The thesis deals with problems of choirs in Jihlava city. There are two parts. The first one encompass history of choral singing and music in Jihlava including master singing, Jihlava´s music after 30-year war and the history of the city itself. The second part contains music festivals such as MAHLER JIHLAVA, The Choir Festival and the present-date choirs which organize performances for the public. This part reveals questions given to Jihlava´s choirmasters, concerning their choirs and festivals, particularly The Choir Festival which is the one of the most prestige national festival and which mingles with the present-day choirs in part. The main aim of the thesis is to find out the influence of The Choir Festival on the choral life in Jihlava.

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73. / Art History, Visual Arts and Musicology / M.Mus.

<p>На глобалном, то &nbsp;јест, планетарном нивоу&nbsp; догађаји&nbsp; уопште (фестивали, конгреси, конференције&nbsp; и&nbsp;слично),&nbsp; а посебно они са јаком&nbsp; културном&nbsp; компонентом (као што &nbsp;су:&nbsp; музички фестивали,&nbsp; филмски, фолклорни&nbsp;фестивали,&nbsp; разне манифестације &nbsp;или&nbsp; аниматорски&nbsp; програми&nbsp; и&nbsp; тако &nbsp;даље),&nbsp; значајно &nbsp;се бројчано &nbsp;повећавају.&nbsp;<br />Поред&nbsp; тога што &nbsp;унапређују&nbsp; локални понос&nbsp; у&nbsp; култури,&nbsp; стварају јак идентитет и имиџ локалне заједнице, то јест&nbsp;брендирају дестинацију, &nbsp;ови догађаји&nbsp; могу&nbsp; такође&nbsp; промовисати аутохтоне националне&nbsp; мањине, и оставити&nbsp;бројне позитивне или &nbsp;негативне, економске, друштвене, еколошке, политичке и друге ефекте и &nbsp;последице на&nbsp;дестинацију.&nbsp; Догађаји, то јест фестивали су добар повод да се гостима покажу&nbsp; нови&nbsp; народи&nbsp; и њихови &nbsp;обичаји,&nbsp;култура,&nbsp; веровања, начин живота,&nbsp; а од боравка на дестинацији осети се и&nbsp; допринос&nbsp; локалној економији, друштвеном&nbsp; и мултикултурном&nbsp; животу. Без обзира,&nbsp; какав&nbsp; догађај&nbsp; или&nbsp; фестивал&nbsp; био &nbsp;он представља&nbsp; нови талас&nbsp;алтернативног&nbsp; туризма&nbsp; који&nbsp; доприноси &nbsp;одрживом &nbsp;развоју&nbsp; и&nbsp; побољшава &nbsp;опднос између&nbsp; домаћина и госта&nbsp; а исто&nbsp;тако унапређује &nbsp;дестинацијски туристички производ. Током боравка на фестивалу туриста ће конзумирати и остале производе и услуге и мултиплицираће ефекте свог останка на дестинацији. Свакако тај се процес не&nbsp;може остварити без добре координације стејкхолдера и њихове добре међусобне умрежености и сарадње.</p> / <p>Na globalnom, to &nbsp;jest, planetarnom nivou&nbsp; događaji&nbsp; uopšte (festivali, kongresi, konferencije&nbsp; i&nbsp;slično),&nbsp; a posebno oni sa jakom&nbsp; kulturnom&nbsp; komponentom (kao što &nbsp;su:&nbsp; muzički festivali,&nbsp; filmski, folklorni&nbsp;festivali,&nbsp; razne manifestacije &nbsp;ili&nbsp; animatorski&nbsp; programi&nbsp; i&nbsp; tako &nbsp;dalje),&nbsp; značajno &nbsp;se brojčano &nbsp;povećavaju.&nbsp;<br />Pored&nbsp; toga što &nbsp;unapređuju&nbsp; lokalni ponos&nbsp; u&nbsp; kulturi,&nbsp; stvaraju jak identitet i imidž lokalne zajednice, to jest&nbsp;brendiraju destinaciju, &nbsp;ovi događaji&nbsp; mogu&nbsp; takođe&nbsp; promovisati autohtone nacionalne&nbsp; manjine, i ostaviti&nbsp;brojne pozitivne ili &nbsp;negativne, ekonomske, društvene, ekološke, političke i druge efekte i &nbsp;posledice na&nbsp;destinaciju.