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Bérubé, Michelle. "Healing Sounds: An Anthropology of Music Therapy." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38559.
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Music therapy has been recognized as a legitimate health practice in Canada since after the Second World War. While research shows the emotional, social and health benefits of music therapy, researchers have failed to agree on the reason music can be beneficial to health. I argue that affect could be the key to understanding the myriad ways in which music, and music therapy, can have a positive effect on health. Through the lens of affect theory, I explore embodiment, relationship-building and aesthetic creation as three areas in which music can allow the harnessing of affect towards health goals. I note music’s powerful affect on the human body and movement, and the ways in which these affects are mobilized towards specific clinical goals. I explore the various human-to-human and human-to-sound relationships that are mobilized, created or strengthened through music therapy interventions, and how they relate to health and to the affect of “becoming”. Finally, I note the strong evidence for musical and aesthetic creation as a part of self-care, both by music therapists and by their clients, and argue for a broader understanding of how creativity impacts health, by allowing people to affect their environments and “become themselves”.
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Stokes, Martin. "Anthropological perspectives on music in Turkey." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303568.
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Born, Georgina Emma Mary. "The ethnography of a computer music research institute : modernism, post modernism, and new technology in contemporary music culture." Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/1349616/.
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The thesis is a socio-cultural study of IRCAM, a large, state-funded computer music research institute in Paris directed by the avant garde composer Pierre Boulez. The approach is primarily ethnographic, supported by broader historical analysis. The aim is to provide a critical portrait of musical modernism and post modernism as expressed by IRCAM and its milieu; and to place this in historical perspective by combining anthropology with cultural history. Theoretically, the thesis examines the contradictory position of the contemporary musical avant garde: established in official cultural spheres, yet lacking wider public appeal and cultural influence. In this context, the central problem is how IRCAM continues to legitimise itself. The thesis opens with a discussion of literature on the critical sociocultural study of music, on the sociology of culture (especially the work of Bourdieu and Williams), and on the avant garde and modernism. Chapters 2 to 4 provide the basic account of the institution, including status distinctions, stratification, and power structures. Three local historical influences on IRCAM are outlined: the American computer music network, the French national context, and Boulez's history and ideas. Chapters 5 to 8 analyse IRCAM's musical, scientific and technological work, examining the gaps between aims and actuality, ideology and practice. The character of IRCAM's dominant, 'dissident' and 'vanguard' projects are explored. The classification systems that structure the institute's internal conflicts and ideological differences are drawn out (Ch. 6). Chapters 7 and 8 focus in on computer music production, and describe the mediations and phenomenology of this and related software research. One composer's visit is detailed, and the social and technological problems inherent in this work are analysed. Chapter 9 provides an analysis of the main historical aesthetic traditions which inform IRCAM culture - modernism and post modernism - and develops an hypothesis of their discursive character and interrelation. This is related back to IRCAM culture, and throws light on the inter- and intra-subjective differentiation of IRCAM intellectuals, which in turn allows an analysis of mechanisms in the social construction of aesthetics and technology at IRCAM. The preceding analyses generate insight into the representation of modernism and post modernism within IRCAM. The Conclusions describe major developments at IRCAM after fieldwork. The legitimation of IRCAM is linked to its institutional and ideological forms: particularly its processes of self-legitimation, resting on the discursive authority of its own internal vanguard, and the universalising character of advanced computer music discourse. Finally, there is consideration of IRCAM's place in long term cultural processes, and of the implications for theorising cultural reproduction and change.
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Thomas, Kara Rogers. "Music in the mountains music and community in western North Carolina /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162262.
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Thesis (Ph.D.)--Indiana University, 2004.<br>Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0291. Adviser: John H. McDowell. Title from dissertation home page (viewed Oct. 12, 2006).
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Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.
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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.
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Farrell, Gerard James. "Indian music and the west : a critical history." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309508.
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Tsukada, Kenichi. "Luvale perceptions of Mukanda in discourse and music." Thesis, Queen's University Belfast, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356917.
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Thorne, Stephanie B. "A Cultural View of Music Therapy: Music and Beliefs of Teton Sioux Shamans, with Reference to the Work of Frances Densmore." Digital Commons @ Butler University, 1999. http://digitalcommons.butler.edu/grtheses/253.
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At the end of World War II, doctors trained in the western bio-medical tradition integrated music into their practice as a means of helping soldiers recover, both mentally and physically, from the atrocities experienced while overseas. For many, music was a solace, opening up the peaceful memories of home and family and pushing aside the war-torn landscapes. By establishing interpersonal relationships between the therapist and the patient, as well as patient-to-patient in group settings, music enabled feelings and emotions to flow freely. The mind was given a structured pattern to bridge the gap of the psychological and physiological experience. It was then that music therapy was introduced into the western practices of biological medicine
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Loten, Sarah. "The aesthetics of solo bagpipe music at the Glengarry Highland Games." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9502.
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The purpose of this study is to examine the aesthetics of solo bagpipe music at the Glengarry Highland Games in Maxville, Ontario, in order to understand how people perceive and receive their world. My ethnography of aesthetics of solo bagpipe music has involved a selected group of musicians that has participated in the piobaireachd and ceol beag contests at these games. Piobaireachd is the classical tradition of the Great Highland bagpipe, and ceol beag is the "light" music which consists of dance songs or marches. The first chapter explores the "arrangements" of power in this community. By "arrangements" of power, I refer to the informal understandings between people about the hierarchies, prestige and power in bagpipe activities of their community. The second chapter examines the various traditions in the aesthetics of solo piping. I problematize the notion of "tradition" by examining it as a human construction that is continuously reinterpreted as it is passed down from generation to generation. The third chapter explores the local knowledge of some of the pipers taking part in the competitions. By "local knowledge", I mean the body of knowledge that is formed collectively, over time, and comes to represent the main ideas and expectations the pipers have about their music. Since Maxville, with the Glengarry Highland Games, is considered, according to the pipers, to be the "spiritual center" of piping, this choice of location has been ideal for understanding sound structures, behaviours, practices, and attitudes that are inherent in this cultural activity.
