À Zabbar, un village maltais du Nord-Est, la banda Maria Mater Gratiae et la banda San Mikiel, rivales depuis leur fondation, en 1883, sont intégrées dans la vie villageoise et animent la fête patronale de Santa Maria Mater Gratiae, tous les ans, le 8 septembre. La musique des bandas – des marches – est une musique populaire, festive, religieuse et écrite. Elle ne joue pas seulement un rôle décoratif ou d’utilité ni de stricte nécessité sociale, elle constitue un véritable fait social total. Elle s’inscrit dans une pratique collective du quotidien et produit des sociabilités multiples, des échanges, des univers sonores, un imaginaire musical riche en mouvement. La première partie de cette thèse, d’un caractère ethnographique, décrit le contexte musical du village, en mettant l’accent sur les bandas, leur siège – le kazin –, leur histoire, leur rôle dans le contexte musical maltais. Dans une deuxième partie, la musique des bandas se révèle être au centre d’échanges - des musiciens et des partitions – et de rivalités dans l’espace villageois et de l’île. Enfin, après une description de la musique dans la fête et une étude comparée qui montre l’origine même de ces formations dans la double histoire des orchestres de cuivre et d’harmonie, une dernière partie est consacrée à l’analyse musicale et a pour but de découvrir la logique de ces musiques paraliturgiques / In Zabbar, a village in north-east Malta, two bandas, Maria Mater Gratiae and San Mikiel, have been rivals since they were founded in 1883. They are part and parcel of village life and bring life to the Santa Maria Mater Gratiae village festival each year, on the 8th of September. The music of bandas, of marches, is a popular, festive, religious, written music. Its role is neither decorative nor utilitarian, nor is it a strict social necessity, it is an actual complete social fact. It is part of a collective pratice in daily life and produces multiple sociabilities, exchanges, musical worlds, an imaginary musical universe full of movement. The first part of this thesis, which is ethnographic, describes the musical context of the village, drawing attention to the bandas, their seats (or kazin), their history, the role they play in the Maltese musical context. In the second part, banda music is discovered to be central to exchanges (musicians and music scores) and rivalries within the village space and the island itself. Then comes a description of the music within the festival and a comparative study meant to show how the bandas found their origins in the history of brass bands and orchestras. Finally, a last part is dedicated to musical analysis and aims at discovering the logic within those paraliturgical musics.

This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.

Since the 1960s and in reaction to its increasing popularity within Latino populations in the U.S., mariachi has become a common component of curriculum-based music courses in a growing number of public schools. Even though one of the principal purposes for the existence of mariachi programs is to improve students’ academic performance, music scholars have yet to address how mariachi education encourages higher academic achievement. On the other hand, anthropological educators argue that children underperform in school due to cultural difference or cultural mismatch; therefore, it is necessary to incorporate the cultural heritage of students into the curricula for academic success. The purpose of this study is to gain an increased understanding of the impact of mariachi programs on high school students' experiences and academic achievement and look for the relationship between achievement and cultural identity. This study examines two mariachi programs in the Tucson Unified School District as microcosms within the larger mariachi community in Tucson. In this interdisciplinary study, I use both ethnomusicology and anthropology of education as frameworks. I argue that students enrolled in the two mariachi programs are re-creating their cultural identities in response to the sociocultural context of the music education in the United States. This process of identity formation allows them to move more smoothly from one setting to another in their family, peer, and school worlds. The interrelationship between students and their peers, parents, and teachers facilitates their academic achievement.

This thesis is a critical comparative study of the ways in which music is being used as an educational tool for HIV/AIDS in Sub-Saharan Africa, Brazil, India, China, the U.S., and Canada. Music for education is an aspect of a number of academic disciplines. I introduce the principles of Entertainment-Education and Participatory Communication, which are two methods of conveying education through entertainment. Music cognition, music philosophy, ethnomusicology, sociomusicology, and communication theory offer perspectives on why music is persuasive, emotive, and mnemonic. I present analyses of music HIV/AIDS education efforts from many different regions that employ different methods of music transmission and different musical genres. Some are grassroots interventions, whereas others are large-scale, mass media efforts. I identify a number of high-level themes that emerge from the case studies: music involves the audience, music engages the emotions, music is culturally relevant, music is therapeutic and empowering, and music enhances memory. The case studies highlight a number of specific elements that significantly enhance HIV/AIDS education efforts, elements that should be applied to Canadian efforts. The initiatives that are currently taking place are remarkable, but more efforts are needed to effectively combat the AIDS pandemic. / Arts, Faculty of / Music, School of / Graduate

