The promotion of the Hindi language by the Hindi Shiksha Sangh (South Africa) has dominated the cultural life of the majority of Hindi-speaking Hindus in South Africa for over fifty years. This study concerns itself with the role of music in the construction of a local Hindi identity in the Sangh. It examines the factors that created and sustained the Hindi identity. Areas that come under focus in the research include: the history of the Hindi-speaking Hindu and their language in South Africa; the promotion of the Hindi language; the role assumed by the Hindi Shiksha Sangh . (South Africa) ; the function and significance of music and the socio-historical context of music that informs the cultural identity of the Hindi-speaking Hindu. The theoretical basis for this research has been drawn from principles in musical ethnography. The study locates the cultural identity of a linguistic group within the premise of socially meaningful music. / Thesis (M.Mus)-University of Natal, Durban, 1999.

The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. During the early 1970s, a reawakening study of klezmer developed. Henry Sapoznik, Lev Liberman and Andy Statman were instrumental in creating a klezmer revival in the United States. At the same time, Argentinean-born Israeli clarinetist Giora Feidman was popularizing klezmer in Europe. Klezmer had again become popular and the revival's impact on the concert hall was inevitable. Even though klezmer has existed for centuries, composers have only recently included klezmer elements in their concert works. Characteristic modes (Freygish and Misheberakh), forms (freylekhs and doinas), instrumentation, and rhythms all contribute to create a unique style. Three musical works for clarinet are examined in the dissertation: Simeon Bellison's Four Hebrew Melodies in form of a suite, Simon Sargon's KlezMuzik and David Schiff's Divertimento from Gimpel the Fool. Although the compositions reveal different approaches to the elements, the klezmer influence is evident in each of them. An appendix of clarinet klezmer influenced concert works is included.

My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has recently taken a new direction with the success of many new Native American composers who have an intrinsic commitment to see it succeed as a category of classical repertoire. Native American musical elements have been misunderstood for many years due to differences in systems of notation and cultural barriers. The ethnographers and Indianist composers, though criticized for creating a paradox, in reality are the ones who saved the original tribal melodies and created the perpetual interest in Native American music as a thematic resource for classical music repertoire, in particular piano repertoire.

李允協. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1995. / 參考文獻: leaves 129-143. / Li yunxie. / 鳴謝 --- p.´þ / 前言 --- p.(3) / Chapter 1 --- 侗族概況與音樂述略 --- p.1 / Chapter 1.1 --- 侗族概況 --- p.1 / Chapter 1.1.1 --- 地理環境及人口分佈 --- p.1 / Chapter 1.1.2 --- 語言 --- p.3 / Chapter 1.1.3 --- 簡史與族源 --- p.10 / Chapter 1.1.4 --- 家庭和社會組織 --- p.17 / Chapter 1.1.5 --- 信仰和崇拜 --- p.21 / Chapter 1.1.6 --- 風俗習慣 --- p.28 / Chapter 1.1.7 --- 節會要覽 --- p.32 / Chapter 1.2 --- 音樂述略 --- p.37 / Chapter 1.2.1 --- 民間歌曲 --- p.37 / Chapter 1.2.2 --- 樂器與器樂 --- p.45 / Chapter 1.2.3 --- 侗戲音樂 --- p.52 / Chapter 1.2.4 --- 曲藝 --- p.56 / Chapter 2 --- 侗族大歌概貌 --- p.58 / Chapter 2.1 --- 分類 --- p.58 / Chapter 2.2 --- 唱大歌的場合 --- p.60 / Chapter 2.3 --- 大歌的结構 --- p.62 / Chapter 2.4 --- 歌詞韵律结構 --- p.66 / Chapter 3 --- 侗歌的傳承與社會功能 --- p.68 / Chapter 3.1 --- 承傳 --- p.69 / Chapter 3.2 --- 社會功能 --- p.73 / Chapter 4 --- 多聲部民歌曲目研究分析 --- p.78 / Chapter 4.1 --- 田野工作簡況 --- p.78 / Chapter 4.2 --- 多聲部民歌曲目分析 --- p.84 / Chapter 4.2.1 --- 曲目介紹 --- p.84 / Chapter 4.2.2 --- 曲目綜合分析 --- p.89 / Chapter 4.2.3 --- 譜例個案分析 --- p.112 / Chapter 5 --- 總结 --- p.123 / 附錄 / Chapter 1 --- 參考書目 --- p.129 / Chapter 1.1 --- 外文參考書目 --- p.129 / Chapter 1.2 --- 中文參考書目及論文目錄 --- p.130 / Chapter 2 --- 附圖 / 附圖一中國民族分佈概圖 --- p.144 / 附圖二 侗族的分佈 --- p.145 / 附圖三 侗語方言區域圖 --- p.146 / 附圖四 侗族蘆笙 --- p.147 / 附圖五 侗族蘆笙筒 --- p.147

