Global ETD Search

11	Le studio d’enregistrement comme lieu d’expérimentation, outil créatif et vecteur d’internationalisation : Stonetree Records et la paranda garifuna en Amérique centrale Barnat, Ons 08 1900 (has links) La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Genre né de la rencontre (imposée par l’exil) au XIXe siècle entre les Garinagu et des populations hispaniques centraméricaines, la paranda connaît aujourd’hui un regain d’intérêt chez les acteurs de la production discographique garifuna. Depuis son apparition dans les studios d’enregistrement, elle a évolué vers une forme modernisée, faisant appel à des instruments électriques et des procédés de traitement du son caractéristiques des musiques « populaires ». Devenue en 2000 (avec la compilation Paranda; Africa in Central America, produite par Ivan Duran et distribuée par Warner/Elektra) une « musique du monde » sur le marché discographique international, cette nouvelle forme de paranda connaît un succès conséquent dans les palmarès de world music – popularité qui se déploie après coup chez les Garinagu centraméricains, qui redécouvrent un genre jusqu’alors quasiment disparu dans sa version villageoise. À partir de l’exemple de la « récupération », à des fins commerciales, d’un genre musical « traditionnel » par un label indépendant centraméricain, cette thèse montre comment un producteur de world music a su se servir du studio d’enregistrement comme d’un outil créatif susceptible de lui ouvrir les portes de l’internationalisation. Utilisant le studio comme laboratoire expérimental, Ivan Duran est ainsi parvenu à réaliser des disques qui – tout en atteignant un succès critique international – allaient lui permettre d’établir son label, Stonetree Records, en tant que standard pour l’ensemble de l’industrie musicale régionale. Afin de comprendre quels mécanismes sont activés (et selon quelles modalités) dans le cadre spatio-temporel spécifique au studio d’enregistrement, cette recherche doctorale prend pour principale étude de cas la réalisation de Laru Beya – dernier album du parandero Aurelio Martinez, réalisé par Ivan Duran et distribué internationalement. Les trois chapitres centraux sont donc consacrés à l’analyse sémiologique de ce disque, avec d’abord une étude 1) des stratégies créatrices en présence (à travers une ethnographie de sessions d’enregistrement, sur une plage du Honduras), puis 2) de l’objet musical tel qu’il a été commercialisé (l’« œuvre » en elle-même) et enfin 3) de différentes conduites d’écoute d’auditeurs-consommateurs garinagu ou non. Tandis que le premier chapitre de cette thèse propose une contextualisation de notre objet de recherche (allant « du village au studio »), le cinquième et dernier chapitre s’attache – après avoir élargi les résultats de notre étude de cas à d’autres phénomènes similaires – à évaluer l’impact des processus d’internationalisation sur la production musicale locale (opérant un retour « du studio au village »). / Born from a critical encounter (imposed in exile) between Garifuna people and Spanish-speaking Central American populations, Paranda is currently experiencing a resurgence of interest among stakeholders of the garifuna record production. Since its arrival in the recording studios, it has evolved into a modernized form, using electric instruments and sound treatment techniques taken from popular music. In 2000 (with the release of Paranda; Africa in Central America, produced by Ivan Duran and distributed by Warner/Elektra), Paranda became a world music, thus experiencing a substantial success in world music charts – popularity that unfolds afterwards in Garifuna communities, rediscovering a musical genre that had virtually disappeared in the village. From the example of a “recuperation”, for commercial purposes, of a traditional musical genre by an independent Central American label, this dissertation shows how a world music producer has been able to use the recording studio as a creative tool that opened the doors of internationalization. Using the studio as an experimental lab, Ivan Duran succeeded in making records that, while reaching an international critical success, would also allow him to establish his own label, Stonetree Records, as a standard within the whole regional music industry. To understand which mechanisms are activated (and how) within the spatio-temporal framework defined by the recording studio, this doctoral research will focus on the production of Laru Beya – parandero Aurelio Martinez’s latest album, produced by Ivan Duran and internationally distributed. The three central chapters are devoted to the semiotic analysis of this record, with a study of 1) creative strategies developed in the studio (through an ethnography of recording sessions, which took place on a beach in Honduras), then 2) the musical object as it was marketed (the "work" itself) and finally 3) different listeners’ (Garifuna or not) reactions. While the first chapter of this dissertation provides a contextualization of our research object (from "the studio to the village"), the fifth and final chapter – after extending the results of our case study to other phenomena – focuses on assessing the impact of Paranda’s internationalization on local music production (going back from “the studio to the village”). Ethnomusicologie Studio d'enregistrement Musiques du monde Amérique centrale Garifuna Stonetree Records Paranda Ethnomusicology Studio recording World music Central America