It has recently become more common to combine methodologies from the fields of ethnomusicology and psychoacoustics to address fundamental questions concerning music perception. Ethnomusicology emphasizes cultural context when examining the different ways musical sounds are organized. Psychoacoustics explores the relationships between perceptual processes and physical properties of sound. The methodologies of both disciplines are crucial in developing a cross-cultural cognitive theory of music. A perception experiment was performed on two groups of Western musicians: one with training in Javanese gamelan music (the Gamelan group), and one without training in Javanese gamelan (the Western group). This study examined whether changes in timbre perception occurred in adults who were trained in another culture's music compared to naive listeners. The two groups' perceptions were also compared between an isolated tone and a melodic context to determine where the effects of training were most salient. A mathematical technique known as Multidimensional Scaling (MDS) showed that all subjects based their ratings on two factors during both contexts. In the isolated tone context, the two subject groups did not differ in their timbre perception. In the melodic context, the subject groups diverged in a statistically significant manner. Multiple regression analysis showed that in the isolated tone context, attack centroid (a measure of the spectral energy distribution during the initial 50 milliseconds of the tone) was emphasized almost equally by both groups, along with an unknown psychological factor. In the melodic context, the Gamelan group focused their attention almost completely on the attack centroid while the Western group focused their attention roughly the same between the attack centroid and the middle portion of the amplitude envelope. These results indicate that timbre perception in the music of another culture is modified when a listener has received training in that music, even as an adult. A musical context is needed for these modifications to become apparent, however, otherwise training has no effect on processing timbre. It would appear that attention is directed to acoustical properties that provide meaning to a musical context by those listeners who are familiar with that context. Conversely, listeners who are naive of another culture's musical contexts do not focus their attention on those specific acoustical properties. / Arts, Faculty of / Music, School of / Graduate

Relationships among the Aesthetic, culture, and music are problematic- Frequently considered as epiphenomenal to culture, music and the arts are typically seen as adjuncts to ceremonial activity- This dissertation examines the nature of the Aesthetic, music and performance in the context of the Lolo, Araigilpua Village, West New Britain Province, Papua New Guinea, in an attempt to develop a definition of the Aesthetic applicable for cross-cultural research and to discover the ways in which the Aesthetic and culture articulate. For the purposes of this dissertation, the Aesthetic is defined as that facet of religion focused on responses to extraordinary powers thought to maintain what are considered to be proper relationships between human members of a community and extraordinary powers. Three forms of aesthetics, social, performance, and musical, are taken as the means and methods of directing interactions between man and extraordinary powers. At present, the Lolo are engaged in a process of secularisation resulting primarily from the introduction of Christianity, Western medicine and money. This dissertation examines the relationship between the Aesthetic and social life, and addresses the impact of changes to the Aesthetic. / Arts, Faculty of / Anthropology, Department of / Graduate

Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T14:49:03Z (GMT). No. of bitstreams: 1 Silveira_JairoPerin_M.pdf: 3197468 bytes, checksum: 78d677feff8fcb1d28686d8a821001c6 (MD5) Previous issue date: 2014 / Resumo: No mundo em que vivemos, percebemos aumentar, a cada dia, a quantidade de sons em todos os ambientes e muitas vezes, esses sons característicos, nem sempre são saudáveis. A audição é um dos sentidos que tem sido muito estimulada nos dias atuais, porém, não se trata de um escuta voltada para uma percepção de mundo, mas ao contrário, uma escuta que é quase como um anestésico para a poluição sonora que tem se estabelecido. Diante disso, é possível pensar uma educação musical que possa atuar através da criação levando em consideração diferentes sonoridades e um novo "fazer musical". O presente trabalho apresenta o relato de duas experiências realizadas com alunos do Ensino Fundamental I na disciplina de Educação Musical ¿ Ecos da Floresta: suíte em quatro movimentos para orquestra de papel e Festa de São João -, onde é apresentada uma abordagem de aprendizagem significativa que objetiva convidar os alunos a buscarem, de forma lúdica, experiências e informações musicais, que os levem a adquirir novos conhecimentos e habilidades artísticas, enquanto participam de um projeto de cunho fortemente interdisciplinar. A primeira experiência se baseia nos preceitos da Ecologia Acústica, um termo cunhado por Murray Schafer e os modelos de improvisação proposto por Koellreutter. Trata-se de uma atividade educacional que gera artificialmente o correspondente a uma paisagem sonora de uma floresta tropical ¿ explorando o desenvolvimento cronológico de sua formação, sua deterioração e da sua reconstituição. Foram utilizados como matéria prima sonora, ruídos feitos com diferentes tipos de papel. Nesta proposta de criação artística, com elementos da música tonal e pós-tonal ¿ nas fronteiras entre o som, o silêncio e o ruído ¿ focou-se o desenvolvimento de uma ação interdisciplinar que promova o desenvolvimento individual e a evolução social dos alunos. A segunda experiência, além de propor uma investigação sobre os diversos modos de perceber, compreender e realizar as músicas, busca uma reflexão sobre como a preparação de um ambiente propício à aprendizagem é tão importante quanto os conteúdos e consequentemente, os novos papéis que cabem ao professor desempenhar nesta outra situação: os diálogos entre culturas. Isto inclui, dentre várias atitudes, considerar a possibilidade de diferentes formas de participação dos alunos nos eventos musicais propostos em aula. Trafego pelas áreas da educação musical e da etnomusicologia para compreender outras formas de concepção e mesmo de relação significativa com as músicas geradas pelas manifestações populares brasileiras. A partir, então, dos conceitos de "música participativa", proporcionar uma experiência estética baseada no fazer artístico e na interpretação de músicas que envolvem a voz, o gesto e a técnica instrumental. O exemplo do ator brincante, do mestre popular, pode servir como parâmetro de revisão do papel do professor de música em sala de aula. A partir da ideia de experiências multiculturais, buscar formas criativas capazes de envolver os alunos em práticas musicais que sejam significativas para eles. Propor, então, uma ação educativa interdisciplinar pautada numa arte expressiva, auxiliadora na construção de valores sociais / Abstract: In the world we live in, we notice more and more, the increase of sound in all the environment and many times, they are not considered good for your health. Currently, the sense of hearing has been stimulated a great deal, however, not in the aspect of listening directed to the perception of the world around us, but the kind seen almost as an anesthetic against noise pollution. According to this, we could consider a type of music learning to work through creativity dealing with new sounds and a new "music creation". This work lists two experiments performed on grade school students in the Music Learning subject ¬¿ Ecos da Floresta (Forest Echos): suíte in four movements for the Orquestra de Papel (Paper Orchestra) and Festa de São João ¿, in which a crucial learning approach that focuses on helping students to find, in a playful way, experiences and music information that will allow them to acquire know-how and artistic skills while taking part of a multitask project. The first experiment is based on the Acoustic Ecology perception, a terminology coined by Murray Schafer as well as the improvisation models proposed by Koellreutter. This is a learning activity that creates artificially something similar to a noise soundscape from a tropical Forest ¿ exploring the chronological development of its creating, deterioration and reconstruction. As the raw material, sound and noise were created with different kinds of paper. In the proposed artistic creation, using elements from tonal and post tonal ¿ in the border between sound, silence and noise ¿ the focus was on developing a multitask action that would promote the individual development as well as the social evolution of students. The second experiment, in addition to the proposition to investigate the several methods of perception, understanding and play the music, deals with a reflection on how to prepare a suitable environment for learning which is as important as the content and consequently, the new roles of teachers in other aspects, i.e., dialogue between cultures. This also includes, among other attitudes, considering different ways from the students to participate in musical events that are proposed during classes. In addition it suggests going through music classes and ethnomusicology to understand other manners of conception as well as the important relationship with the music originating from popular manifestations in Brazil. Based on the "participative music", it should provide an esthetic experience based on the artistic performance and the interpretation of music that involve voice, gestures and musical techniques. The role of a playful actor, the popular teacher, can be used as a parameter to review the role of the music teacher during classes. Based on the multicultural experiences, they are creative methods able to involve students to perform music that mean something to them. Therefore, it proposes multitask learning aspects guided by expressive art to help build social values / Mestrado / Fundamentos Teoricos / Mestre em Música