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Cohen, Sara. "Society and culture in the making of rock music in Merseyside." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383995.
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Feriali, Kamal. "Music-induced spirit possession trance in Morocco implications for anthropology and allied disciplines /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024654.
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Santos, Dominique. "All mixed up : music and inter-generational experiences of social change in South Africa." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/6563/.
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In this thesis I use music as a starting point to animate the wider social experience of individuals and groups responding to rapid social change in South Africa. Social change in South Africa is linked in to discourses about identity that have been rigidly racialised over time. The cohorts and individuals who I engaged with cross, or are crossed by, the boundaries of racial categories in South Africa, either through family background or by the composition of cohort membership. The affective quality of music in people’s experience allows a more nuanced view of the changing dynamics of identity that is not accessed through other research methods. Music is used as a device to track biographies and stories about lived experiences of social change from the 1940’s to the first decade of the 21st Century in South Africa. Popular music cultures, including multi-racial church dances of the 1940’s, the 1970’s Johannesburg jazz and theatre scene and Kwaito, the electronic music that emerged in the 1990’s, provide a canvas to explore personal memories in very close connection to historical developments and groups of people ageing and working alongside each other in the inner western areas of Johannesburg, extending into other areas of the metropolis and the coastal city of Durban.The ethnography includes the life story of a member of a multi-racial family,the dynamic and biographies of a post-apartheid friendship cohort in Western Johannesburg, and an exploration of racial tension in a lap dancing club with a mixed clientele and staff base. The thesis draws on a period of 18 months of dedicated fieldwork in Johannesburg, where I was employed as a DJ in a number of night clubs, as well as many years living in the city as a South African national both as a child and an adult. The methodological implications of a close personal connection to the field site are thus also explored as a determinant of data gathering.
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Geyer, Christopher R. "Primitive echoes the capturing and conjuring of Native American music /." [Bloomington, Ind.] : Indiana University, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3204280.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2005.<br>Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0288. Adviser: Ruth M. Stone. "Title from dissertation home page (viewed Dec. 12, 2006)."
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Ruff, Joseph. "Country Music in the Northeast: Two Careers." TopSCHOLAR®, 1993. https://digitalcommons.wku.edu/theses/2792.
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Although country music and its antecedents have received attention primarily as cultural phenomena of the South, the past twenty years have witnessed a growing scholarly interest in the interplay between commercial country music, vernacular components. and performers within a regional context. The commercial product which has now attained worldwide appeal undoubtedly sustains a significant relationship to the folkways and regional identity of the South; nonetheless, performers and vernacular styles from other areas of the country have contributed to the development of country music. Most important. many areas outside of the South maintain local traditions of country music entertainment. In this thesis, I argue for a broader conception of country music and its sources by examining the careers of Gene Hooper and Dick Curless within the context of country music in Maine. The evidence presented suggests that country music, in its local context, retains a significant link to regional image and identity, as well as maintaining a connection to traditional music style and function.
The acceptance of the "new social history" rests upon the belief that knowledge of everyday people and culture contributes to our understanding of historical processes and periods. The methods of folkloristics complement this perspective and also provide an approach with which to study performance in small group contexts. Much of my information derives from observation of country music culture in Maine and interviews with relevant persons. I have also utilized archival material and scholarship concerning the history of country music and vernacular music in the Northeast. Within the thesis. I examine theoretical considerations of region and group identity.
Because the scholarly and popular conceptions of country music identify it primarily as a cultural phenomenon of the American South, my examination begins with a summary of historical perspectives on country music and the development of the Southern image connected with it. This discussion is followed by a brief survey of theoretical attitudes toward country music and regional identity within the discipline of folklore. Turning toward country music in the Northeast, I outline the roots of vernacular music there and describe the evolution of a regional country music boom. A detailed description of the careers of Gene Hooper and Dick Curless follows, with particular emphasis on the differing professional contexts of their music. Finally, I return to academic models of country music and region, elaborating on distinctions between the commercial context of the Nashville music industry and the vernacular music of the Northeast.
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Ngige-Nguo, Josiah Edward. "The role of music amongst the Gikuyu of the Central Province of Kenya." Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335452.
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Machin-Autenrieth, Matthew. "Andalucía flamenca : music, regionalism and identity in southern Spain." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/49178/.
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In recent years, flamenco has been consolidated as a prominent symbol of regional identity in Andalusia, the southernmost region of Spain. In the late 1970s, Spain began to decentralise into seventeen autonomous regions. As a result, each region has been encouraged to foreground its own culture vis-à-vis national culture. Although associated with Spain in general, flamenco has fulfilled the role of regional identity building in Andalusia. Increasingly, the Andalusian Government has focused attention on the development of flamenco within and outside of the region. In this thesis, I explore this relationship between flamenco and regional identity in Andalusia. In doing so, I draw upon the theoretical tenets of political geography. Through scholarly exchange, I argue that political geographers and ethnomusicologists can learn much about the relationship between music and regional identity. I use flamenco as a pertinent case study of this relationship in the European context. In particular, I discuss the role that governmental institutions play in the ‘regionalisation’ (Schrijver 2006) of flamenco (that is, the institutional development of flamenco as an ‘official’ symbol of regional identity). However, I argue that at times the regionalisation process can be disputed and subverted. Accordingly, I contend that regionalism (that is, the bottom-up identification with a region) in Andalusia is a fragmented concept. By examining the contexts, the discourses and the styles associated with flamenco, I present alternative readings of regionalism in Andalusia. Drawing upon virtual ethnography and traditional ethnography in Granada, I examine the reception and the production of flamenco at a local level as well as at a regional level. Arguably, some flamenco scholars present a somewhat rigid understanding of the relationship between flamenco and regional identity. By offering different readings of regionalism through flamenco, I reveal the complex and contested relationship between flamenco and identity in southern Spain.
