Since European settlement of Australia, patriotic and nationalistic songs have provided entertainment and given an emotional outlet to the people of Australia. Due to their largely printed form, a significant proportion of these songs is still extant. The songs form a distinct subset of the larger popular song tradition. / This thesis documents and analyses all known patriotic and nationalistic songs written and published in sheet music form to the close of World War One. This end date has been determined because it represents a peak in this genre and also signals a radical shift in direction for popular songs with the advent of widespread music recording and broadcasting. / Distinct historical events (e.g. the Sudan conflict, Boer War, and First World War) or themes (e.g. military threats, the rising nationalism leading to Federation of Australian colonies) which influenced or inspired songs in this genre will be discussed. Songs are grouped in distinct chronological or thematic samples. The songs are analysed in this thematic context and then treated using more conventional musicological techniques. The often conflicting ideals of patriotism and nationalism are discussed using the songs as a reflection of contemporary opinion.

Thesis (doctoral)--Göteborgs universitet. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 285-321) and index.

Revised Diplomarbeit--Technische Universität, Berlin, 2000. / Includes bibliographical references (p. 135-140).

South Africa is a nation that was born from a struggle that can be said to have turned racial divisions and discrimination into a diversity of heritages. Thus, contemporary South Africa has become a country recreated in such a way that its people are able to embrace diversity freely. This research study aimed to provide insights into South Africa’s diversity in culture and linguistics that were moulded into a single song, the South African National Anthem. The research study aimed to determine the selected sample’s (Nelson Mandela Metropolitan University Staff and Students) responses to the representation of the South African National Anthem based on two specific performances. The research study aimed to determine how the two online videos affected the perceptions of NMMU Staff and Students of the South African National Anthem and South Africa as a brand. The research study aimed to determine how the two performances of the South African National Anthem under study were received by Staff and Students at NMMU. The study also aimed to highlight the similarities and differences in the sample’s responses, based on this reception. The selected YouTube videos under study are: SA anthem destroyed URL: http://www.youtube.com/watch?v=beg0-kMN3fM Ard Matthews ruins the SA national anthem URL: http://www.youtube.com/watch?v=fu6IG0Wx19w. An electronic questionnaire with both closed and open-ended questions was used to draw a conclusion regarding the selected sample’s perceptions of the South African National Anthem. Following the questionnaire results, a rhetoric analysis of the sample’s questionnaire responses was conducted. This text analysis and interpretation was conducted to gain insight into themes that were labelled based on the questionnaire responses, thus affecting perceptions of the sample and determining whether the South African National Anthem was perceived as a tool for division or unification.

Thesis (Ph.D. (African Languages)) -- University of Limpopo, 2020 / Maikemišetšo a nyakišišo ye ke go maatlafatša Seafrika go Basotho ba Leboa gore ba be le boitshepho setšong sa bona. Ba eletšwa go phethagatša ditumelo tša sebona kantle le pelaelo goba boinyatši. Nyakišišo ye e fa tlhalošo ye e tseneletšego ka ga dikošatšhaba tša Sesotho sa Leboa, fao monyakišiši a laetšago gore dikošatšhaba tša sebona di bohlokwa go bona go feta tša ditšhaba tše dingwe, ka ge dikošatšhaba tša bona di rwele motheo wa setšo sa bona. Nyakišišo ye e ithekgile ka setlwaedi sa sebopego sa bomolomo go tšwa go Parry (1930), se thušana le setlwaedi sa kgokagano ka mohlobo le setlwaedi sa tirišongwalwa. Nyakišišo e phethagaditšwe ka tšhomišo ya mokgwaboleng wo o matlafaditšwego ke mekgwatlhaolo ya bakgathatema ye mebedi, e lego; tlhaolokgonagalo ya mokgwa wa sebokuboku le tlhaolotebanyi ya mokgwataeletšo. Go šomišitšwe mekgwa ye meraro ya kgoboketšo ya tshedimošo, e lego; phatadiganong, pogelo, le dingwalwa. Temogo e bile ya gore dikošatšhaba tša Sesotho sa Leboa ga di hwetše thekgo gabotse go tšwa go beng ba tšona. Nyakišišo e hlatholotše tšeo di latelago ka dikošatšhaba tša Basotho ba Leboa; mehuta, tšweletšo, sebopego gammogo le mehola ya tšona setšhabeng. Go lota dikošatšhaba pukung go tla thuša gore le meloko yeo e sa tlago e be le lesedi le tsebo ka ga dikošatšhaba tša sebona, ka ge kgonagalo ya gore di timelele e letše le tlhakahlakano ye e bago gona ya merafe mo nageng ya Afrika-Borwa. MAREO: Setšo, Setšhaba, Dikošatšhaba, Sebopego, Tšweletšo, Mohola