論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 341-355). / 中英文摘要. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Zhong Ying wen zhai yao. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 341-355).

The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also further widened the technical capabilities of the trombone and also further encouraged acceptance of the Instrument in its solo capacity. However, their most important contribution was in new tonal colors. The music of the avant-garde takes all these previous historical achievements and makes use of them in its own unique way.

This thesis examines the symbolism of thirty-five slave songs that existed in the pre-Civil War South in the United States in order to gain a more profound insight into the values of the slaves. The songs chosen were representative of the 300 songs reviewed. The methodology used in the analysis was adapted from Ralph K. White's "Value Analysis: The Nature and Use of the Method." The slave songs provided the slaves with an opportunity to express their feelings on matters they deemed important, often by using Biblical symbols to "mask" the true meanings of their songs from whites. The major values of the slaves as found in their songs were independence, justice, determination, religion, hope, family love, and group unity.

Three original suites, composed during 2008-2009, are presented and discussed with respect to form, style, and compositional techniques. The subjects are Suite No. 1 (clarinet and piano), Suite No. 2: For Paul, A Master of Music (clarinet, piano, double bass and drums), and Suite No. 3: L'Chaim (two clarinets, flugelhorn, French horn, bandoneon, piano, violin, and cello). Common to all three pieces is the inspiration of klezmer, a Jewish music genre that, during its reemergence over the past thirty-five years, has welcomed the influence of other musical styles. In keeping with the eclectic nature of klezmer, each suite builds upon the previous one with regard to instrumentation, style and technique, and embraces additional genres (jazz and tango). Brief reviews regarding the history and musical characteristics (including modes, ornamentation and improvisation, song types and instrumentation) for all the included genres are also presented for the benefit of compositional context. / by Alison Weiner. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

