Ervin Schulhoff in the interwar cultural context for needs of modern school This thesis deals with life and works of a Czech-German music composer of the interwar period Ervin Schulhoff. The first part of the thesis is concerned with composer's life in the interwar cultural context, the second part focuses on his works. Detailed attention is paid to the period when Schulhoff was influenced by interwar avand-garda movement, particularly by Dadaism and jazz dance music and also Neoclassicism. The third part handles the issue of the use of Schulhoff's work related to his life at nowaday school and brings some ideas and possibilities of use in school music lessons with intersubject overlap. All work is completed with sheet music examples and images serving for better illustration of the subject. In the Appendices are included more pictures and photographs illustrating the composer's life and also the list of Ervin Schulhoff's compositions.

The purpose of this study was to explore emerging issues surrounding gendered fear, threat, and violence perpetration at music festivals – particularly events that feature a synthesis of jam band and electronic dance music acts – a genre termed jamtronica by its fans. Though gendered violence perpetration and prevention have been widely studied within other party-oriented settings (i.e., sexual violence perpetration on college campuses), very little research exists to address how wider disparities of gender and sexuality permeate a community whose members frequently claim the scene’s immunity from external inequalities. In this three-year multi-sited ethnography, I incorporate participant observations, group and individual interviews, and textual analyses to progressively layer investigations into: 1) festival-goers’ gender-bifurcated perceptions of the problems they face within the event arena; 2) how institutional and interactional inequalities fuel gender-sexual expectations that exacerbate the risks with which festival-going women’s contend; and, 3) how jamtronica’s “libertarian and libertine” codes complicate women’s negotiations of (sub)cultural agency, expression, and safety. Findings derived across fourteen sites, interviews with 179 festival participants, and countless material texts suggest that men and women do perceive festival “problems” in very different ways – subsequently leading women to calculatedly navigate festival terrains, interactions, and self-presentations in ways that festival-going men seldom must. Protected by scene norms that paradoxically elevate personal autonomy and group integration, festival-going men’s homosocial displays of masculinity (through pranks, drinking and drug use, and even sexual predation) often goes unchallenged – or, is seemingly even encouraged. In an environment that both scholars and study participants claim to eclipse mainstream inequalities of gender and sexuality, a closer look reveals the multiplex ways that festival-going women risk their physical, social, and sexual well-beings in order to pursue the emancipatory promises that jamtronica music festival community discourses purport. For this understudied, yet rapidly growing, subcultural scene, this study offers conceptual and analytical foundations to event-specific violence prevention programming, as well as gender and sexuality-centric initiatives paramount to ever-diversifying jamtronica music festival communities.

The intersection of Asian American identity and illicit substance use is greatly understudied in psychological literature, especially with matters of mental health and drug use being stigmatized by Asian cultural norms. However, with an increasingly alarming number of fatal drug overdoses by Asian Americans at electronic dance music (EDM) events, attention must be drawn to the needs of this unique population. The present study characterizes this community by drawing from data of 1,290 Asian American young adults who participate in the EDM scene. This study also hypothesizes the impact of acculturative stress and feelings of social belonging on MDMA usage patterns. Analysis reveals a population of largely East and Southeast Asian, 2nd generation, college-educated young adults with strikingly high usage rates of MDMA, an illicit drug linked to the EDM scene. Multiple regression models were created that could predict MDMA use through various measures related to acculturative stress and social belonging. Findings revealed the significant impact of acculturation, acculturative stress, mental health, peer relationships, and desires for social belonging on this population’s MDMA usage patterns, providing an important platform from which future research may launch much-needed additional studies of Asian American young adults and illicit drug use.

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Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.

The dissertation Topic of popular music in the local press of contemporary Karlovy Vary region in the period 1957 - 1967 attempts to capture the process of official views presented in the regional press between the years 1957 - 1967 in the territory of today's Karlovy Vary Region on various genres of modern music, represented by mainstream dance music which later evolved into popular music. Articles, reviews and critiques relevant to modern music published in newspapers in area of Karlovy Vary and specialist publications dedicated to particular cultural issues in the region was used for the research. Furthermore, it was primarily jazz and rock music in Czechoslovakia known as big beat (bigbít). The introduction deals with the theoretical and methodological issues appropriate to the topic and their possible use. The next part deals with the social and cultural context in Czechoslovakia at that time, the influence of ideology on culture and simultaneously on releasing in art and society during the 1960s. An overview of contextualization within postwar (World War II) official press, the situation regarding modern music in Karlovy Vary regional press in the period 1948 - 1956 and also archival documents that are related to the topic of work are mentioned in the second part. The third part deals with...

This piece of work was meant to be countinuous to my bachelor's thesis. In that essay I was dealing with the history of Czech electronic dance music in general. This time I focused just on Prague and surrounding area. The Czech capital was deeply influenced by presence of tourists. After the Velvet revolution, they were suddenly able to visit Prague. And as they they were already familiar with electronic music, they could help to spread it here. The situation in Prague is also compared with the rest of the world (western civilization). In the first part of the essay, I describe the qualitative research and the method I have used, which is the oral history. I also enclose a brief vocabulary of frequently used terms that are not very well known to the greater audience, I suppose. The last part is the analysis of the interviews itself. The interviews were done with important narrators.

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

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

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