No description available.

O objetivo principal desta dissertação é o de recuperar a dimensão atlântica da história social das musicalidades afro-brasileiras criadas por africanos escravizados e seus descendentes durante o último século de escravismo e ao longo das primeiras décadas do período pós-abolição. O foco recai, sobretudo, no entendimento dos movimentos de transposição histórica dos tambores de fricção, de determinadas áreas do continente africano para as Américas, sua importância na formação das comunidades e culturas musicais afro-brasileiras, especialmente naquelas relacionadas ao samba urbano carioca, bem como nas transformações que o processo de diáspora imprimiu na organologia e na performance realizada por meio destes tambores de fricção. Este estudo, como também o inventário realizado dos instrumentos musicais que compunham as paisagens musicais do Brasil e de determinadas sociedades da África Central, sustenta-se sobre fontes históricas variadas, desde representações iconográficas contidas em crônicas, relatos de viagem e etnografias de viajantes e estudiosos que percorreram as diversas sociedades do período, análise de exemplares de instrumentos africanos pertencentes a coleções museológicas, até a escuta e análise de diversos fonogramas disponibilizados por meios eletrônicos. / The main purpose of this work is to recover the Atlantic dimension of the social history of African - Brazilian musicality created by enslaved Africans and their descendants during the last century of slavery and throughout the first decades of the post-Abolition period. The focus is mainly on understanding the historical movements of transposition of the friction drums from certain areas of Africa to the Americas, its importance in the formation of African - Brazilian communities and musical cultures, especially those related to samba, as well as the transformations that the diaspora process printed on the instrument performance, and its organology. This research, and the inventory of musical instruments that composed the musical landscapes of Brazil and certain societies of Central Africa, is founded on various historical sources, from the iconographic representations contained in chronicles, travel accounts and ethnographies of travelers and scholars who visited the various societies of the period, and images of museum collections of African instruments, to phonograms made available by electronic means.

<p>I mitt examensarbete har jag valt att undersöka de tankar som finns kring vem som spelar vilket instrument. Vilka ord, som har med utseende respektive personlighet att göra, förknippar studerande vid en svensk musikhögskola samt en svensk folkhögskola med de utvalda instrumentalisterna; -klassisk tubaist, fiolspelande folkmusiker, klassisk tvärflöjtist, afrosångaren, afrotrummisen, klassisk pianist? Vilket kön, vilket utseende och vilken personlighet tänker de sig att respektive instrumentalist har? Genom en enkätundersökning har jag försökt ta reda på detta. Jag delade ut enkäter till studerande vid en svensk musikhögskola samt till musikstuderande vid en svensk folkhögskola. Av 201 utdelade enkäter fick jag in 49 svar. Jag tycker mig se tydliga skillnader kring vilka ord som förekommer till de olika instrumentalistgrupperna. Respondenternas uppfattning om vilket kön instrumentalisterna har är i de flesta fall väldigt överensstämmande</p> / <p>In my degree project I have chosen to examine the thoughts that exist around who plays which instrument. What kind of words –related to looks and personality - do students at a Swedish university of music associate with the following instrumentalists: classical tuba player, folk music violinist, classical flutist, afro singer, afro drummer, classical pianist? Which gender, looks and personality do they think the respective instrumentalist have? Through a survey, I have attempted to answer this. I handed out the surveys to students at a Swedish university of music, and to music students at a Swedish folk high school. From a total of 201 surveys, 49 responded. I think there are clear differences concerning which words relate to the different instrumentalists. The respondents’ opinion regarding the gender of the instrumentalists are generally in accordance.</p>

I mitt examensarbete har jag valt att undersöka de tankar som finns kring vem som spelar vilket instrument. Vilka ord, som har med utseende respektive personlighet att göra, förknippar studerande vid en svensk musikhögskola samt en svensk folkhögskola med de utvalda instrumentalisterna; -klassisk tubaist, fiolspelande folkmusiker, klassisk tvärflöjtist, afrosångaren, afrotrummisen, klassisk pianist? Vilket kön, vilket utseende och vilken personlighet tänker de sig att respektive instrumentalist har? Genom en enkätundersökning har jag försökt ta reda på detta. Jag delade ut enkäter till studerande vid en svensk musikhögskola samt till musikstuderande vid en svensk folkhögskola. Av 201 utdelade enkäter fick jag in 49 svar. Jag tycker mig se tydliga skillnader kring vilka ord som förekommer till de olika instrumentalistgrupperna. Respondenternas uppfattning om vilket kön instrumentalisterna har är i de flesta fall väldigt överensstämmande / In my degree project I have chosen to examine the thoughts that exist around who plays which instrument. What kind of words –related to looks and personality - do students at a Swedish university of music associate with the following instrumentalists: classical tuba player, folk music violinist, classical flutist, afro singer, afro drummer, classical pianist? Which gender, looks and personality do they think the respective instrumentalist have? Through a survey, I have attempted to answer this. I handed out the surveys to students at a Swedish university of music, and to music students at a Swedish folk high school. From a total of 201 surveys, 49 responded. I think there are clear differences concerning which words relate to the different instrumentalists. The respondents’ opinion regarding the gender of the instrumentalists are generally in accordance.

