Text in German with summaries in German and English / Die Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt gerechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion. / The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are underrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function / Practical Theology / M. Th. (Practical Theology)

The lyrics of Sammy Cahn played a dominant role in shaping the Golden Age of American light music. He remains the most successful lyricist in cinema history, in terms of Academy Awards and Nominations, yet he has received little acclaim for his achievements. This thesis explores the diverse constituents of his creative genius, focusing on his ability to “romance the vernacular”, and write “bespoke” material on request. The argument follows a chronological path, tracing the major influences on Cahn’s life: vaudeville and musical theatre, the growth of the film industry, and the collaborators and performers who helped him achieve a level of mastery that he sustained for nearly fifty years. Particular emphasis is placed on his relationship with Frank Sinatra, on both a personal and professional level. Cahn had an acute awareness of the human condition and his ability to convey a range of emotions to match mood and moment displayed consummate craft and intellect, with a self-confidence that bordered on bravado. His contemporaries in the Golden Age of popular song have received due recognition, yet little has been written about Cahn, whose appreciation of the interaction between spontaneity and creativity remains unsurpassed by fellow lyricists. He had an intuitive understanding of the vernacular and an instinctive ability to write to order. The imagistic texture of the lyrics coupled with the prosodic intonation demonstrate an intimate correlation between personality and composition which is supported by biographical content. The argument, augmented by an audio-documentary, develops systematically through a study of the lyrics, focusing on the cultural and musicological significance of Cahn’s oeuvre. The material for both the written text and the two accompanying CDs are from personal archives and the Margaret Herrick Library in Los Angeles, which is the repository for the Sammy Cahn Collection, bequeathed to that institution after the death of Cahn in 1993. / English Studies / D. Litt. et Phil. (English)

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.

This qualitative study analyses gendered metaphors in selected Zimbabwean Shona songs. The study explores how musicians deploy gendered metaphors to propagate, reinforce or challenge gender views and positions held in the Zimbabwean contemporary society. The corpus of data comprised Shona popular songs released between 1988 and 2018 and down loaded from You-tube. The songs were transcribed, translated into English and metaphors identified and interpreted using a combination of the Pragglejaz Group (2007), Steen (2007) and Charteris-Black (2004) metaphor identification methods. Charteris-Black’s (2004) Critical Metaphor Analysis was adopted as the key theory and method of analysis. The analysis drew support from Lazar's (2007) Feminist Critical Discourse Analysis, Foucault (1980) and Butler's (1990) ideas on discourse and gender. The findings reveal that Zimbabwean musicians singing in Shona discursively use gendered metaphors to construct, reinforce or challenge views and positions on gender. While the metaphors describe and evaluate men and women positively and negatively for ideological purposes, the metaphors largely marginalise women more than men. The metaphors therefore, have the effect of legitimising and naturalising male dominance in the Zimbabwean society. However, the same musicians occasionally utilise metaphor discoursal power to resist, challenge and control the dominance. Metaphors become a conduit through which topical contemporary gender issues, norms and values, gender views and positions are highlighted and debated. Two contesting ideologies were noted: one ideology emphasised that women are inferior to men and men should tolerate them for their weaknesses and the second projected women as men’s equals and that men and women roles complement each other. It is the conclusion of this study that gendered metaphors in Shona song lyrics allow musicians to discursively and for ideological purposes reinforce, contest and negotiate various gender perspectives making metaphors a powerful tool for shaping views on gender. Therefore the research, recommends that stakeholders recognise and promote the critical role played by language on inculcating gender perceptions in such domains as music, to come up with language programmes that promote gender parity and equality in society. / Linguistics and Modern Languages / Ph. D. (Languages, Linguistics and Literature)

No description available.

This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa. The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society. This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism. The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016. In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)

INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances. / INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik. / Anthropology and Archaeology / M.A. (Anthropology)

INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances. / INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik. / Anthropology and Archaeology / M.A. (Anthropology)