&nbsp; Događaji, to jest festivali su dobar povod da se gostima pokažu&nbsp; novi&nbsp; narodi&nbsp; i njihovi &nbsp;običaji,&nbsp;kultura,&nbsp; verovanja, način života,&nbsp; a od boravka na destinaciji oseti se i&nbsp; doprinos&nbsp; lokalnoj ekonomiji, društvenom&nbsp; i multikulturnom&nbsp; životu. Bez obzira,&nbsp; kakav&nbsp; događaj&nbsp; ili&nbsp; festival&nbsp; bio &nbsp;on predstavlja&nbsp; novi talas&nbsp;alternativnog&nbsp; turizma&nbsp; koji&nbsp; doprinosi &nbsp;održivom &nbsp;razvoju&nbsp; i&nbsp; poboljšava &nbsp;opdnos između&nbsp; domaćina i gosta&nbsp; a isto&nbsp;tako unapređuje &nbsp;destinacijski turistički proizvod. Tokom boravka na festivalu turista će konzumirati i ostale proizvode i usluge i multipliciraće efekte svog ostanka na destinaciji. Svakako taj se proces ne&nbsp;može ostvariti bez dobre koordinacije stejkholdera i njihove dobre međusobne umreženosti i saradnje.</p> / <p>On a global planetary scale events in general (festivals, congresses, conferences&nbsp; etc.), particularly those with&nbsp;a strong cultural component (such are: music festivals, film festivals,&nbsp; folklore festivals,&nbsp; other events and&nbsp; animation&nbsp;programs etc.) are substantially increasing in numbers. In addition to enhancing local pride in culture,&nbsp; they produce&nbsp;strong identity and image of local coummunity (they are branding the destination)&nbsp; these events could also expose&nbsp;indigenous national minorities to the increasing number of international visitors.&nbsp; Also, they could make many either&nbsp;positive or negative, economic, social, ecological, political or any&nbsp; other effect and consequences for/to destination.&nbsp;Events, namely festivals&nbsp; are&nbsp; a good occasion to&nbsp; show&nbsp; guests the&nbsp; new&nbsp; nations&nbsp; and&nbsp; their customs, culture, beliefs&nbsp; and&nbsp;lifestyles. From the&nbsp; stay&nbsp; of the tourists&nbsp; the&nbsp; resort&nbsp; could&nbsp; feel&nbsp; the&nbsp; contribution&nbsp; to&nbsp; the local economy, social life,&nbsp; multi-cultural&nbsp; life&nbsp; etc.&nbsp; Regardless, how big an&nbsp; event or festival is, it should and would represent a new wave&nbsp; of&nbsp; alternative&nbsp;tourism&nbsp; that contributes&nbsp; to sustainable development and&nbsp; improving&nbsp; the relationship between the&nbsp; host and the guest&nbsp;and also promote destination&rsquo;s tourism product. During ones stay at the festival, tourists will consume other products&nbsp;and services, and multiply effects of &nbsp;their stay at the destination.&nbsp; Certainly&nbsp; this process&nbsp; can not be achieved&nbsp; without&nbsp;<br />good coordination of stakeholders and their good inter-networking and cooperation.&nbsp;</p>

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Indiana University-Purdue University Indianapolis (IUPUI) / Expressions of German-American culture in Indianapolis reached a high point in the first decade of the twentieth century. Social clubs such as the Socialer Turnverein and the Maennerchor enriched the city’s cultural life through musical performances and athletic classes and provided a social outlet for their members. During this decade, these clubs played a large role in organizing two national festivals held in Indianapolis: a Turnfest (gymnastics festival) in 1905 and a Saengerfest (singing festival) in 1908. Examining the planning and implementation of the Turnfest and Saengerfest sheds light on how club leaders responded to their social and political environment at the beginning of the twentieth century, how the respective clubs’ members conceived of their ethnic and club identities, and how they represented these identities in the festivals.