A presente dissertação é fruto da pesquisa de campo realizada com o grupo musical Family Soul na cidade de Porto Alegre, Rio Grande do Sul. Negros evangélicos, eles desenvolvem há mais de dez anos a prática musico-performática de pertencimento étnico-racial na liturgia dos cultos de diferentes denominações evangélicas da capital e região metropolitana. Com uma abordagem qualitativa e método etnográfico refletimos sobre os processos de construção étnico-racial, mediados pela música, no contexto evangélico. Este trabalho foi desenvolvido através da vivência em campo, percebendo através da música as conexões que estabelecem as dinâmicas do grupo e as interações em cultos evangélicos. O trânsito dos interlocutores em diferentes denominações evangélicas, a comunicação com a cultura musical afro-americana e com os universos da música gospel, mediado pelos meios de comunicação, forjaram novas formas de se relacionar com a música e atuar com esta musicalidade no contexto evangélico. / This ethnomusicological study is the result of a research carried out with the Family Soul group in the state of Rio Grande do Sul. Black Christians develop a performance-musical practice of ethnic-racial belonging the liturgy of cults of different evangelical denominations. With a qualitative approach and ethnographic method, we reflect on the processes of ethno-racial construction mediated by music in the evangelical context. This work was developed through the experience in the field, perceiving musical connections that establish the dynamics of the group and the interactions in evangelical cults. The flow of interlocutors in different evangelical denominations, communication with Afro-American musical culture and the universes of gospel music, mediated by the media, forged new ways to relate to music and to act with this musicality in the evangelical context.

Il existe aujourd’hui dans les Pyrénées centrales françaises (65) une tradition de polyphonie chorale connue sous le terme générique de “chant montagnard“. Cette spécialité, étroitement liée à l’identité pyrénéenne, s’est maintenue dans des Sociétés plus que centenaires dont les membres ont adopté, en particulier à partir des années 1900, une posture d’orientation régionaliste à travers la promotion d’un répertoire local, en français ou en langue d’Oc. Les chanteurs de ces sociétés se présentent au public en “costume bigourdan“, inspiré du costume d’apparat des guides de haute montagne, et font ainsi référence à leur insertion dans une géographie essentiellement pastorale. Mais il se trouve que l’origine de ces Sociétés qui se réclament de leur insertion locale doit être attribuée à une impulsion venue d’ailleurs, un vaste mouvement culturel européen dont la déclinaison nationale française a produit une forme particulière, l’Orphéon. Après la Révolution française, la dissolution des maîtrises religieuses qui couvraient l’ensemble du territoire de la France provoque ce que d’aucuns décriront comme la “ruine de l’art musical“, créant une pénurie d’artistes chanteurs dans les théâtres nationaux. L’Orphéon est une réponse laïque à cette situation de carence. L’Orphéon est d’abord, à partir de 1833, un organe municipal de la ville de Paris. Réunissant les voix des enfants des écoles à celles de travailleurs adultes, ouvriers et artisans, son inventeur, Wilhem, fait entendre devant le tout Paris émerveillé des ensembles de plusieurs centaines de chanteurs qui interprètent sans accompagnement instrumental des arrangements d’œuvres du grand répertoire. En quelques années, des sociétés chorales inspirées par ce modèle se multiplient sur tout le territoire français et au-delà.Dans l’esprit de leurs initiateurs, influencés par les théories de Saint-Simon, ces sociétés chorales d’amateurs devaient permettre, en formant leurs membres à l’harmonie musicale, de les préparer à l’harmonie sociale d’un nouveau monde, industriel et démocratique.L’observation de ces Sociétés de Chanteurs Montagnards bigourdans, expression d’une tradition polyphonique locale originale mais issues en même temps d’une dynamique orphéonique nationale, permet d’alimenter la réflexion autour de notions parfois convenues qu’on exprime souvent en termes d’oppositions figées, telles que savant-populaire, oral-écrit, ouvrier-pastoral, tradition-invention, centre-périphérie, local-global, etc. / There is today in the middle of the French Pyrenees (65) a tradition of choral polyphony known under the generic term of “mountain singing”. This specialty, closely related to the Pyrenean identity is maintained in more than centenarians companies whose members, especially from the early 1900s, have adopted a posture of regionalist orientation through the promotion of a local musical repertoire, in french or language of Oc. The singers of these companies present to the public in a "bigourdan suit", inspired by the pageantry of high mountain guide costume, and so refer to their insertion in a mainly pastoral geography. But it happens that the origin of these companies who claim their local integration should be attributed to an impulse from elsewhere, from a wide European cultural movement including the French national version wich has produced a particular form, the « Orphéon ».After the French Revolution, the dissolution of the religious choirs covering the whole territory of France causes what to some will describe as the "ruin of musical art“, causing a shortage of lyric singers in the national theatres. The Orphéon is a secular response to this situation of deficiency. The Orphéon is first, from 1833, a municipal organ of the city of Paris. Bringing together the voices of children in the schools to those of adult workers and craftsmen, its inventor, Wilhem, gave to hear to all of Paris amazed ensembles of hundreds of singers together who performed without instrumental accompaniment arrangements of works of the great repertoire. In a few years, choral societies inspired by this model are multiplying throughout the french territory and beyond.In the mind of their initiators, influenced by the theories of Saint-Simon, these amateur choral societies were to allow, by training their members in musical harmony, to prepare them for social harmony for a new, industrial and democratic world. The observation of these companies of Bigorre mountain singers, expression of an original local polyphonic tradition and, at the same time, from a national orpheonic dynamic, can provide food for thought around too common concepts that are often expressed in terms of frozen oppositions like scholar-popular, oral-written, pastoral- worker, tradition-invention, center-periphery, local-global, etc.