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Osikowicz, Steve. ""We're All in This Together"| Creating a Community Around a DIY Music Scene." Thesis, State University of New York at Albany, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555387.
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<p>To many people, music is just a hobby, something they listen to on the drive to work or background noise throughout their day. Maybe they will go to an occasional concert or buy a record here or there, or more likely download one off iTunes. To some though, it can mean so much more. To some people, music can be the whole basis of their social lives. Here I will show how the music scene in DeKalb, Illinois has created strong bonds, enough to be termed a community. Helped through punk ethics and a DIY (do-it yourself) mindset, the DeKalb punk scene has brought together musicians, poets, artists, fans, and others involved through zines and record labels into one community. Through the words of those directly involved in the scene, I show how they view DeKalb’s punk scene as a community. The scene has become a welcoming space, where everyone’s projects are supported, leading to a variety of experimentation. One of the interesting elements of DeKalb’s scene in relation to other punk scenes is the older age of the participants. Traditionally seen as music for teenagers, as DeKalb is a college town the main participants are in their 20s, though older members are not rare; indeed, some are even in their 40s with families and kids. An important part of creating this scene is DIY philosophy, and I examine the role that has in creating a community. Additionally, spaces for music are equally important, as I illustrate how these spaces are essential in the music scene. Finally, as DeKalb is college town with a rotating population, I investigate what the future holds for everyone involved and the town’s punk scene. </p>
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Minetti, Alfredo. "Sensivel a study on social aesthetics, group creativity, and collective emotion /." [Bloomington, Ind.] : Indiana University, 2007. 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:3277984.
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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2007.<br>Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3927. Adviser: Anya P. Royce. Title from dissertation home page (viewed May 5, 2008).
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Hankins, Sarah Elizabeth. "Black Musics, African Lives, and the National Imagination in Modern Israel." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467531.
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“Black Musics, African Lives, and the National Imagination in Modern Israel,” explores the forms and functions of African and Afro-diasporic musics amidst heated public debate around ethnic identity and national membership. Focusing on musical-political activity among Ethiopian Israeli citizens, Sudanese and Eritrean refugees, and West African labor migrants in Tel Aviv, I examine how diverse types of musicking, from nightclub DJing and live performance to church services and protest concerts, voice African and Afro-descendent claims to civic status in a fractured urban environment. Grounded in ethnographic participant observation, the dissertation analyzes musical and political activity through the lens of “interpretive modes” that shape contemporary Israel’s national consciousness, and which influence African and Afro-descendant experiences within Israeli society. These include “Israeliyut,” or the valorization of so-called native Israeli cultural forms and histories; “Africani,” an emerging set of aesthetic and social values that integrates African and Afro-descendent subjectivities into existing frameworks of Israeli identity; and “glocali,” or the effort to reconcile local Israeli experience with aspects of globalization.
Tracing “blackness” as an ideological and aesthetic category through five decades of public discourse and popular culture, I examine the disruptions to this category precipitated by Israel’s 21st century encounter with African populations. I find that the dynamics of debate over African presence influence an array of mass-cultural processes, including post-Zionism, conceptions of ethnic “otherness,” and the splintering of Israel’s left into increasingly narrow interest groups. Contributing to the literature on continuity and change within urban-dwelling African diasporas, this dissertation is the first monograph exploring dramatic transformations of Israel’s highly consolidated national culture through in-depth ethnography with migrant groups.<br>Music
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Sung, Sang Yeon. "Globalization and the regional flow of popular music the role of the Korean Wave (Hanliu) in the construction of Taiwanese identities and Asian values /." [Bloomington, Ind.] : Indiana University, 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:3319905.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.<br>Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3194. Advisers: Ruth Stone; Sue Tuohy.
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Quick, Sarah L. "Performing heritage Metis music, dance, and identity in a multicultural state /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378378.
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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2009.<br>Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3915. Adviser: Anya Peterson Royce.
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Martinez, Andy A. "Living Stories : An Investigation of the Perpetuation and Importance of Folk Ballads in the North Carolina Blue Ridge Mountains." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1576840579830106.
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Fass, Sunni Michelle. "The 2005 Lotus World Music and Arts Festival processes of production and the construction of spatial liminality /." [Bloomington, Ind.] : Indiana University, 2006. 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:3215204.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1142. Adviser: Ruth M. Stone. "Title from dissertation home page (viewed June 18, 2007)."
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Lavengood, Kathleen Elizabeth. "Transnational communities through global tourism experiencing Celtic culture through music practice on Cape Breton Island, Nova Scotia /." [Bloomington, Ind.] : Indiana University, 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:3319835.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.<br>Title from PDF t.p. (viewed on May 13, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3267. Adviser: Ruth Stone.
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Matiure, Sheasby. "Performing Zimbabwean music in North America an ethnography of mbira and Marimba performance practice in the United States /." [Bloomington, Ind.] : Indiana University, 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:3344589.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.<br>Title from PDF t.p. (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0649. Adviser: Ruth M. Stone.
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Murray, Eric A. "Tradition and innovation in the pedagogy of Brazilian instrumental choro." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618861.
