Looking at current African music studies, one notices an interesting shift from the `norm' to a fresh engagement and analysis. Fresh perspectives are increasingly being presented to position African music dialogue in the arena of the so-called `established music fields'. While these developments are noticeable, the unmentioned, unsung and uncelebrated indigenous African music practitioners, composers, performers, poets, praise singers and so forth must not be forgotten. This work does not claim novelty in terms of the latter gap, but takes the debate further to highlight, though in a small way, such a need. Mme Rangwato Magoro, from Malatane village in the greater Ga-Seloane community, is included as the main research collaborator in this brief piece of work. The work may come as a shock to any established researcher in music and music science. The author could not help but attempt to allow the voice of Mme Magoro to determine the format and content of this piece of work. In addition, the Maila-go-fenywa performance group is linked with the compositional and performance work and the praise poems of Mme Magoro. In conclusion, discussions and debates on musical arts education are addressed in terms of implementation, with examples drawn from the work of Maila-go-fenywa. / Art History, Visual Arts & Musicology / M.A. (Musicology)

Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948. / Music / Thesis (M.A.)--University of South Africa, 1997.

Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

Stanislaw Moniuszko (1819-1872) is the father of the Polish national opera, and yet he is little known outside Poland. His two masterpieces, Halka and The Haunted Manor, are operatic works that contributed to the development of national music. Moniuszko composed during the middle of the nineteenth century when Poland was under control of the three Powers: Russia, Prussia, and Austria. A study of Polish history reveals the understanding of Moniuszko's position as an artist and the role of his operas. The national elements portrayed in his compositions include Polish dances, such as the polonaise, mazurka, and krakowiak, as well as folk tunes, and most importantly, the libretto with social and patriotic stances. This thesis intends to enlighten English speakers about the development of Polish national opera, its innovator, and his techniques. / by Marlena Niewczas. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Paule Maurice (1910-1967) is the little known composer of Tableaux de Provence: Suite for Saxophone and Orchestra, one of the most frequently recorded and studied classical saxophone compositions in history. A more in depth study of Paule Maurice reveals a talented composer and dedicated professor whose career at the Conservatoire National Supérieur de Musique de Paris and l'Ecole Normale de Musique de Paris spanned over twenty-five years until her untimely death at age fifty-seven. Maurice composed for theatre, ballet, French National Radio, orchestra, voice, piano, flute, clarinet, and saxophone. There is question as to the whereabouts of many of her manuscripts. This thesis attempts to bring to bear the life and accomplishments of a talented French composer not well remembered in music history. / by Anthony Jon Moore. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ... / 稿本(據電腦打印本複印) / Thesis (M.A.)--香港中文大學, 1989. / Gao ben (ju dian nao da yin ben fu yin) / Includes bibliographical references (leaves 253-262). / Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ... / Thesis (M.A.)--Xianggang Zhong wen da xue, 1989. / 嗚謝 --- p.i / 序 --- p.iii / 地圖索引 --- p.v / 歌謠譜例索引 --- p.vi / 歌詞例子索引 --- p.viii / 圖表索引 --- p.x / 音樂例子索引 --- p.xiii / 照片索引 --- p.xiv / Chapter 第一部分： --- 論文 / Chapter 第一章 --- 前言 / Chapter 第一節 --- 研究地區之讓擇 --- p.1 / Chapter 第二節 --- 過去及目前之研究 --- p.2 / Chapter 第三節 --- 研究目標 --- p.5 / Chapter 第四節 --- 資料來源 --- p.6 / Chapter 第二章 --- 歌謠之概念及分類 / Chapter 第一節 --- 歌謠之定義及概念 --- p.10 / Chapter I --- 過往學者對「民歌」所下之定義 --- p.11 / Chapter II --- 筆者對西貢地區歌謠所作之定義 --- p.14 / Chapter III --- 粤省與西貢地區歌謠之稱謂問題 --- p.16 / Chapter 甲 --- 「粤謳」 --- p.16 / Chapter 乙 --- 「粤風」 --- p.17 / Chapter 丙 --- 「粤歌」 --- p.18 / Chapter 第二節 --- 歌謠分類之概念及分類方法 --- p.22 / Chapter I --- 歌謠分類的一些概念 --- p.22 / Chapter II --- 台灣歌謠之一般分類方法 --- p.24 / Chapter III --- 過往國內歌謠之「三分法」 --- p.25 / Chapter IV --- 近期國內歌謠「色彩區」之劃分 --- p.26 / Chapter V --- 廣東省（粤）歌謠的分類 --- p.29 / Chapter VI --- 本港歌謠之分類 --- p.30 / Chapter VII --- 筆者對西貢歌謠之分類方法 --- p.32 / Chapter 甲 --- 歌謠劃分之層次 --- p.32 / 第一級分類： 體系 --- p.33 / 第二級分類： 歌謠方言色彩區 --- p.33 / 第三級分類： 體裁 --- p.34 / 第四級及五級分類歌類及歌目 --- p.35 / 第六級分類： 歌名 --- p.37 / Chapter 第三章 --- 西貢歌謠尋根 / Chapter 第一節 --- 西貢地區人口組成的一些資料 --- p.42 / Chapter 第二節 --- 本地人與蛇歌 --- p.45 / Chapter I --- 「輋」字，「畬」字及類似字之字義 --- p.46 / Chapter II --- 目前國內及廣東省畬族的狀況 --- p.47 / Chapter III --- 西貢地區蛇歌之特色 --- p.49 / Chapter IV --- 福建畬歌之特色 --- p.54 / Chapter V --- 浙江畬歌之特色 --- p.56 / Chapter VI --- 西貢「九龍蛇話山歌」命名之推想 --- p.59 / Chapter 甲 --- 源出於浙江九龍山龍泉縣？ --- p.60 / Chapter 乙 --- 源出於粤北九連（龍）山一帶地區？ --- p.60 / Chapter 丙 --- 源出於粤北九峰山以南之瑤區？ --- p.61 / Chapter 丁 --- 源出於本港九龍城附近一帶地區？ --- p.62 / Chapter 第三節 --- 客家人與客家歌謠 --- p.65 / Chapter I --- 客籍人士之遷徙過程 --- p.66 / Chapter II --- 西貢客家山歌的特色 --- p.68 / Chapter III --- 梅縣地區客家山歌之特色 --- p.71 / Chapter 第四節 --- 蛋家與蛋家歌謠 --- p.77 / Chapter I --- 西貢地區漁民之狀況 --- p.77 / Chapter II --- 「蛋家」與「蛋名」沿革 --- p.79 / Chapter III --- 「蜑」乃「龍蛇」之後？ --- p.81 / Chapter IV --- 廣東蛋民的分佈 --- p.82 / Chapter V --- 西貢漁民所採用之方言 --- p.83 / Chapter VI --- 西貢蛋歌之特色 --- p.84 / Chapter VII --- 客家及鶴佬漁民漁歌之特色 --- p.89 / Chapter 第四章 --- 歌唱場合 / Chapter 第一節 --- 歌唱場合之概念 --- p.94 / Chapter 第二節 --- 本地及客家山歌之歌唱場合 --- p.98 / Chapter I --- 戶外及田間之山歌 --- p.99 / Chapter II --- 攔路歌 --- p.100 / Chapter III --- 情歌及艷情歌 --- p.102 / Chapter IV --- 老人山歌 --- p.106 / Chapter V --- 鬥歌 --- p.107 / Chapter 第三節 --- 圍頭歌之歌唱場合 --- p.110 / Chapter I --- 月令歌 --- p.111 / Chapter 甲 --- 唱古人 --- p.113 / Chapter 乙 --- 唱節氣 --- p.117 / Chapter 丙 --- 唱花木、茶菓及字眼 --- p.120 / Chapter 丁 --- 唱魚名鳥名及十二生肖 --- p.123 / Chapter 戊 --- 唱過番 --- p.124 / Chapter II --- 猜謎歌 --- p.125 / Chapter 甲 --- 猜字眼 --- p.126 / Chapter 乙 --- 猜古人 --- p.127 / Chapter III --- 圍名歌 --- p.127 / Chapter IV --- 節日吉慶 --- p.129 / Chapter 甲 --- 祝壽 --- p.129 / Chapter 乙 --- 中秋 --- p.130 / Chapter 丙 --- 過年 --- p.132 / Chapter 第四節 --- 本地及客家「歌堂歌」及「靈堂歌」之歌唱場合 --- p.135 / Chapter I --- 哭嫁與坐歌堂 --- p.136 / Chapter 甲 --- 開口喊天喊地 --- p.138 / Chapter 乙 --- 第一次哭辭 --- p.139 / Chapter 丙 --- 坐凳頭 --- p.141 / Chapter 丁 --- 上頭 --- p.143 / Chapter 戊 --- 第二次哭辭 --- p.144 / Chapter 己 --- 出閣 --- p.146 / Chapter II --- 「靈堂歌」之歌唱場合 --- p.150 / Chapter 第五節 --- 蛋家之歌唱場合 --- p.153 / Chapter I --- 捕魚及行船歌 --- p.153 / Chapter II --- 蛋家風俗歌謠及其歌唱場合 --- p.158 / Chapter 甲 --- 哭嫁 --- p.159 / Chapter 乙 --- 迎娶 --- p.161 / Chapter 丙 --- 耍歌堂 --- p.164 / Chapter III --- 咸水歌 --- p.166 / Chapter 甲 --- 咸水字眼歌 --- p.167 / Chapter 乙 --- 歎姑妹 --- p.169 / Chapter 丙 --- 艇仔歌 --- p.170 / Chapter 第五章 --- 西貢歌謠音樂及歌詞結構的固定因素與非固定因素 / Chapter 第一節 --- 歌謠中「歌詞」之「固定」與「非固定」因素 --- p.175 / Chapter I --- 歌謠「歌詞」中的「固定」因素、格式、條數規限 --- p.176 / Chapter II --- 有「固定格式歌謠」中的「非固定」因素 --- p.182 / Chapter 甲 --- 七言四句、三句半及五句板的例子 --- p.182 / Chapter 乙 --- 七言四句變五言四句的例子 --- p.186 / Chapter 丙 --- 月令歌的例子 --- p.188 / Chapter 丁 --- 長篇歌謠的例子 --- p.188 / Chapter III --- 「沒有固定格式歌謠歌詞」中之「固定」與「非固定」因素 --- p.198 / Chapter 甲 --- 漁民歌謠的例子 --- p.198 / Chapter 乙 --- 風俗歌謠的例子 --- p.202 / Chapter IV --- 歌謠固定與非固定「襯字」、「襯詞」、及「襯句」 --- p.205 / Chapter 甲 --- 客家歌謠例子 --- p.205 / Chapter 乙 --- 本地歌謠例子 --- p.209 / Chapter 丙 --- 蛋家歌謠例子 --- p.212 / Chapter 第二節 --- 歌謠在「音樂」上的「固定」與「非固定」因素 --- p.215 / Chapter I --- 有固定曲調歌謠的固定與非固定因素 --- p.215 / Chapter 甲 --- 單句式的歌謠例子 --- p.215 / Chapter 乙 --- 雙句式的歌謠例子 --- p.218 / Chapter 丙 --- 三句半、四句式及五句板例子 --- p.222 / Chapter 丁 --- 歌詞次序調換的例子 --- p.225 / Chapter 戊 --- 詩詞句法與音樂句法的配合情況 --- p.228 / Chapter II --- 「沒有基本曲調」中的固定與非固定因素 --- p.234 / Chapter III --- 「襯字」 、「襯詞」、「襯句」與「音樂」之配合 --- p.239 / Chapter 甲 --- 歌謠中「不重要」的「襯字」、「襯詞」和「襯句」 --- p.239 / Chapter 乙 --- 歌謠中「重要」的「襯字」、「襯詞」和「襯句」 --- p.239 / Chapter 第三節 --- 固定與非固定因素於歌謠中之作用及意義 --- p.243 / Chapter I --- 「基本曲調」對歌謠流傳之重要性 --- p.243 / Chapter II --- 「襯字」的功能 --- p.245 / Chapter III --- 歌謠的「版本」問題 --- p.246 / Chapter 第六章 --- 結語 --- p.248 / 中文參考書目 --- p.253 / 英文參考書目 --- p.261 / 第二部份：地圖及歌謠譜例 --- p.262-336

by Ip Pui Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 87-93). / Chapter I --- Articulating Hong Kong Culture/Identity --- p.1 / Chapter II --- Popular Culture and Cultural Identification --- p.17 / Chapter III --- Sam Hui in Use --- p.39 / Chapter IV --- Identity Formation as Voice Formation --- p.59 / Chapter V --- Cultural Identity and The Ordinary --- p.82 / Bibliography --- p.87 / Appendix --- p.94

