoré, Barrios personified Latin American cultural identity in dramatic fashion, that Mangoré aligned with the European fascination with the primitive during this period and that, moreover, Mangoré retained an authentic and enduring value for Barrios to the end of his life. The significance of Mangoré is then revealed through a discussion of two categories of Barrios’ compositions: the folkloric works which exemplified his treatment of Latin American musical genres; and the tremolo works which expressed the fantasy and romanticism that were integral to his musical imagination. Finally, the relationship between Barrios and Segovia is considered, both in terms of the latter’s self-proclaimed role in the creation of the modern guitar repertoire, and of his criticism of Mangoré and the light this throws on Segovia’s own cultural identity.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2010

Notre thèse vise une analyse comparative qui porte sur le paramètre du rythme. Le corpus d’étude est constitué d’une quarantaine de genres musicaux parmi les plus emblématiques de l’Amérique du Sud. La problématique principale consiste à comprendre le rapport entre la structure des rythmes et leurs dénominations vernaculaires multiples et de faire émerger leur signification culturelle. L’objectif de notre analyse est d’aboutir à des alternatives typologiques à géométrie variable mettant en confrontation les plans d’observation (endogène et exogène). Ces typologies nous permettent en même temps de mettre en relief les airs de famille entre les rythmes ainsi que leurs éventuelles filiations. Cette analyse s’appuie sur divers procédés de transcription, de modélisation et de comparaison des patterns polyrythmiques. Plusieurs composantes et aspects relatifs au paramètre rythmique sont également considérés, tels les oppositions de timbre, le tempo, les multiples spécificités performancielles, ainsi que les principes agogiques mis en oeuvre par les musiciens. Constituée de quatre chapitres, notre thèse fait état des différentes étapes méthodologiques de notre travail : analyse musicale, premières propositions typologiques (perspective exogène), enquêtes menées auprès des détenteurs des traditions (perspective endogène). Les deux perspectives sont ensuite mises en relation, voire confrontées, le tout dans une optique de validation culturelle des données conduisant à de nouvelles solutions typologiques.
Our thesis is a comparative analysis that focuses on rhythm as a parameter. The corpus of study consists of forty of the most iconic music genres of South America. The main issue is to understand the relationship between the structure of the rhythms and their various vernacular names and to make their cultural meaning emerge. The goal of our analysis is to create typological alternatives that confront the observation plans (endogenous and exogenous). These typologies focus on the family similarities between the rhythms and their possible affiliations. This analysis is based on various transcription processes, modeling and comparison of polyrhythmic patterns. Several aspects and components relating to the rhythmic parameter will also be considered, such as timbre oppositions, tempo, multiple performance formulations, and agogic principles created by the musicians. Consisting of four chapters, our thesis is based on several methodological steps: our music analysis and our initial typological proposals (exogenous perspective) on one hand, and on the other hand, our investigation process lead with the owners of the traditions (endogenous perspective). Both perspectives are then related, or faced, all in the perspective of a cultural validation.

This Digital/Public History visualization thesis project explores how three factors—Atlantic migration patterns, demographics, and socioeconomic systems—influenced the development of folk music in the southern United States from the 18th century through the 20th century. A large body of written scholarship exists addressing plantation economies, the slave trade, and folk music. Digital technology, however, creates new opportunities for analyzing the geo-temporal aspects contained within the numerous archival resources such as census and migration records, field recordings, economic data, diaries, and other personal records. The written portion of the thesis addresses the historiography, research findings, and the process of creating the visualization product. The digital component employs open-source archives and MapScholar, a visualization tool developed at the University of Virginia, to reveal the spatial dimensions of three distinct regions—The greater Chesapeake (Virginia/North Carolina/), the coastal lowlands and sea islands of the Gullah Corridor (Charleston/Savannah), and Louisiana (New Orleans). The end result is an educational and potential research tool that affords viewers a more dynamic perspective on the relationship between agricultural slave labor, migration patterns, and folk music than is possible with text alone.
M.A.
Masters
History
Arts and Humanities
History; Public History Track

The purpose of this report is to explore the ways in which Asian American men participate in hip hop culture, and what this participation says about their politics and representation in United States media and popular culture. This is done through an analysis of Freestyle Friday All Star, MC Jin, a Chinese American emcee from Queens, New York, as well as DJ Soko, a Korean American DJ from Detroit, Michigan. I argue that their participation is a desire for political power and creative visibility rendered on their own terms.
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