Inaug.-Diss.--Universität Erlangen-Nürnberg, Erlangen. Vita. / Bibliography: p. [196]-207.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 378-391).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--Cincnnati Bible College & Seminary, 2003. / Includes abstract and vita. Includes bibliographical references (leaves 95-96).

Thesis (M.I.S.) - University of KwaZulu-Natal, Pietermarizburg, 2009. / Full text also available online. Scroll down for electronic link.

Thesis (M.A.)--Cincnnati Bible College & Seminary, 2003. / Includes abstract and vita. Includes bibliographical references (leaves 95-96).

Thesis (Ph. D.)--University of Wisconsin, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 390-398).

Approaching the subject of 'orality' as a complex social-historical practice containing fissures of technological inversion and spatial-acoustic transgression, this thesis seeks to understand the implications of an electronically realised 'secondary orality'. In particular, it seeks to understand this idea as it is elaborated in the media theory of Marshall McLuhan. The approach taken here attests to a vitally important, if often' ghosted', materialism of acoustic space, a context which is immediately and ambivalently implicated in the institutionalising and ideologising of communications technology. It is argued that a cultural media theory must address those forms of managed communicative experience that serve to diminish the everyday vernacular. The Introduction of the thesis identifies developments that have brought the idea of a 'secondary orality' into being. Chapter One examines Havelock's and Innis's privileging of technology in the orality question, as well as the general denial of acoustic practice within the orality-literacy debate. Chapter Two explores Ong's ideas on 'presence' as well as Derrida' s critique of Western phonocentrism in terms of the larger historical denial of sound. Chapter Three explores McLuhan's position on the techno-evolutionary overcoming of rationalism in the new electronic landscape and argues that his 'electronic materialism' is a form of interiorisation. Chapter Four turns to a discussion of the ancient world to consider oral ambivalence and the paradox of orality in the transition to literacy. Consideration is also given to the early modern emergence of a paradigm of abstract visualisation. Chapter Five examines the modern emergence of an oral resistance found in the acoustic otherworld of the' chapbook' and the poetics of Wordsworth, Blake, and Clare. Chapter Six discusses issues of the oral 'other' as found in the theories of Bakhtin, Volosinov, and Kristeva. Chapter Seven investigates a varied postmodern neo-McLuhanism in relation to issues of ecology, intertextuality, and the feminisation of technology. The Conclusion argues that 'secondary orality' involves a technological inversion of oral powers serving an electronic hegemony. The mimetically engineered spatial disorientation of transgressive sociality is further considered.

<p>The aim of this research is to find out more about traditional music in Gambian society, to get a wider view of the tradition and what is happening to traditional music in a modern society. Furthermore, I want to find out if the informers consider that the traditional music is fading away from the society and if, in that case, any actions are being taken to preserve the tradition. The research question is: How do the traditional masters in the Gambia consider the role of traditional musicians in a modern society?</p><p> </p><p>The research method consists of making observations at Maali’s Music School and in the E.C.C.O cultural camps in Njawara and Berefet, and interviews with traditional masters of different tribes. <strong></strong></p><p><strong> </strong></p><p>The results of the interviews show that the informers consider that the traditional music is ‘fading away’ from the society, that the role of traditional music in the society is changing and that there is no great support or protection for traditional music in the Gambia. Documentation of the music and interviews made by researchers from abroad often ends up in Europe and is seldom returned back to the informers. With regard to things that could be done to keep traditional music alive, the informers give the examples of building schools for teaching the tradition, teaching traditional songs in the ordinary schools and finding places for traditional masters to gather, where they can discuss, teach and play together.</p>

The aim of this research is to find out more about traditional music in Gambian society, to get a wider view of the tradition and what is happening to traditional music in a modern society. Furthermore, I want to find out if the informers consider that the traditional music is fading away from the society and if, in that case, any actions are being taken to preserve the tradition. The research question is: How do the traditional masters in the Gambia consider the role of traditional musicians in a modern society?   The research method consists of making observations at Maali’s Music School and in the E.C.C.O cultural camps in Njawara and Berefet, and interviews with traditional masters of different tribes.   The results of the interviews show that the informers consider that the traditional music is ‘fading away’ from the society, that the role of traditional music in the society is changing and that there is no great support or protection for traditional music in the Gambia. Documentation of the music and interviews made by researchers from abroad often ends up in Europe and is seldom returned back to the informers. With regard to things that could be done to keep traditional music alive, the informers give the examples of building schools for teaching the tradition, teaching traditional songs in the ordinary schools and finding places for traditional masters to gather, where they can discuss, teach and play together.