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<p> Choro is a traditional Brazilian music that began in Rio de Janeiro during the latter half of the nineteenth century. A virtuosic instrumental music, choro developed through Brazilian interpretations of European dance genres, especially polka and waltz. Participation by both amateur and professional musicians characterizes choro's traditional pedagogy, a reflection of informal and formal learning processes and contexts. At the turn of the twenty-first century, choro schools now offer venues for defining and validating the tradition as well as inspiring an atmosphere for innovation and creation. Inherent within the concept of tradition is the dichotomy of continuity and change. This study exposes how institutions negotiate the past and present through a comparison of current and historic pedagogy and modes of learning. Choro institutions use traditional and innovative modes of learning to support and enhance the genre's current practice through community organization, which sustains and contributes to its continued performance. Chapter one focuses on defining choro music, first discussing the etymology of the word 'choro,' followed by a survey of choro's history and review of choro literature. The chapter concludes with an explanation of this investigation's purpose. In chapter two I posit the notion that a music community practices and performs choro. Biographies and stories of choro's past and present community members reveal how they learned choro. The chapter ends with an analysis of the processes that establish and reinforce the community. Chapter three examines how people learn choro. I offer prevailing learning perspectives—acquisition, participation, and knowledge creation—and establish categories for modes of learning—formal, non-formal, and informal—to define the processes and contexts involved in learning choro. Chapter four discusses the musical codes that characterize choro, what the choro community describes as a musical language. The chapter ends with a description of the curriculum at Escola Portatil de Musica, the school case study used for this dissertation. Chapter five is the summation and conclusions, revealing why musicians learn choro music.</p>
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Nomita, Dave. "The revolution's echoes : music and political culture in Conakry, Guinea." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4224085a-354f-409f-8c9b-1160a8e9a789.
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This thesis is an ethnographic study of music and authoritarianism in Conakry, Guinea. Representations in the scholarly and popular literature often emphasize African music as a site for resistance and oppositional politics, while musicians who support the state are seen as tools of propaganda. In this thesis, I examine instead the choices and subjectivities of musicians who sing for an authoritarian state. As I show, musicians in Conakry, across genres and generations, rarely express dissent and overwhelmingly adopt cautious and conservative positions towards the state. I describe these stances as operating within a politics of silence that has emerged over the past half-century of authoritarian rule in Guinea, deriving from norms of ambiguity and secrecy in Mande culture. I begin in Chapter One by considering the foundational moment of the Guinean Cultural Revolution to examine how music became intertwined with a political culture of control under the regime of Guinea’s first president Sékou Touré. In Chapters Two, Three and Four I then investigate the legacy of the Revolution in shaping musical practice in Conakry today. My analysis is based on ethnographic research conducted in 2009, following a military coup d’état. I use the particular circumstances of the post-coup moment in 2009 as a lens through which to understand the ongoing legacy of authoritarianism on Conakry’s musical and political landscape. I consider the afterlife of musical nationalism as musicians from the Revolution seek to find a place in the post-nationalist state; anxieties about praise-singing and music professionalization that have sharpened since the Revolution’s end; and the politics of youth music as young people negotiate between ideals of protest and the quiet accommodation of power. As I argue, silence is a form of agency for musicians in Conakry as they attempt to negotiate the complexities of life in an authoritarian state.
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Bispham, John Christopher. "The human faculty for music : what's special about it?" Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/284459.
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This thesis presents a model of a narrow faculty for music - qualities that are at once universally present and operational in music across cultures whilst also being specific to our species and to the domain of music. The comparative approach taken focuses on core psychological and physiological capabilities that root and enable appropriate engagement with music rather than on their observable physical correlates. Configurations of musical pulse; musical tone; and musical motivation are described as providing a sustained attentional structure for managing personal experience and interpersonal interaction and as offering a continually renewing phenomenological link between the immediate past, the perceptual present and future expectation. Constituent parts of the narrow faculty for music are considered most fundamentally as a potentiating, quasi-architectural framework in which our most central affective and socio-intentional drives are afforded extended time, stability, and a degree of abstraction, intensity, focus and meaning. The author contends, therefore, that music's defining characteristics, specific functionalities and/or situated efficacies are not demarcated in broadly termed "musical" qualities such as melodic contour or rhythm or in those surprisingly elusive "objective facts" of musical structure. Rather they are solely the attentional/motivational frameworks which root our faculty to make and make sense of music. Our generic capacities for culture and the manifold uses of action, gesture, and sound to express and induce emotion; to regulate affective states; to create or reflect meaning; to signify; to ritualize; coordinate; communicate; interrelate; embody; entrain; and/or intentionalize, none of these is assessed as being intrinsically unique to music performance. Music is, instead, viewed as an ordered expression of human experience, behaviour, interaction, and vitality, all shaped, shared, given significance, and/or transformed in time. The relevance of this model to topical debates on music and evolution is discussed and the author contends that the perspective offered affords significant implications for our understanding of why music is evidently and remarkably effective in certain settings and in the pursuit of certain social, individual, and therapeutic goals.
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Young, Michael A. "Cultural performances of German national identity| Popular music, body culture, and the 2006 FIFA World Cup." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535413.
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<p> This thesis explores the intersection of nationalism, popular music, and sport as they collided with German identity politics and discourses of twentieth-century history. I contextualize public performances of German national identity during the 2006 World Cup within the broader historical context of national identity construction through music and sport in the last two hundred. I contextualize Germans' public performance of national pride and hospitality during the World Cup as the latest in a long line of cultural performances of German identity that have shaped and been shaped by historical circumstances and socially conditioned discourses of national identity. Taking a broad historical and conceptual perspective on cultural performance, I argue that cultural performances of German national identity—communicated in music, sport, and visual symbolism in the public landscape (i.e., through the use of posters, ads, popular press, etc)—have been tailored to and contingent on the social and discursive exigencies of particular historical and political junctures of the past two hundred years. Likewise, cultural performances during the 2006 World Cup must be seen as particular to twenty-first-century German society. Analyzing the Germans' public performance of national identity as well as popular songs and their audio-visual texts (i.e., music videos), I argue that some supposedly nationalist performances of German identity gained traction and popular support during the World Cup because of the strong role played by popular music and sport in framing the terms of their performance and interpretation.</p>
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Pegg, C. A. "Music and society in East Suffolk : an examination of continuity and change in the musical activities of some villages in East Suffolk." Thesis, University of Cambridge, 1985. https://www.repository.cam.ac.uk/handle/1810/272716.