12	Environmental change and uncertainty in coastal communities of northern Honduras Hoover, Catherine Louise 07 July 2011 (has links) There is growing concern that the accelerated pace and increasing complexity of environmental change may be challenging people's ability to test, refine, and adjust livelihood strategies. This would be particularly challenging for poor households in hazardous environments, generating greater vulnerability to disasters. The context for this concern was examined in four rural communities from two different cultural realms along the Caribbean coast of Honduras. An ethnographic approach was used to understand how women household managers, community leaders, and elderly residents from Garifuna and Mestizo communities perceive and respond to hazards and other challenges in their environment. The analysis revealed how economic pressures combine with political context to contribute to an intensification of local land and resource use in the four communities. The consequent matrix of environmental hazards generates troubling uncertainties for these small-scale socioecological systems, particularly as the local ecological resources once available for livelihood adjustments become scarce. To make matters worse, institutional efforts to resolve environmental and economic challenges generating vulnerabilities for some rural communities are perceived as authoritarian, superimposed, and even culturally inappropriate. Confused or frustrated by so many uncertainties, households from both cultural realms try to adjust by increasing their dependence on an evolving web of political and financial resources beyond their communities, indeed from outside Honduras. / text Environmental change Hazardous environments Honduras Socioecological systems Garifuna Mestizo Economic condtions Human ecology--Honduras Honduras--Environmental condtions Honduras--Economic condtions Honduras--social conditions
13	Belizean teachers’ perceptions of Intercultural Bilingual Education as a language preservation tool: A Q Methodology Study Barrett, Enita E. 01 January 2017 (has links) In this study, the perceptions of 42 teachers—from the Stann Creek District, Belize—regarding the implementation and use of Intercultural Bilingual Education (IBE) as a language preservation tool in their schools were examined. Intercultural Bilingual Education (IBE) is a teaching method that aims at promoting the preservation of indigenous languages by integrating an indigenous language and culture into the academic curriculum, such that students can develop a better appreciation of their history and traditional practices. To examine the perspectives of teachers regarding IBE, Q Methodology was used to examine the research question: What is the range of perspectives teachers hold regarding IBE as a language preservation tool? From participant interviews and responses to an open-ended prompt centered on the research questions, the researcher developed a 40-item Q sample comprising statements that represented distinct perspectives on the use of IBE as a language preservation tool. Forty-two participants then sorted these 40 statements within a forced distribution grid that ranged from “most like my perspective” (+4) to “least like my perspective” (-4). These 42 Q sorts were then correlated; the correlations were then analyzed and rotated using PQ method software. Four factors were extracted from this process and they were converted to factor arrays resembling the same initial forced distribution grid. Based on an interpretation of the holistic configuration of these factor arrays and descriptive comments from participants concerning their sorts, these factors were named as: Strongly Supported IBE (Factor 1), Strongly Opposed but Conflicted about IBE (Factor 2), Cautiously Optimistic about IBE (Factor 3), and Supported IBE for Intergenerational Language Transfer (Factor 4). Implications from this study for administrators of similar programs include the importance of understanding teacher beliefs regarding their preparedness to deliver an IBE curriculum as well as their perceptions regarding the usefulness of such an approach, particularly given the additional instructional time needed to deliver it. Thesis University of North Florida UNF Garifuna language preservation Intercultural Bilingual Education Teacher's perspectives Indigenous language Educational Leadership Indigenous Education
14	El uso y el mantenimiento de la lengua: Garifuna en Sangrelaya, Honduras de Nijs, Paul E. 01 April 2013 (has links) No description available. Foreign Language Language Linguistics Minority and Ethnic Groups Sociolinguistics Language Use and Maintenance uso y mantenimiento de la lengua Garifuna Sangrelaya Honduras Speech Domain ambitos linguisticos Linguistic Landscape paisaje linguistico linguistic attitudes bilingualism bilinguismo vitality sociolinguistics
15	THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE Avila, Alex 01 June 2016 (has links) The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun. Bronx St. Mary's Housing Multi-media Avila Alex Avila Production 4e CSUSB San Bernardino New York City Bx Hip Hop Spanglish Spanish Ebonics Garifuna Honduras African Jazz Funk Blues poetry violence history anthropology mambo merengue ragtime W. E. B. Du Bios community Puerto Rican Lenape Native American Latino Jonas Bronck P.S. 5 Elementary school Black boy black people black Cabell Calloway Cab Calloway immigrants lyrical poem didactic poem spoken word 3rd avenue the hub rolex wolverine yankee fitted black linguistic African diaspora allegorical Boricuas trickster Griot William Shakespeare Dewitt Clinton High School Port Morris heroine crack cocaine preacher drugs violence God reflection facebooking youtubing unemployment Ajax toothbrush Multifarious Prose Performance Multifarious Prose Performance coined ATLANTIC Ocean east coast west coast Carter Harrison Nommo The drama of Nommo the Bronx tale Young Visionaries Youth Actio Poetry

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