Electronic dance music is a genre that has been long in the making. Starting with disco in the 1970s, dance culture genres evolved into house, acid house, techno, garage, 2-step, hardcore, gabba, san frandisco, electro, and many others. This paper studies the transformation of electronic sound, and the contributing/impeding factors involved. Drug use is heavily related to the creation and enjoyment of music, and features prominently in the history of dance culture. Starting with the use of acid in the 1960s and progressing to the use of acid, Quaaludes, poppers, speed in the 1970s, with MDA featured in clubs toward the end of the decade. The 1980s began the recreational use of MDMA, but not until the late 80s in UK acid parties did it become known as the party drug that it is known as today. MDMA use then spread rampantly throughout the US as the UK culture was exported and emulated. UK acid parties were the precursor to raves, which were illegal, and the backlash from the law was incredible and organized. Slowly licensing laws became more relaxed, and permits became easier to obtain, making future raves more legal, but according to ravers, less fun, ending at 2am instead of 8am, and forcing the drugs scene underground, rather than having them openly solicited. Organized crime in the UK got much worse as gangs realized the potential profits of selling drugs, and the scene forever changed because of this in the early 90s. The raves of the early 90s in New York, the Midwest, and San Francisco, were paradise in comparison. San Francisco enjoyed the most freedom, and beach raves became common. The electronic dance culture found a home in large festivals, and perhaps because of this the future of electronic music remains uncertain, especially with the casualties that have recently happened relating to ecstasy use, and complications in organizing such massive events.

The thesis describes a new database of uzun havas, a non-metered structured improvisation form in Turkish folk music, and a system, which uses Variable-Length Markov Models (VLMMs) to predict the melody in the uzun hava form. The database consists of 77 songs, encompassing 10849 notes, and it is used to train multiple viewpoints, where each event in a musical sequence are represented by parallel descriptors such as Durations and Notes. The thesis also introduces pitch-related viewpoints that are specifically aimed to model the unique melodic properties of makam music. The predictability of the system is quantitatively evaluated by an entropy based scheme. In the experiments, the results from the pitch-related viewpoints mapping 12-tone-scale of Western classical theory and 17 tone-scale of Turkish folk music are compared. It is shown that VLMMs are highly predictive in the note progressions of the transcriptions of uzun havas. This suggests that VLMMs may be applied to makam-based and non-metered musical forms, in addition to Western musical styles. To the best of knowledge, the work presents the first symbolic, machine-readable database and the first application of computational modeling in Turkish folk music.

Στην παρούσα εργασία επιχειρείται να προσεγγιστεί το επιστημονικό έργο του Ελβετού εθνομουσικολόγου Samuel Baud-Bovy, ο οποίος αφιέρωσε ένα μεγάλο μέρος της ζωής του στην μελέτη της ελληνικής παραδοσιακής μουσικής. Παράλληλα θα επιδιώξουμε να ανιχνεύσουμε τις πλευρές εκείνες του έργου του οι οποίες μπορούν να διδαχθούν στην πρωτοβάθμια και δευτεροβάθμια εκπαίδευση. Η εργασία χωρίζεται σε δυο μέρη: στο πρώτο μέρος, αρχικά παρουσιάζεται η ζωή και το έργο του Samuel Baud-Bovy και τα στοιχεία εκείνα που τα πλαισιώνουν, στην συνέχεια παρουσιάζεται το θεωρητικό πλαίσιο που αφορά την επιστήμη της λαογραφίας και κατ’ επέκταση της εθνομουσικολογίας, καθώς και αρκετά στοιχεία που αφορούν το ελληνικό δημοτικό τραγούδι. Το πρώτο μέρος ολοκληρώνεται με την ανάλυση των δεδομένων που προέκυψαν από την μελέτη μας πάνω στο έργο του Baud-Bovy. Στο δεύτερο μέρος, μέσα από ένα θεωρητικό πλαίσιο που αφορά Παιδαγωγικές και Μουσικοπαιδαγωγικές θεωρήσεις, προτείνουμε μια διδακτική παρέμβαση, αναδεικνύοντας μέσα από το έργο του Baud-Bovy, τα στοιχεία εκείνα τα οποία πιστεύουμε ότι μπορούν να διδαχθούν. / The present work is an attempt to approach the scientific work of Swiss ethnomusicologist Samuel Baud-Bovy, who has devoted a large part of his life in the study of Greek traditional music. In addition we will try to detect those aspects of his work which can be taught in primary and secondary education. The study is divided into two parts: the first part, presents data about the life and work of Samuel Baud-Bovy and examines the theoretical framework the science of folklore and- by extension the ethnomusicology- establishes (information referring to the Greek traditional songs is also included). The first part concludes with the analytic presentation of the work of Baud-Bovy. In the second part, based on a theoretical framework related to teaching music, we propose a teaching intervention, that highlightens the work of Baud-Bovy and focuses on these elements which we believe can be incorporated in primary/secondary education.

