The relationship between mbira dzavadzimu mode and Zezuru Spirit Possession. This thesis investigates the relationship between mbira dzavadzimu modes and different levels of Zezuru spirit possession. The research adopted an ethnographic paradigm. Fieldwork, participant observation, face-to-face interviews and video recordings were employed during data collection. The theoretical underpinnings of the research were grounded in Neher’s 1960 theory of auditory driving1, Seeger’s 1987 theory of metamorphosis, Wiredu’s 2007 theory of interpretation and Tempels’ 1959 theory of cosmology. The researcher carried out the research from an emic perspective. Both deep reflexivity and narrative reflexivity frameworks were used in the writing of this documentation and editing of my film. The position of mbira music in the religious life of the Zezuru is quite significant in that it is used to evoke spirits in spirit mediums during occasions when the Zezuru communicate with their ancestors. Mbira music is embedded in the modes and tuning systems played on the mbira. The Zezuru believe that the modes belong to the ancestors and are passed from generation to generation as part of their heritage. My hypothesis is that mbira dzavadzimu modes are responsible for evoking spirits in spirit mediums. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2009.

No abstract available / Thesis B.A.(Hons)-University of Natal, 1983.

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.

This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire. / School of Music

This study has investigated the influence of Central Italian folk music in select compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean Sibelius. Through the titles of these pieces, one can infer that they were influenced by the composer living in Italy, or visiting, on holiday. This study also includes a brief history of the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of the more modern 19th-century genre. A review of the evolution of the state of ethnomusicology in Italy, including discussion of art and folk-music instruments, poetry, carnevale, and processions within the region of Italy is included. Further, I provide information on tonal and instrumental characteristics and specific folk dances to aid in the investigation of the treatment of folk melodies within 19th-century pieces. The result of this research not only provides a more accurate interpretation of stylistic issues when 19th-century works containing Italian folk-music attributes are performed, but also the knowledge that the title of a piece does not necessarily indicate a musical significance. Some works exhibit a direct musical influence while others are “Italian” in name only. / School of Music

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-05-15Bitstream added on 2014-06-13T20:24:24Z : No. of bitstreams: 1 martins_camr_dr_ia.pdf: 3195817 bytes, checksum: eeb69af1b3659811170ef1bb0bdcc65d (MD5) / O objetivo deste trabalho é levantar as questões relevantes para a reconstrução das partes perdidas pertencentes ao repertório pré tonal, com destaque ao período entre o final do renascimento e início do barroco, a chamada seconda prattica. Para isso, iniciamos com um levantamento teórico dos elementos musicais da prima e da seconda prattica. Como representante da seconda prattica ou maneirismo, escolhemos o compositor e príncipe italiano Don Carlo Gesualdo de Venosa. Estudando a obra deste compositor, verificamos que as duas práticas conviveram não apenas na mesma época, mas também em obras do mesmo autor. Gesualdo possui em sua obra seis livros de madrigais, um livro inteiro de motetos com partes pedidas, as Sacrae Cantiones a seis e sete vozes e outro também chamado de Sacrae Cantiones a cinco vozes, este completo, além das Responsoria, Psalmi della Compiete e o Miserere e o Benedictus. Seu uso de elementos da seconda prattica aumenta a cada livro de madrigais e é grande também nas Responsoriae. Mas suas Sacrae Cantiones mantém o tratamento musical da prima prattica. A título de ilustração reconstruímos um desses motetos, Da Pacem / The objective of the present work is to identify the relevant question on the issue of reconstruction of missing parts in the pre-tonal repertoire. A special emphasis will be given to the period between the end of Renaissance and the beginning of the Baroque, period known as “seconda prattica”. A theoretical identification of the musical elements of the prima and seconda prattica will be conducted. As a representative of the “seconda prattica” or maneirism the Italian composer and prince Don Carlo Gesualdo de Venosa was chosen. By analyzing his works, we can conclude that both practices coexisted not only at the same time but also in the works of the same author. Among Gesualdo works, we find six books of Madrigals, the Sacrae Cantiones a five voices (complete), the Sacrae Cantiones a six and seven voices, the Responsoria and Miserere and Benedictus. We observe that his use of “seconda prattica” becomes more pronounced at each subsequent book of madrigals and the practice is also widely used in the Responsoria. However, his Sacrae Cantiones are done using the style of “prima prattica”. As an exemle of the methods herein discussed, we rebuild one of his motets, Da Pacem