Wong King-chung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 66-78). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgement --- p.iii / Table of Contents --- p.v / List of Figures and Tables --- p.vii / Chapter Chapter 1´ؤ --- Introduction / A New Age of Sound --- p.1 / Academic Background and Related Studies --- p.2 / Chinese Music and the Media --- p.4 / The Present Study and Methodology --- p.5 / Chapter Chapter 2´ؤ --- SoundScape of China: The Influence of Ethnomusicology in China in the 1980´ةs / Introduction --- p.8 / From Comparative to Cultural: Chinese Music Scholarship in the Twentieth Century Mainland China --- p.10 / Revealing a Soundscape of Chinese Music´ؤDevelopment of Musical Genre Study --- p.13 / Concluding Remarks --- p.18 / Chapter Chapter 3´ؤ --- Mapping a Soundscape: Analyzing the HUGO CD Catalogue(s) / Introduction --- p.20 / "Classification, Category and Catalogue" --- p.20 / Recording Industry in Hong Kong --- p.22 / Aik Yeh-goh and HUGO Production (HK) Ltd --- p.28 / HUGO'S Label Division --- p.29 / Statistical Analysis of HUGO CD Catalogues --- p.31 / An Aural Map´ؤSoundscape of China --- p.38 / Concluding Remarks --- p.42 / Chapter Chapter 4´ؤ --- Whose Music? The Role of the HUGO CD Catalogue in Chinese Cultural Memory / Introduction --- p.44 / Communication Theory in Studying Recording Industry --- p.46 / Lasswell's 5-W Formula as a System --- p.46 / Lewin's Gatekeeping Theory --- p.50 / The Role of HUGO CD: Imagination of Chinese Music outside Mainland China --- p.52 / Concluding Remarks --- p.54 / Appendix A: Name List of Record Companies in Hong Kong before the 1990's --- p.56 / Appendix B: The Catalogue of the HUGO CDs --- p.58 / Selected Bibliography --- p.66

Vitayatprapaiphan Nongyao. / Thesis submitted in: June 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 91-96). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.1 / Preface --- p.4 / Chapter 1. --- Introduction - Knowing the Akha / Chapter a. --- Background --- p.10 / Chapter b. --- Problems the Akha People are Facing --- p.16 / Chapter c. --- Government Policy Towards the Akha and Hill Tribes in Northern Thailand --- p.22 / Chapter d. --- The Impact of Government Policy on the Akha People --- p.27 / Chapter e. --- Rituals and the Beliefs of the Akha --- p.30 / Chapter 2. --- The Traditional Musical Life of the Akha --- p.33 / Chapter 3. --- The Impact of Christianity on Akha Life and Musical Life --- p.38 / Chapter 4. --- The Impact of Tourism on Akha Life and Musical Life --- p.56 / Chapter 5. --- Prospects for the Traditional Musical Life of the Akha --- p.65 / Chapter 6. --- Conclusion --- p.73 / Appendix I: Figures --- p.82 / Appendix II: Musical Examples --- p.89 / Bibliography --- p.91