No description available.

Ephraim Amu is a distinguished musician. He is well known for his advocacy on African tradition and culture. Amu's pride in the African personality has earned him a place in Ghana's hall of fame. It was in recognition of these achievements that his portrait was embossed on Ghana's highest currency, the Twenty Thousand Cedi note. But there is more to the Amu story. In this thesis I have drawn substantially on Amu's own works to demonstrate how, in fact, he is an exemplar of mother tongue apprehension of the Christian faith in Africa. Amu showed in his songs, diaries, sermons, letters, addresses and private papers that the mother tongue, in this case, Ewe and Twi can be used to express not only Christian experience but also to formulate theological ideas in an innovative and creative ways. Amu's credentials as "African statesman" and "a self-conscious nationalist" owe not so much to Pan-African ideologies as his understanding of African culture and tradition from a biblical perspective. Amu believed that the entire universe, including the African cosmos, was created by God from the very beginning as kronkronkron (pure), pepeepe (exact), and fitafitafita (without blemish). He wrestled with the problem of (evil) and how this may have polluted an otherwise unblemished creation. Amu also wrestled with the issue of human participation in God's work of creation and the extent to which humankind may have contributed to the desecration of creation. In spite of the pollution, Amu believed that creation can be redeemed and restored to its original status by cleansing with the Word of God and the Holy Spirit. This belief led him to adopt a positive stance towards African culture and tradition. Amu demonstrated this particularly in the use of language. Most of his sermons and notable musical compositions are in Twi or Ewe. He kept a diary in his mother tongue, Ewe, for almost seventy years. Amu demonstrated that by using indigenous African languages it is possible to make a fresh contribution to theological issues and thereby present African Christianity as an authentic expression to God and capable of contributing to world Christianity. Apart from language, Amu believed that other elements in the African tradition could be employed to express the Christian faith. It is in this regard that his contribution to Christian worship, particularly the use of indigenous musical instruments, must be appreciated. Amu's realisation, that "There are deep truths underlying our indigenous religions, truths which are dim representations of the great Christian truths", led him to deal with the perception that / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

This thesis is an exploration of the history of the pennywhistle in black South African popular music, the most important style to evolve around this instrument being kwela music. An analysis of kwela is conducted from several perspectives: historical, musical, socio-cultural and political. Chapter I explores the urban South African musical styles which preceded and influenced kwela. The first of these genres was marabi, which developed in Johannesburg's slumyards in the first three decades of the this century. Marabi was followed by tsaba-tsaba in the late thirties, which in tum gave way to the swing influenced genre of "African Jazz" in the forties. Chapter II chronologically traces the use of the pennywhistle in urban black South African popular music. An examination of kwela is preceded by a discussion of the pennywhistle-and-drum "Scottish" marching bands of the thirties and forties, and the rhythm-and-blues pennywhistle style of the early fifties. Various venues and their effect on the performance of kwela are explored, as are the effects of international recognition on the style's development. Chapter III comprises an in-depth musical analysis of kwela's stylistic components. The structure of kwela music and its harmonic, melodic and rhythmic components are examined. A discussion of kwela's instrumentation includes an examination of the roles of the guitar, banjo, string bass, drum-set, pennywhistle and saxophone. Chapter IV is an exploration of the social context and cultural milieu which spawned and nurtured the development of kwela music. Chapter V examines the relationship between kwela and South African politics in the fifties. An overview of this political environment is followed by an examination of the effects of particular apartheid legislation on the development of music in general and kwela in particular. Chapter VI concludes with an exploration of the ways in which various interest groups were able to find meaning and identity in kwela music. Included here, for instance, are the ways in which kwela contributed to the formation of urban black identity, and how the style came to have meaning for various white interest groups. Finally, the meaning of kwela today is considered. / Thesis (M.Mus)-University of Natal, Durban, 1993.