Chan, Mun Tak Ada. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 65-69). / In English with some Chinese characters; abstract also in Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.iii / Acknowledgements --- p.iv / Table of Contents --- p.V / List of Figures and Tables --- p.vii / Chapter Chapter One --- Introduction --- p.1 / Geographical Location and Political Status of Hong Kong --- p.3 / Personal Reflection on the Change of HKSAR´ةs Sovereignty --- p.8 / Chapter Chapter Two --- Propaganda on Television: Music Video in Hong Kong Mass Media --- p.10 / Defining Post-colonialism --- p.10 / A Brief History of Hong Kong --- p.12 / National Affiliation of the Hong Kong Citizens in the Pre- and Post-Handover Era --- p.14 / Chapter Chapter Three --- The Changing Audiovisual Presentation of the PRC National Anthem Video Clips in Post-colonial Hong Kong --- p.23 / Chinese Musical Nationalism in Post-colonial Hong Kong --- p.23 / “Vocabulary´ح and Its Post-colonial Interpretation --- p.24 / “Structure´ح and Its Post-colonial Interpretation --- p.25 / Conceptualization of the Nation by Displaying the PRC flag and the Hong Kong SAR flag --- p.26 / Conceptualizing the Ideas of Ethnicity --- p.30 / Image of People´ةs Liberation Army in Constructing the Concept of the Nation --- p.32 / Interrelationship between the Musical Interpretation and the People featured --- p.34 / Vocabulary in Constructing the Concepts of the Chinese Nation --- p.41 / Conclusion --- p.44 / Chapter Chapter Four --- Conclusion --- p.48 / Post-Colonial Influences Upon the Cultural Identity of Hong Kong Citizens --- p.48 / Reinforcing Political Affiliation to the PRC using the National Anthem after the 1997 Handover --- p.49 / Our Home Our Country featuring the PRC National Anthem as a Political Tool --- p.50 / The Historical Significance of Our Home Our Country --- p.52 / Appendix I Basic Information of the National Anthem Video Clip Our Home Our Country --- p.54 / Appendix II Musical Aspects of the National Anthem Video Clips Our Home Our Country --- p.55 / Appendix III Prologues (and Epilogues) of Our Home Our Country --- p.56 / Bibliography --- p.65

This dissertation is an account of the response to the needs of the 19th century Afrikaner - for patriotic music and for national anthems, particularly a Transvaal Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia. A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history. Attempts by Transvalers, Hollanders and South Africans in general to compose works aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters of this survey. It is shown how the national anthem of thc Orange Free State ('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable anthem of its own. Twenty seven early South African and Dutch works, each aimed at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted. Chapter VI deals with 24 colourful patriotic compositions from all over the world. Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera. But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman Catharina Felicia van Rees - rose above all opposition, and was finally accepted as the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI). These chapters tell of 'Kent gij dat volk?', the song that soared through the world, inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause. Of the corpus of 695 items in Appendix AI, over 180 are editions and versions of 'Kent gij dat volk? '. These versions and all the music that could be traced during my research are incorporated in Chapter VIII - whether as sheet music or in albums, incorporations or variations, also indicate where she was acknowledged as composer and where not. For the piracy of her song, not only in the Western world but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious. This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out of the general musical background, for scrutiny and comparison, has, in my opinion, revealed a wealth of interesting and useful information. And, could well lead to much needed further research into and documentation of Africana music. / Art history, Visual arts & Musicology / M.A. (Musicology)

Revised Diplomarbeit--Technische Universität, Berlin, 2000. / Includes bibliographical references (p. 135-140).

This dissertation is an account of the response to the needs of the 19th century Afrikaner - for patriotic music and for national anthems, particularly a Transvaal Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia. A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history. Attempts by Transvalers, Hollanders and South Africans in general to compose works aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters of this survey. It is shown how the national anthem of thc Orange Free State ('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable anthem of its own. Twenty seven early South African and Dutch works, each aimed at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted. Chapter VI deals with 24 colourful patriotic compositions from all over the world. Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera. But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman Catharina Felicia van Rees - rose above all opposition, and was finally accepted as the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI). These chapters tell of 'Kent gij dat volk?', the song that soared through the world, inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause. Of the corpus of 695 items in Appendix AI, over 180 are editions and versions of 'Kent gij dat volk? '. These versions and all the music that could be traced during my research are incorporated in Chapter VIII - whether as sheet music or in albums, incorporations or variations, also indicate where she was acknowledged as composer and where not. For the piracy of her song, not only in the Western world but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious. This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out of the general musical background, for scrutiny and comparison, has, in my opinion, revealed a wealth of interesting and useful information. And, could well lead to much needed further research into and documentation of Africana music. / Art history, Visual arts and Musicology / M.A. (Musicology)

The development of American liberty and war songs from a few themes during the pre-Revolutionary period to a distinct form of American popular music in the Civil War period reflects the growth of many aspects of American culture and thought. This study therefore treats as historical documents the songs published in newspapers, broadsides, and songbooks during the period from 1765 to 1865. Chapter One briefly summarizes the development of American popular music before 1765 and provides other introductory material. Chapter Two examines the origin and development of the first liberty-song themes in the period from 1765 to 1775. Chapters Three and Four cover songs written during the American Revolution. Chapter Three describes battle songs, emphasizing the use of humor, and Chapter Four examines the figures treated in the war song. Chapter Five covers the War of 1812, concentrating on the naval song, and describes the first use of dialect in the American war song. Chapter Six covers the Mexican War (1846-1848) and includes discussion of the aggressive American attitude toward the war as evidenced in song. Chapter Six also examines the first antiwar songs. Chapters Seven and Eight deal with the Civil War. Chapter Seven treats derivative war songs, including "Dixie" and "The Battle Hymn of the Republic." Chapter Eight treats prominent composers of popular war songs during the Civil War: Stephen F. Foster, George F. Root, and Henry Clay Work. Chapter Nine concludes the study with observations on the development of war songs from 1765 to 1865.