by Jackelyn Marcus. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

蔡懿嫻. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 246-256). / 附中英文摘要. / Cai Yixian. / Lun wen (zhe xue shuo shi) -- Xianggang zhong wen da xue, 1999. / Can kao wen xian (leaves 246-256). / Fu Zhong Ying wen zhai yao. / 緒論 --- p.1 / Chapter (一) --- 硏究源起 --- p.1 / Chapter (二) --- 中國佛教音樂的硏究現況 --- p.1 / Chapter (三) --- 本選題的意義及硏究目的 --- p.5 / Chapter (四) --- 本論文採用之硏究方法 --- p.6 / Chapter 第一章 --- 佛教及其音樂在中國之發展槪況 --- p.8 / Chapter 第一節 --- 佛教之傳入 --- p.8 / Chapter 第二節 --- 佛教音樂在中國的發展槪況 --- p.10 / Chapter (一) --- 漢代至東晉的初弘階段 --- p.10 / Chapter (二) --- 南北朝的建立階段 --- p.12 / Chapter (三) --- 唐代的繁盛及定型化階段 --- p.13 / Chapter (四) --- 宋元至近代的衰微階段 --- p.15 / Chapter 第二章 --- 佛教在香港的發展槪況 --- p.18 / Chapter 第一節 --- 香港的三大古刹與佛教在香港的歷史槪況 --- p.18 / Chapter 第二節 --- 1900年至1940年佛教在香港的發展槪況 --- p.20 / Chapter 第三節 --- 戰後佛教在香港的發展 --- p.22 / Chapter 第三章 --- 香港的佛教儀式及法事音樂 --- p.24 / Chapter 第一節 --- 香港的佛教儀式 --- p.24 / Chapter (一) --- 《朝暮課誦》及《二時臨齋儀》 --- p.24 / Chapter (二) --- 佛教定期舉行的法事 --- p.25 / Chapter (三) --- 佛教不定期舉行的重要法事 --- p.26 / Chapter 第二節 --- 香港佛教法事音樂 --- p.28 / Chapter 第三節 --- 香港佛教法事音樂的傳授 --- p.29 / Chapter 第四章 --- 《焰口》佛事及其音樂 --- p.34 / Chapter 第一節 --- 《焰口》佛事簡介 --- p.34 / Chapter (一) --- 《焰口》佛事之起源 --- p.34 / Chapter (二) --- 《焰口》佛事之經文版本 --- p.34 / Chapter (三) --- 《焰口》佛事之舉行時間及地點 --- p.36 / Chapter (四) --- 《焰口》佛事之目的 --- p.36 / Chapter 第二節 --- 佛教天童精舍之法會 --- p.37 / Chapter (一) --- 佛教天童精舍之簡介 --- p.37 / Chapter (二) --- 天童精舍之《焰口》佛事 --- p.39 / Chapter (三) --- 《焰口》佛事之參與人員 --- p.41 / Chapter (四) --- 實地考查佛教天童精舍之《焰口》佛事 --- p.41 / Chapter (五) --- 《焰口》佛事之程序 --- p.42 / Chapter (六) --- 《焰口》佛事之音樂記譜 --- p.73 / Chapter 第五章 --- 《焰口》佛事音樂之形態分析 --- p.185 / Chapter 第一節 --- 《焰口》佛事的唱誦形式及經文分類 --- p.185 / Chapter (一) --- 《焰口》佛事的唱誦形式 --- p.185 / Chapter (二) --- 《焰口》佛事的經文分類 --- p.187 / Chapter 第二節 --- 《焰口》佛事梵唄的調式與音階 --- p.193 / Chapter (一) --- 調式 --- p.193 / Chapter (二) --- 調性的轉移 --- p.193 / Chapter (三) --- 音階與音域 --- p.194 / Chapter 第三節 --- 梵唄速度特點 --- p.198 / Chapter (一) --- 散一緊一快一慢 --- p.198 / Chapter (二) --- 散板 --- p.199 / Chapter (三) --- 固定節拍 --- p.199 / Chapter 第四節 --- 旋律的發展手法 --- p.199 / Chapter (一) --- 典型旋律型的運用 --- p.199 / Chapter (二) --- 典型旋律型的變化 --- p.203 / Chapter 第五節 --- 梵唄的結構型態 --- p.205 / Chapter (一) --- 單句反覆變奏體 --- p.205 / Chapter (二) --- 上下句反覆變奏體 --- p.205 / Chapter 第六節 --- 曲調運用手法 --- p.211 / Chapter (一) --- 一曲一詞 --- p.211 / Chapter (二) --- 一曲多用 --- p.211 / Chapter (三) --- 一詞多調 --- p.216 / Chapter (四) --- 套曲 --- p.227 / Chapter 第七節 --- 《焰口》佛事打擊法器的運用 --- p.229 / Chapter (一) --- 《焰口》佛事的打擊法器 --- p.229 / Chapter (二) --- 《焰口》佛事打擊法器的伴奏方式 --- p.232 / Chapter 第八節 --- 儀式音樂在佛教儀式中的意義 --- p.234 / Chapter 第九節 --- 《焰口》佛事與外圍文化的關係 --- p.235 / 總結 --- p.243 / 參考書目 --- p.246