This dissertation seeks to ethnographically explain an apparent paradox: the tremendous popularity of U.S. country & western (C&W) in postcolonial St. Lucia. The music's reputation as a "white" expressive form contradicts the decolonization ethos of a young, predominantly Afro-creole nation and appears to challenge an emerging St. Lucian postcolonial identity. I show how St. Lucians use C&W to effect significant continuities with Afro-creole culture. Its creolization in the St. Lucian context makes C&W a compelling expression of post-colonial identity. I argue that with considerable genius, St. Lucians have creolized ways to dance to C&W much as they creolized European country and court dances in earlier centuries. In this instance, however, the music was already more creole than is customarily admitted. St. Lucians make U.S. C&W their own by curating songs with a particular Caribbean resonance, creolizing the dance on habanera beats, and syncretizing it with marginalized Afro-St. Lucian folk practices. Denying simplistic cultural imperialism, St. Lucians have reclaimed C&W, highlighting its under-acknowledged but already creole ingredients, merging it with their own Afrocreole folk forms, and transforming it into a music of black social experience. The dialogic continuities are many: storytelling; working-class and real-life themes; social dance context of communal, cross-island exchanges; instruments and genres from Africa, including fiddle and banjo, yodel and drum; updating of the already creolized Kwadril complex; and, perhaps most revealing, the way the dance creolization incorporates the habanera beat. Given these continuities, the popularity of country & western in St. Lucia seems virtually over-determined rather than counter-intuitive. To analyze this specific challenge of cultural decolonization, I develop the concepts of "postcolonial creolizations" and "empire rollover." I trace the varied meanings of the term creole--and suggest that its variability should be the foundation of theoretical potency. I use Bakhtinian notions of intertextuality to examine how expressive forms from different worlds come into dialogue with each other, and show how the conversations eventually produce new creations. I show how postcolonial creolizations prompt us to rethink how power relations get reconfigured in postcolonial contexts. I argue that by attending to ways that postcolonial actors are shaping creolization processes now, we can better understand how colonial and modern imperial forces come together to challenge meaningful decolonization and sovereignty. I call this convergence process "empire rollover." This refers to the uneven processes involved as one form of imperialism gives way to subsequent imperial relations. I use this concept to answer important questions regarding the degree to which power is reclaimed in postcolonial transformation of expressive culture and to what extent creolization is decolonized. I show how the St. Lucia banana industry case epitomizes the phenomena economically wherein colonial-type benefits rollover to a new imperial power (U.S.) and continue to accrue, while advantages gained during decolonization do not. The C&W case, in contrast, shows how St. Lucians use "imperialist" forms in creative, distinctively St. Lucian ways, such that it is not simply an expression of neocolonial relations.