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Bakker, Sarah. "Fragments of a liturgical world| Syriac Christianity and the Dutch multiculturalism debates." Thesis, University of California, Santa Cruz, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589305.
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<p> This dissertation explores the reconfiguration of Syriac Orthodox liturgical tradition among Aramaic-speaking Christian refugees in the Netherlands. Under the pressures of Dutch integration policy and the global politics of secular recognition, the Syriac liturgy is rapidly losing its significance as the central axis of social life and kinship-relations in the Syriac Orthodox diaspora. As such, it has become a site for debate over how to be religiously, culturally, and ethnically distinct despite the narrative binary of Christian Europe and the Muslim Middle East that dominates Dutch multiculturalism discourse. Every week, young Syriac Orthodox women and men congregate at their churches to practice singing the liturgy in classical Syriac. What they sing, and how they decide to sing it, mediates their experiments in religious and ethical reinvention, with implications for their efforts at political representation. Singers contend not only with conditions of inaudibility produced by histories of ethnic cleansing, migration, and assimilation, but also with the fragments of European Christianity that shape the sensory regime of secular modernity. Public debates over the integration of religious minorities illuminate this condition of fragmentation, as well as the contest over competing conceptions of ethical personhood inherent in the politics of pluralism in Europe.</p>
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Feather, Andrew. "The Emergence of Hip Hop in West Virginia| One Man's Reflection on Personal Music Taste vs. Regional Identity." Thesis, Dartmouth College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10145502.
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<p> In my thesis I set out to investigate and understand my personal relationship with hip-hop music and the part it played in my development. In addition to my personal story, I sought to understand the status of hip-hop in a rural state like West Virginia. I utilized a memoir style of writing that relied heavily on self- reflection. I then fact checked my memories by incorporating hard data which allowed me to gain a greater understanding of how media spreads, and is consumed in West Virginia. I could then compare this data to the media consumption of the United States. These statistics showed that West Virginia is cut off from much of the media that is enjoyed by the majority of the country. The reasons were more varied and complex that I imagined, and ultimately my thesis changed course as I learned about my home state. In conclusion, my personal experience with hip hop was not typical of most adolescents in West Virginia. The trend in West Virginia is to maintain the status quo and reject new ideas. Most likely this will continue to be the trend as college educated youth continue to leave for more forward thinking surroundings. Media is simply a microcosm of the greater lack of any change in the social or political climate of the state.</p>
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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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Xu, Yifan. "Globalization of Millennial's' Music Consumption: A cross-national music taste study of undergraduate students in China and the U.S." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420741275.
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Beisswenger, Donald. "Singing Schools in Southcentral Kentucky." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2128.
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Singing school teachers, who teach rural church congregations to sing from shape-note gospel songbooks, are still working in southcentral Kentucky, but the demand for them is smaller than it was in the first half of the twentieth century. The interdependence network in which singing school teachers, songbook publishers, and community singing events were key parts began to weaken in the 1940s as a result of the growth in popularity of professional gospel quartet concerts and gospel record albums. Many gospel music enthusiasts who once looked to songbooks as a major source for new material and for developing singing skills turned to albums and concerts in the 1940s. Singing school teachers began to be called on less frequently.
The first three chapters of this thesis contain an overview of the gospel singing events, the songbook publishers, and the singing schools. The nature of the relationship between these three gospel music institutions is established. In the fourth chapter, I profile three singing school teachers of southcentral Kentucky. In the conclusion, the development of popular religious music since the early 1800s is summarized and the importance of researching Southern white gospel music as a step toward a greater understanding of Southern music traditions as a whole is examined.
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Canuday, Jose Jowel. "Music, dances, and videos : identity making and the cosmopolitan imagination in the southern Philippines." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:ad25b3dd-8d0c-4c9a-8b0a-c85eb3255dd3.
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This ethnography examines the processes in which rooted but overlapping forms of cosmopolitan engagements implicate the Tausug imagination of collectivity. It investigates Tausug expression of connection and belonging as they find themselves entangled into global cultural flow and caught up in the state and secessionist politics of attachment. Utilising methodological and theoretical approaches engendered by visual and material anthropology, the ethnography locates rooted cosmopolitan imagination in the works and lives of creative but marginalised and often silenced Tausug cultural agents engaged in street-based production, circulation, and consumption of popular music and dance videos on compact discs. The ethnography follows these cosmopolitan expressions as they are being imagined, embodied, reproduced, and shared by and across Tausug communities in the Zamboanga peninsula, the Sulu archipelago, and beyond through the digital spaces of the internet and cross-border flow of the videos. How the translocality of imaginaries reflected on the videos play out in everyday life and the broader politics of representation are demonstrated here as vital to the understanding of Tausug imagined community as an open, flexible, and dynamically engaging Muslim society despite long-standing political turbulence and economic uncertainty in their midst. Saliently, the thesis argues that Tausug cosmopolitanism cannot be reduced into a phenomenon driven by the expansive currents of Western-led globalisation. Rather, Tausug cosmopolitanism constitutes both continuity of and departure from past forms of translocal connections of Zamboanga and Sulu, which as a region was once integrated to a pre-colonial Southeast Asian emporium and continually through varying ways of connectedness. Old and new global processes come into play in shaping the everyday production of Tausug imaginaries inevitably rendering Tausug identity formation as a trajectory rather than an unchanging fact of being. Drawing from the Tausug ethnographic experience, the thesis contends that rooted cosmopolitanism does not necessarily constitute a singular condition but rather a contested and distinctively multifaceted phenomenon.
