Cultural wealth, correlation and intercommunication during educational process are the live and widely examined problems. But musical activity as the method of correction of intercommunication system and its development is still undiscovered area, because it has been mainly examined as the direct way of cultural education of person. Based on the results of research, the system of methods of musical activity was created and the indicators of its significance were highlighted. They compose the theoretic content of research and show its novelty. The object of research is the intercommunication of educated subjects during the fortepiano lessons. Aiming to disclose the correlation of educated subjects, influenced by musical factors during the fortepiano lessons, the hypothesis about functioning of general intercommunication system of educated subjects, if the musical factors stimulate its formation, was raised. Tasks of research: description of conception of intercommunication system during the lesson, analysis of musical factors, influencing the intercommunication of educated subjects, examining of influence of musical factors to correlation system of educated subjects during the fortepiano lessons. Methods of research: Analysis and summation of scientific and methodic literature, written inquiry, evaluation of experience in accordance with the scale of emotional empathy, the pupils’ essays; qualitative and quantitative analysis and summation of the research data.

Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM / Cette thèse traite de la musique dans le contexte d’une diaspora émergente comme moyen privilégié de favoriser l’appartenance et la convivialité ; elle porte sur les associations culturelles montréalaises fondées par des immigrants en provenance des Grassfields. À travers l’histoire de cette région densément peuplée du Cameroun, les arts musicaux menés au sein des associations locales ont constitué un mécanisme important dans la construction de la cohésion sociale et dans l’expression d’une culture commune, façonnée par des relations interculturelles et par le déplacement continuel de sa population entre les nombreuses chefferies. La division coloniale des Grassfields entre zones linguistiques anglophones et francophones mène à la fusion des conceptions endogènes de l’« unité dans la diversité » caractérisée par le projet d’intégration nationale de l’État camerounais postcolonial ; ce dernier cherche toujours à gérer sa diversité ethnique considérable à travers des initiatives de « développement culturel ». Depuis l’indépendance du pays, la croissance d’une diaspora Grassfields à Montréal a favorisé l’organisation d’activités musicales dans le cadre d’associations et de leurs événements culturels. Ceci a permis de souder les liens entre mondes rurale et urbain, de poursuivre des idéaux de pluralisme et de solidarité, et de négocier les héritages divergents issus à la fois de conflits et de coopérations ayant marqué cette zone historiquement marginalisée. Comme les migrants venant des Grassfields des deux côtés de l’ancienne frontière coloniale constituent un pourcentage important d’immigrants récents à Montréal, leur héritage musical commun continue d’être exploité au sein des associations comme moyen d’aborder de nouvelles relations interculturelles au profit de leur adaptation aux idéologies pluraliste des sociétés québécoises et canadiennes. En reliant cette participation historique aux associations musicales à des exemples spécifiques tirés des communautés Grassfields anglophones et francophones de la diaspora camerounaise de Montréal, nous démontrons comment la participation aux associations continue d’encourager des rôles de leadership parmi ses membres mélomanes grâce à leurs capacités à faciliter des expériences de solidarité et de convivialité à travers les festivals et rituels de cycles de vie, solidifiant ainsi leur statut et la réappropriation des idéaux locaux et nationaux d’unité, tout ceci dans un contexte culturellement validé. / This thesis looks at the musical activity of Montréal’s Cameroonian Grassfields cultural associations as a favoured means of fostering belonging and pursuing conviviality in an emergent diaspora. In the history of this densely populated area of Cameroon the musical arts in the context of associations have been a central mechanism in the mediation of social cohesion and a defining characteristic of a common culture shaped by intercultural relationships and the constant movement and exchange of its population between its many constituent chiefdoms. The subsequent colonial division of the area into Anglophone and Francophone linguistic regions would ultimately lead to the merging of an indigenous conception of “unity in diversity” with the post-colonial Cameroonian State’s national project that continues to be defined by a preoccupation with the integration of its considerable ethnic diversity through “cultural development” initiatives. With the growth of a “domestic” Grassfields diaspora since Cameroon’s independence, the organization of musical activity in the context of associations and their cultural events has continued to provide Grassfielders the means to maintain rural-urban linkages, pursue ideals of pluralism and solidarity and navigate the divergent legacies of conflict and cooperation that have marked this historically marginalized area. As Grassfields migrants from both sides of the former colonial border have made up a significant percentage of recent Cameroonian immigrants to Montréal, they have continued to harness their shared history of participation in musical associations as a means of consolidating new intercultural relationships and adapting their activity to fit the ideologies of pluralism of Québecois and Canadian society. By linking the history of Grassfields musical association in Cameroon to specific examples from both the Anglophone and Francophone Grassfields communities of Montréal’s Cameroonian diaspora, we demonstrate how musical associations have continued to afford leadership roles to their most musical participants through their capacity to facilitate the solidarity and conviviality of life cycle rituals and festivals, recreating culturally validated modes of status acquisition by deploying their musical skill and experience in the pursuit and reappropriation of local and national ideals of unity.

The thesis considers an issue of the value of music in a human life. In the theoretical section the author interprets the term music and its roles in human life using available literature. Moreover, she focuses on the influence of a music on human psyche, in context of emotions, thinking, fantasy and motivation. The author also deals with the description of musical development of a personality. The author is also attentive to issues of values and value orientation in a human life. In the empirical section the author works with three groups of respondents; namely, with active musicians (i. e. playing a musical instrument or singing). She included professional musicians (group of students of music) and amateur musicians (group of working people with a musical hobby and a group of university students with a musical hobby). There are 33 respondents in the sample aged from 20 to 30. The comparison of these groups is based on the method of halfstructured interview. Issues of the development of musical activities and influences that mattered in this development, a motivation to musical activities, an influence of musical activity on personal life of the respondents (especially in context of relationships), a value and function of a music in an overall value orientation of respondents are compared. Terms:...