Free body diagrams of an Asphalt Roller were designed for several load cases and used for an optimisation study. Assumptions for the load calculations for each load case were carried out in MATLAB®. The Roller was built in I-DEAS® and the results were compared with the theoretical results / F.B.D av en Asfalt Vältar designerades för olika last fall och användas för en optimisation studier. Antagandena för de olika last beräkningarna utfördas i MATLAB. Vältar byggdes i I-DEAS och resultaten jämfördes med de teoretiska. / Kungsmarks vägen 97 37144 Karlskrona - Sweden Telefon 045510316

本論文關注當代壯族民間使用銅鼓的現況，探討銅鼓作為承載傳統文化之物，在面對中華人民共和國政府非物質文化遺產政策下，如何創造出新的銅鼓使用價值。在比較多個壯族在節慶中使用銅鼓的地點，我以紅水河流域為主，走訪廣西河池市轄下的三縣共七個地點，以多點民族誌的田野調查方法，在春節期間最常使用銅鼓的螞虫另節與其他敲銅鼓的節日中進行田野調查。 我在本研究有四點發現：一、新鼓的製作與販售，使紅水河各持有銅鼓之村寨數量增加，並改變原先使用習慣、分布位置以及存放方式。二、節慶中新鼓、老鼓的使用情況如下：持有老鼓的地區多位處山上；新鼓的使用受到政府政策與經費的影響。銅鼓傳統的儀式性功能在節慶中逐步轉變，造成新、舊銅鼓走向活動用品與文物藏品的分岔路。三、銅鼓的功能性隨著不同地方與時間的移動，促使壯族的宗教與宇宙觀隨之縮減。而當地人口再次外移時，銅鼓的表演性異於過去農耕時的儀式性質。四、政府、地方幹部、麼公、地方人士與媒體五種銅鼓使用者對銅鼓的看法或關係：1.政府跟地方人士對於銅鼓的使用常處於不同的看法。2.地方幹部視銅鼓為權力的象徵或展示品，作為向外界尋求更多資源之物。3.麼公藉由銅鼓維持自己的地位與特殊性。4.部分地方人士視銅鼓為籌碼，擁有聲望與地位的物品，或為賺錢的文化商品。5.政府主導下，致使政府跟媒體對於地方銅鼓使用的看法不同，導致地方人士的聲音被埋沒。 / This study concerns the current situation of bronze drum use in Zhuang society; it concerns drums as a traditional cultural carrier, and in what way drums create new value in the context of the Chinese government’s Intangible Cultural Heritage policy. Looking for locations where bronze drums are used in Zhuang festivals, I chose the Hongshui River watershed and did fieldwork in 7 locations in 3 counties within Guangxi Hechi region. Through multi-sited ethnography, I did fieldwork during the Spring Festival and other festivals in which bronze drums are used. In this study, I made four important discoveries. First, the production and selling of new drums increase the number of bronze drums stored in each village and also changes people’s habits, the geographic distribution of drums, and the ways in which they are stored. Second, the situation of using new or old drums during festivals is that most old drums are located in mountainous areas, and the use of new drums is influenced by the Chinese government’s policy and subsidies. The drums’ traditional ritual function during festivals in gradually changing to a pattern in which new drums are used for activities and old drums become collectur’s items. Third, Zhuang religion and treditional world view are diminished while the drums’ functionality shifts in pace with place and time. When the local population migrates to the cities, the performance of bronze drums is different from their ritual nature in the past agricultural period. Fourth, the government, local officers, vernacular priests, local people, and the media have five different views in relation to bronze drums, such as: 1. the government and local people have different views about bronze drums; 2. local officers view about bronze drums as the symbol of authority or displays, giving them the jurisdiction to seek more resources to the outside world; 3. vernacular priests utilize bronze drums to maintain their own status and particularity; 4. a fraction of local people treat bronze drums as a bargaining chip to enhance their own prestige and status, or for goods; 5. dominated by the Government, so that the local government with the media have different views about bronze drums, which decreases local people’s voice on bronze drums use.