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Brinkhurst, Emma. "Music, memory and belonging : oral tradition and archival engagement among the Somali community of London's King's Cross." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7994/.
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This thesis focuses on the transmission and role of poetry and song within the Somali community in London’s King’s Cross, which has developed since 1991 as Somalis have fled from violence in their homeland. I explore the relationship between past and present, continuity and change within Somali oral artforms, and the role of song and poetry in transmitting cultural knowledge. I also consider the potential of sound archives – specifically the British Library’s World and Traditional Music section, which neighbours the Somali community in King’s Cross – to support the continuation of oral tradition and impact upon individual and collective memory processes within diasporic communities. I demonstrate the ongoing role of poetry and song in mediating and communicating relationship with place and negotiating multiple subjectivities among Somalis in the diaspora, presenting examples of Somali community members in King’s Cross renewing, constructing and expressing sense of belonging to different locales and group identities through composing, listening to, discussing and performing song and poetry. With “proactive archiving” (drawing on Edmonson’s “proactive access” 2004: 20) at the heart of my methodology, I elucidate the relationship between song as an archival form and the place and practice of ethnomusicology sound archives, demonstrating the challenges and benefits of engaging diasporic communities with archival recordings. I consider the dynamism of the Somali oral network and the ongoing mobility and change experienced by Somali residents of King’s Cross, which stands in notable contradistinction to the permanence and fixity of the British Library, and I call for a move forward from the notion of proactive archiving to one of sustainable archiving – an approach that would empower community members to record and archive their personal musical heritage in a systematic and ongoing way.
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Liu, Menghan. "Rephrasing Mainstream And Alternatives: An Ideological Analysis Of The Birth Of Chinese Indie Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351367197.
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Angel, Samanatha. "Music and paleolithic man the soundtrack of human cognitive development." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/651.
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Archaeologists have pored over countless texts of the ancient civilizations, attempting to piece together bygone worlds. However, relatively little work has been done to reconstruct the musical history of these societies, and even less on why their musical histories are important. This paper aims at a synthesis between the ancient Egyptian and classical Greek archaeological records to analyze the importance of music in Paleolithic human cognitive development. Countless musical instruments have been discovered globally, ranging from pre-Columbian bone flutes in Oaxaca, Mexico to ancient trumpets in Egyptian burials (Barber et al 2009). Apart from their place in a museum, minimal work has been done to ascertain their importance to human society as a whole. This thesis attempts to display the crucial need for more research in this field. The recent decline in support for arts education in favor of 'hard sciences' and mathematics is deeply disturbing; the history of humanity should be important not only to anthropologists and historians, but to members of all disciplines. This lack of interest in 'soft sciences' and the arts may lead to a complete loss of ancient musical history; a loss that would be devastating to history, anthropology and the worlds. The contents of this paper portray both the ancient importance of music, and how it contributed to increased cognitive faculties during hominid development.<br>B.A.<br>Bachelors<br>Sciences<br>Anthropology
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Seng, Sophea. "The Soriya Band| A Case Study of Cambodian American Rock Music in Southern California." Thesis, University of California, Riverside, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10153682.
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<p> Following the 1975-1979 genocide, Cambodian exiles in the U.S. recreated cultural institutions through music. Music remains significant in rebuilding cultural life in diasporic Cambodian communities. Live bands perform contemporary and classic ballads during Cambodian New Year in April, at wedding parties and in restaurants on weekend nights. Live rock bands continue to dot community celebrations as survivors collectively create musical repertoires and schedule practices to perform at festive community events. Despite the ubiquity of live musical performance in Cambodian communities, this aspect of Cambodian American cultural formation has been scarcely addressed in the literature. This Thesis addresses the deficiency in the literature through ethnographic fieldwork with a Southern California rock band called the Soriya Band, comprised of three guitarists, a keyboardist, a drummer and two vocalists who are all first generation Cambodian survivors. Music persists as a vehicle for cultural creation and change for Cambodian American refugee-survivors. </p>
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Ridington, Amber. "At the Crossroads Commercial Music and Community Experience The Quonset Auditorium - A Roadhouse on the Dixie Highway." TopSCHOLAR®, 2002. http://digitalcommons.wku.edu/theses/632.
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This study of the Quonset Auditorium, one roadhouse among many on the regular tour route of R&B, gospel and country musicians in the post-World War II era (1947- 1959), illustrates the important role of roadhouses during a time of growth and change in popular music. It situates memories and experiences from the Quonset Auditorium in relation to regional and national movements of the day such as highway development, commercial and popular music, and the civil rights movement. With hindsight, we can see that the Quonset Auditorium stood at a crossroads as regards these social and technological movements of the post-WW II era and the metaphor of crossroads has been applied throughout this study. Roadhouses have received little detailed attention in literature about commercial music, and this study has meant to provide details from the Quonset Auditorium in order to flesh out the generalizations often made about roadhouses, and touring. This study has drawn primarily on oral accounts collected from a variety of individuals: musicians who performed there, past audience members and people with second hand memories of the Quonset. It also utilizes historical documents relating to the Quonset Auditorium in university yearbooks, newspapers and ledgers from show poster companies.
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Nguyen, Jason R. "Staging Vietnamese America| Music and the performance of Vietnamese American identities." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1546986.