This thesis explores the South African Copyright Act No. 98 of 1978 as it pertains to the archived holdings at the International Library of African Music (ILAM) situated at Rhodes University, Grahamstown, South Africa. The purpose of analysing this law is to advise and assist ILAM in fulfilling royalty payment obligations as stipulated in a contract signed between ILAM and the Smithsonian Global Sound (formally Global Sound Network) in 2001. In order to clearly comprehend the scope of the royalty payment clause in the Smithsonian Institution’s contract with ILAM, this research includes an examination of: the history and nature of South African copyright as a sub-structure of intellectual property; specific internationally documented copyright infringement cases; the recording and documentation practices of Hugh Tracey (ILAM’s founder and director from 1954 to 1977); the contract between Global Sound Network and ILAM; and contentious issues surrounding collective ownership and indigenous knowledge. In conclusion, this research suggests equitable solutions to ILAM’s copyright concerns and proposes the Eastern Cape Music Archiving Project (ECMAP) as a practical vehicle to assist the South African Department of Trade and Industry in implementation of the South African Intellectual Property Amendment Bill (2008) if, and when, it is passed.

Orientador: Bela Feldman-Bianco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T20:07:45Z (GMT). No. of bitstreams: 1 Muller_PauloRicardo_M.pdf: 999589 bytes, checksum: f6627ce62d71e64e75cd8ae28156b0d3 (MD5) Previous issue date: 2009 / Resumo: Esta dissertação tem como objetivo analisar a constituição de um circuito de produção e consumo de "músicas do mundo" na cidade de São Paulo a partir da formação de uma rede de músicos e grupos musicais dedicados à prática de instrumentos e linguagens musicais de "outras culturas", assim definidas em relação ao mainstream do mercado musical internacional e brasileiro. Esta rede é composta tanto por grupos especializados em linguagens musicais, cujo produto musical é classificado largamente como "música étnica", quanto por grupos de abordagem generalista, cujo produto musical é classificado como "encontro" ou "fusão" de diferentes linguagens musicais. O trabalho de campo que subsidia as interpretações aqui presentes combina o acompanhamento do circuito de performances comerciais dos grupos desta rede com minha participação como cantor em um coral destinado à participação de migrantes transnacionais residentes em São Paulo, além de entrevistas formais e informais com músicos e produtores. Com estas observações presentes, busco explicitar a lógica de produção e incorporação de "músicas do mundo" aos repertórios locais atentando para o uso da noção de diversidade cultural como um princípio do fazer musical / Abstract: The objective of this dissertation is to analyze the constitution of a world music production and consumption scene in São Paulo (Brazil) by a network of musical groups and musicians dedicated to the practice of non-western and non-Brazilian musical instruments and languages. This network is formed both by groups that are specialized in specific musical cultures - which sound is largely classified as ethnic music - and groups with a generalist approach to music - which sound is classified as "encounter" or "fusion" of many musical cultures. The fieldwork that provides the observations and interpretations herein combines the assistance of the circuit of commercial performances and my participation in a choir destined to transnational. immigrants dwelling in São Paulo, as well as formal and informal interviews with musicians and musical producers. Through these observations I intend to clarify the logics of production and incorporation of "world musics" to local repertoires and how cultural diversity is used as a rationale of music-making / Mestrado / Mestre em Antropologia Social

This thesis, which is intended for inclusion in "The Piano Sonatas of the 18th century in Austria" (Vol.3 in the publication series "Contributions the the development of the Piano Sonata") aims to evaluate Haydn's position within the history of the piano sonata. In spite of the widespread popularity of Haydn's sonatas among professional musicians and amateurs, surprisingly little has yet been published regarding the compositional aspects of these works. The main contributions of musicological value were written by Hermann Abert, Karl Geiringer, Walter Georgii and William S.Newman. The recent studies, published as Vol.l and Vol.2 in the above mentioned series, made it possible to trace in much greater detail the various formative factors that influenced the form and style of Haydn's piano sonatas. Moreover, it proved the composer's personal merits not only in the development of this specific genre but also in the creation of 'The International Viennese Language of the High-Classical Period'. The newly gained insight, in turn, should lead to an even higher appreciation of the great master, who utilized the achievements of his predecessors and contemporaries in an original and individual manner and thereby gained a position far superior to that of many other composers.

The lecture recital was given July 22, 1974. A discussion of the tientos of Cabezon, Aguilera de Heredia, Coelho, Correa de Arauxo, and Cabanilles included an analysis of eight specific works, a comparison of styles, and information about performance practices. The eight works were then performed. In addition to the lecture recital three other public recitals were performed, consisting entirely of solo literature for the organ. The first solo recital, on July 2, 1971, included works of Titelouze, deGrigny, Franck, and Alain. The second solo recital, on June 18, 1973, consisted of works by Bach, Klebe, Bruhns, Reger, Heiller, and Liszt. The final solo program, on June 7, 1974, included works by Boyvin, Buxtehude, Mozart, Alain, and Reger. All four programs, recorded on magnetic tape, are filed, along with the written version of the lecture material, in the North Texas State University library.