Syftet med arbetet är att jämföra två olika metoder för inlärning av fotteknik för spel vid trumset och hur de två olika metoderna påverkar trumspel. För att undersöka detta användes videoobservation samt loggbokförande under de sex veckor som undersökningsperioden varade. Varje vecka filmades tre olika övningstillfällen med varierande fokus. Studien grundar sig i det designteoretiska perspektivet. Resultatet av studien visade att olika metoder kan ge varierande resultat och att utforskandet av nya metoder kan ge positiva och oväntade resultat. Resultatet pekar även på att strategier och struktur ger positiva effekter vid övning. I diskussionsdelen diskuteras vilka resurser som varit mest givande för min utveckling samt hur en trummis måste vara medveten om sina begränsningar för att strategiskt kunna forma övning. / The purpose of this study is to compare two different methods of learning foot-technique and how the two methods affect playing of the drums. To examine this video-observation filled an important role with complement of a journal during the six weeks of practice that were recorded. Each week there were three videos recorded with variating focus each video. The study is based on design theory which is described in the background chapter. The result of this study showed that different methods can result in variating outcome and it also showed that exploring new methods can give positive effects on your practice. The discussion revolves around what resources have been the most impactful for my own personal development and how one must be conscious of one’s own limitations to be able to create a successful plan of practice.

Qualquer experiência humana pode ser sacralizada, continuando na sua superfície profana. O caráter sagrado lhe vem da atribuição do mistério que oculta. Este mistério pode ser de beleza ou de feiúra, de bondade ou de maldade, de segurança ou de pecado, de anjo ou de demônio, no templo ou na rua. O sagrado opera uma transformação nas coisas do mundo tornando uma realidade inteiramente diferente das realidades naturais. O presente trabalho se propõe analisar numa perspectiva antropológica a hierofonia construída e reelaborada na Noite dos Tambores Silenciosos, numa tentativa de compreender o desenvolver deste processo. / Any human experience can become sacred and even go continuing going externally continue in its profane expression. This sacred character comes out to it human experience from the mystery touch that it the above mentioned human experience hides within itself. This mystery can enclose beauty or ugliness, goodness or wickedness, safety or sin, angles or devils, temples or street. The sacred one produces, accomplishes a certain transformation in the worldly things, turning them into a reality wholly different from an analyzing, departing from an anthropological perspective, the hidden hierophany, contacted and reworked out from Noite dos Tambores Silenciosos i. e: Night of the Silent Drums in great attempt of understanding and developing this process.

O objetivo principal desta dissertação é o de recuperar a dimensão atlântica da história social das musicalidades afro-brasileiras criadas por africanos escravizados e seus descendentes durante o último século de escravismo e ao longo das primeiras décadas do período pós-abolição. O foco recai, sobretudo, no entendimento dos movimentos de transposição histórica dos tambores de fricção, de determinadas áreas do continente africano para as Américas, sua importância na formação das comunidades e culturas musicais afro-brasileiras, especialmente naquelas relacionadas ao samba urbano carioca, bem como nas transformações que o processo de diáspora imprimiu na organologia e na performance realizada por meio destes tambores de fricção. Este estudo, como também o inventário realizado dos instrumentos musicais que compunham as paisagens musicais do Brasil e de determinadas sociedades da África Central, sustenta-se sobre fontes históricas variadas, desde representações iconográficas contidas em crônicas, relatos de viagem e etnografias de viajantes e estudiosos que percorreram as diversas sociedades do período, análise de exemplares de instrumentos africanos pertencentes a coleções museológicas, até a escuta e análise de diversos fonogramas disponibilizados por meios eletrônicos. / The main purpose of this work is to recover the Atlantic dimension of the social history of African - Brazilian musicality created by enslaved Africans and their descendants during the last century of slavery and throughout the first decades of the post-Abolition period. The focus is mainly on understanding the historical movements of transposition of the friction drums from certain areas of Africa to the Americas, its importance in the formation of African - Brazilian communities and musical cultures, especially those related to samba, as well as the transformations that the diaspora process printed on the instrument performance, and its organology. This research, and the inventory of musical instruments that composed the musical landscapes of Brazil and certain societies of Central Africa, is founded on various historical sources, from the iconographic representations contained in chronicles, travel accounts and ethnographies of travelers and scholars who visited the various societies of the period, and images of museum collections of African instruments, to phonograms made available by electronic means.

The Master’s Recital recorded on the compact disc that accompanies this paper presents seven compositions. Five of them are my own, and two are my arrangements of compositions by musicians that I admire. The paper includes scores of the original compositions and arrangements, as well as program notes that offer historical background, summaries of the form, and observations on performance practice for each selection. My goal is to demonstrate to jazz devotees and to music lovers in general the capabilities of the steel pan instrument within a jazz combo setting. Each composition exploits the full range of challenges the percussionist faces in a jazz combo performance. I explore different stylistic approaches and musical concepts that enable a high level of improvised musical performance on an instrument that is relatively new to jazz.