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<p> This study examines how Vietnamese Americans perform identities that acknowledge their statuses as diasporic Vietnamese to construct and maintain specifically Vietnamese American communities. I argue that music, especially public forms of musical expression within mass media and locally staged cultural performances, is a crucial way for Vietnamese Americans across the diaspora to transmit markers of cultural knowledge and identity that give them information about themselves and the "imagined community" constructed through their linked discourses.</p><p> The argument is organized around two main ideas that focus on broad cultural patterns and locally situated expressions, respectively. First, music produced by the niche Vietnamese American media industry is distributed across the diaspora and models discourses of Vietnamese identity as different companies provide different visions of what it means to be Vietnamese and perform Vietnamese-ness on stage. I analyze the music variety shows by three different companies (Thuy Nga Productions, Asia Entertainment, and Van Son Productions) to argue that Vietnamese American popular media should not be seen as representing a single monolithic version of Vietnamese-ness; rather, each articulation of Vietnamese identity is slightly different and speaks to a different formulation of the Vietnamese public, producing a discursive field for diverse Vietnamese American identity politics.</p><p> Secondly, I show how identity is always performed in particular places, illustrating that Vietnamese Americans performing music in different places can have vastly different understandings of that music and its relationship to their identities. Using a Peircian semiotic framework, I articulate a theory of place-making in which places become vehicles for the clustering of signs and meaning as people experience and interpret those places and make meaning there. As people's experiences imbue places with meaning, people coming from similar cultural backgrounds may gain different attachments to those places and one another and thus different understandings of their identities as Vietnamese. I use two contrasting examples of Vietnamese American communities in Indianapolis and San Jose to show how people in each place construct entirely different discourses of identity surrounding musical performance based upon their positionality within the diaspora.</p>
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Lobley, Noel James. "The social biography of ethnomusicological field recordings : eliciting responses to Hugh Tracey's 'The Sound of Africa' series." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:42da8899-6f92-4d65-9756-5c2be9656cad.
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This thesis is an ethnographic analysis of a collection of field recordings of music from sub-Saharan Africa: The Sound of Africa series made and published by Hugh Tracey between 1933 and 1973. I analyse the aims, methods, value and potential use of this collection, now held at the International Library of African Music (ILAM), in order to address a gap in the ethnomusicological literature and to begin to develop a critical framework for an evaluation of field recording and aural ethnography. An archival analysis of the collection enables me to trace the scope and intended uses of Tracey’s recordings. Identifying a primary intended audience that has not to date been engaged, I argue for the need to develop a new way to circulate recordings among a source community that has never before been reached through institutional archival practice. I use a small sample of Tracey’s archival Xhosa recordings and develop a method of sound elicitation designed to take the recordings back to urban Xhosa communities in the townships located near ILAM. By circulating archival recordings using local mechanisms in township communities, rather than institutional archival methods, I assess the potential relevance of historical recordings to an urban source community more than fifty years after the recordings were made. Having collected and analysed contemporary Xhosa responses, I consider the limitations and the potential for the recordings to connect with indigenous audiences and generate value. I argue that non-analytical responses to historical recordings may contribute to ethnographic understanding, to people’s own sense of Xhosa identity, and to archiving practice in future. Such responses may help increase our understanding of the relationships between music collectors in the field and the people recorded, whether fifty years ago, today or in future.
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Szczepanski, Beth. "Sheng Guan in the Past and Present: Tradition, Adaptation and Innovation in Wutai Shan's Buddhist Music." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211286766.
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Burkhardt, Paul Edward. "The production and consumption of the commodity community: Playing, working and making it in the local music scene." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288991.
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Employing methodologies and theoretical approaches from the fields of cultural studies, cultural anthropology, community studies, folkloristics, and critical political economics of communication, this study explores the production and consumption of commodities, performances and community within local southern Arizona popular music scenes in the context of the increasingly global media industries. This participant-observer ethnography engages my everyday life experiences as a musician, recording engineer and producer with contemporary academic debates about meaning, value and postmodernism. Scholars taking extreme positions in these debates often apply concepts from semiotics to the practices of production and consumption of cultural commodities in order to understand the sociological, economic and cultural transformations of late modernity. While these linguistic metaphors illuminate the potentially resistant play of signs within the articulations of these subcultural groups, the pragmatism of symbolic interactionism focuses much-needed attention on certain social aspects of rituals of consumption at the risk of obfuscating the power of the transnational media industries in organizing, promoting and mass-distributing such discourses. Indeed, large-scale political economic inquiry grounded in a realist epistemology shows that the work of audience consumption is organized not only to profit the media, marketing and advertising corporations, but also to reproduce capitalist social relations and ideology. My fieldwork suggests a synthesis of the elements of these debates. The new terminology and concepts defined and conceptualized in this dissertation as "self-production" and "self-sampling" within the "commodity community" allow analysis of the flexible organization of such performative consumption as productive of social relations, community, identity and meaning. Indeed, the feelings of meaningful community belonging are a large share of what one buys in such leisure scenes. Further, these social products are increasingly measured, sampled and packaged as cybernetic commodities for exchange both through traditional market channels and via the new "interactive" media technologies. I conclude by turning these abstract models and metaphors to a critique of the academic "commodity community" of postmodern cultural studies.
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Martin, Carla Denny. "Sounding Creole: The Politics of Cape Verdean Language, Music, and Diaspora." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10282.
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This dissertation investigates the interrelationship of language and music in the complex cultural domain of Cape Verde and the Cape Verdean diaspora in West Africa, Europe, and North America. I illustrate how derogatory tropes of degeneracy, inferiority, and impurity applied to Creole languages and cultures (Creole exceptionalism) have prevented language parity between Portuguese, Cape Verde’s official colonial language, and Cape Verdean Creole (CVC), the vernacular of the country’s entire population. These tropes and their sociological implications are, ultimately, detrimental to efforts toward development in the country. I show that music, a safe and welcoming space for CVC, plays an integral role in preserving and promoting the language. The results of centuries-old exceptionalist beliefs include the historical association of women as closer to nature than to culture in the Cape Verdean context and the perception of CVC language and culture as similarly subaltern as compared to their European counterparts. While men have traditionally been the revered songwriters and cultural intellectuals in Cape Verde, on world music stages Cape Verdean women have had the lion’s share of success. I argue that this gender role reversal is largely due to the unique career of Cesária Évora. Drawing on discourse-centered analysis, I chart the elements of race, gender, and social class indexed by song texts into the sociopolitical world of which they are a part and analyze the fruitful interventions and subversions made by Cape Verdean women performers in discussions of womanhood, “Africanness,” and “Creoleness.” This study contributes to numerous ongoing scholarly debates in African diaspora studies and Creole studies, especially regarding the politics of representation, and offers one of the few existing comprehensive historical and ethnographic studies of language in music and of a Creole language specifically. Inherently political, the research for this dissertation has been accompanied by a decade-long project of social engagement advocating for the linguistic human rights of CVC speakers.<br>African and African American Studies
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Martínez, Rosalía. "Music, movements and colors in Andean fiesta. Bolivian examples." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/79171.