The pukl, commonly called dudy, is a bellow-blown bagpipe whose origin and development can be traced to older forms known as grosser Bock and polnischer Bock. The instrument is an important feature in the identity of Chodsko, an ethonographic region of West Bohemia. This thesis shows the significance of the pukl in Chodish tradition through its organology, pedagogy, performance practice, and history. Through the novel Psohlavci, Alois Jirásek offered a footing for reinforcement of Chodish traditions. The thesis argues that a succession of makers, performers, teachers, institutions, and events have woven a web of tradition in which the pukl holds a significant position. Supporting evidence is shown from artworks that are visible to the public as well as decoration on the instrument. Selected from the Chodish canon, the beloved song, ‘Zelený hájové’, illustrates the use of the dialect and ornamentation as being indicative of the region. Two DVDs, The Call of Dudy and Zelený Hájové …, and a glossary of Chodish terms together with a catalogue of field recordings are included. / Accompanied by 2 DVDs which are available through Interloan.

Thesis (M.A.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 225-229). / xv, 229 leaves, bound col. ill., music, facsimilies 29 cm

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Andrew Willis; submitted to the School of Music. Title from PDF t.p. (viewed Aug. 11, 2009). Includes bibliographical references (p. 108-113).

Made available in DSpace on 2015-05-14T12:52:38Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2666026 bytes, checksum: a41278a9e37d0b68a1f8efdca93ae5a2 (MD5) Previous issue date: 2008-09-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The civil music bands, generally, work as music formation centers. In this way, they attempt the local community desire to study music by the transmission of musical knowledge in this context. The ethnomusicology understands musical transmission as an important factor of musical phenomenon comprehension. The transmission way adopted in that society or community, make us understand its musical culture. Like that, we developed a research with the 12 de Dezembro civil music band of Cabedelo city in Paraíba state. The objective of this study was to understand the latent and explicit process interspersed in 12 de Dezembro civil music band transmission, putting in evidence the main learning and teaching strategies. We observed, systematically, the rehearsals, classes, shows and several 12 de Dezembro music band casual moments. The date collect consisted of interview, photographs, audio and video records. We verified learning and teaching process towards to instrumental practice, at this way, the 12 de Dezembro music band supply its empty instrumental places. In practice, the future instrumentalists will develop their initial learning by the help and mutual changes between the 12 de Dezembro music band members. The repetition, experimentation and imitation are the base of all process. / As bandas de música civis no Brasil, em geral, funcionam como centros de formação musical, que atendem, sobretudo, a comunidade local, possibilitando a transmissão de saberes musicais necessários para a prática da música nesse contexto. A etnomusicologia tem concebido a transmissão como fator determinante para a compreensão do fenômeno musical, tendo em vista que as formas que uma sociedade adota para transmitir sua música são fundamentais para o entendimento daquela cultura musical. Considerando a realidade das bandas de música, este trabalho apresenta os resultados de uma pesquisa realizada junto à Banda 12 de Dezembro do município de Cabedelo-PB. O estudo teve como objetivo compreender os processos explícitos e latentes que permeiam a transmissão musical na Banda 12 de Dezembro, evidenciando as principais estratégias de ensino e aprendizagem utilizadas. Procurei observar sistematicamente os ensaios, aulas, apresentações e diversos momentos informais de convivência social proporcionados pela banda. A coleta dos dados foi também estruturada por entrevistas, fotografias e gravações em áudio e vídeo. Pela necessidade de adquirir novos músicos para suprir seus quadros, a Banda 12 de Dezembro desenvolve suas atividades de ensino e aprendizagem direcionadas para a prática instrumental. Quando estão dominando razoavelmente a leitura e o instrumento, os alunos são encaminhados a participar dos ensaios e das apresentações da banda, situações onde se desdobrará seu processo de aprendizagem. Aprendizagem que se consolida a partir de aspectos diversificados, alicerçados, sobretudo, nos processos de imitação, repetição e experimentação.