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En la fiesta andina, la música suele tanto oírse como verse. Esta dimensión multisensorial de la situación musical no es únicamente el resultado de una yuxtaposición de elementos sonoros y visuales. el análisis de las articulaciones que los campesinos indígenas de la zona de sucre (Bolivia) construyen entre sonidos, movimientos y colores revela la presencia de organizaciones singulares de la experiencia sensible que se caracterizan tanto por su espesor sensorial como por la manera en la cual se encuentran conectadas con otros campos del conocimiento. Estas formas de intersección culturalmente elaboradas implican el cuerpo mismo de los músicos, generando nuevas configuraciones perceptivas.<br>In the Andean fiesta music is as much intended to be seen as it is to be heard. The multisensorial aspect of musical performance is not just a matter of the juxtaposition of sounds and sights. The analysis of the articulations that indigenous peasants of sucre (Bolivia) construct among sounds, movements and colors reveals an original organization of sensitive experience that is as much characterized by its sensory depth as it is by the ways it is linked to other domains of knowledge. The forms of culturally elaborated intersections that occur in the body of the musician lead to new perceptive configurations.
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Åkerström, Per. "Utan rödvin och körsång är livet inte värt att leva : Kören i människan." Thesis, Linköping University, Department of Social Anthropology, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-8118.
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<p>People have different hobbies. The people we are going to meet here share the same interest - choir singing. Singing together in different choirs is their hobby (leisure time interest).</p><p>What brings them together is the singing, getting an opportunity to sing together with people they otherwise would not meet. In this essay you will learn some of the reasons behind the fact that choir singing is a big movement in Sweden (reasons behind choir singing having a great number of practitioners). You will get a direct link to the informants, without having to read answers that have been tampered with. The choir singers who participate will speak directly to you.</p>
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Salazar, Amador. "Mariachi Music in San Antonio| The Construction of Cultural and Ethnic Identity in a Hybridized City." Thesis, The University of Texas at San Antonio, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10279937.
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<p> The intent of this research is to reveal and understand the symbolic meanings of cultural and ethnic identity that cultural creators and receivers perceive through their involvement in mariachi. This study’s shows the way those involved in mariachi perceive their cultural and ethnic identity while living in a city that infuses Mexican and Texan cultural sensibilities. A mixed-method approach was taken between in-depth qualitative interviews and participant observation. Participant observation was utilized as a means to build a stratified snowball sample of the various cultural producers and receivers of mariachi. The cultivation of this sample was guided by Griswold’s cultural diamond framework. Reliance on semi-structured in-depth interviews as the primary research method of inquiry illuminated the various horizons of meaning that mariachi performers, instructors, gatekeepers, and aficionados held in regards to their efforts to preserve a long standing cultural musical art form in San Antonio, Texas. Some findings include various stories and perspectives on cultural and ethnic identity in mariachi, varying strategies undertaken to preserve mariachi music in the twenty-first century through technology, its institutionalization into a public-education setting, the varying gender dynamics among mariachi performers, the question of authenticity and hybridization in mariachi music, and cultural politics in the mariachi music scene.</p>
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Livni, Eran. "Chalga to the max! Musical speech and speech about music on the road between Bulgaria and modern Europe." Thesis, Indiana University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3672900.
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<p> This dissertation explores a discourse of democratic modernity in EU-member Bulgaria, which revolves around a hybrid popular music called chalga. I argue that chalga does not function as the name of a defined music genre. Rather, Bulgarians use it as a self-reflexive voice of ambivalence regarding the recontextualziation in liberal democracy of the socialist language ideology of evolutionary modernization: <i> navaksvane</i>—catching up—with Europe. On one hand, chalga indexes musical images that resonate with the current <i>zeitgeist</i> of modern European culture: aesthetical and social heterogeneity as well as commercial mass media. On the other hand, Bulgarians take this Ottoman-derived word as a non-referential index that invokes anxieties of Balkanism—a discursive trope of European modernity that has invented the Balkans as its liminal incomplete Self. As the ethnographic chapters of the dissertation show, Bulgarians deal with their ambivalence to chalga by seeking paternalist figures capable of imposing the language regimes of <i>navaksvane</i> when performers and audiences digress too much into coded zones of Balkan liminality. Regimenting modern popular music with top-down control points also to the political communication implicit in chalga. Cognizant of their inferior location vis-à-vis "real modern societies", ordinary Bulgarians seek paternalist leaders who can address them on an intimate level but are powerful enough to impose norms and practices circulating to Bulgaria from loci that represent the Occident. The expectation to have such leaders is not exclusive to democracy. It defined the political culture during socialism and even before. What is special to the contemporary era is the discursive formulation of such leadership, which I define as paternalistic populism. Bulgarians regard democracy as working in their country when it is guided from above by an authoritarian boss <i>(shef),</i> who knows how to anticipate the popular will, how to ally with bigger and external forces in order to overcome the society's marginality, and most importantly, how to act with "barbarous" Balkan aggression so as to put the nation in modern European order.</p>