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A mini thesis submitted in partial fulfilment of the requirement for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997. / In this study my intention it to look and explore the history and development of mbhaqanga music. Mbhaqanga music will be examined from several perspectives. Firstly, the historical aspect and its development 'would be scrutinized. An attempt would be made to discover internal musical components which combine to produce the sound that is recognized as mbhaqanga. This tradition would be examined in its social, political and cultural context. Several people have contributed to the birth of mbhaqanga music. It would be vital to look at the role of musicians, influence of other musical styles, other influences (political, social, economical, ete), dynamics, characteristic, nature and performance of this style. Umbhaqanga music is one of the African popular musical style that is said to have emerged during the 1940's and evolved in various forms. In addition to this style other styles include isicathamiya, maskanda music and other mushrooming styles. This.study intends to examine the changes which have occurred in this tradition. In the African society music is lillked to social and community life. Changes that have occurred in the life pattern of African society manifest in music. Mbhaqanga music as part of the African tradition has undergone some changes. These changes were often caused and influenced by the circumstances of the time. The purpose of this study is: 1. To examine some performance principles and techniques involved in the creation and presentation of mbhaqanga music. 2. To outline the socio-cultural changes that has affected this music.

The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an important place in contemporary Cornish studies. This study examines the evolution of folk tradition in Cornwall from the early nineteenth century through to the present day, the meanings ascribed to it and the relationship with Cornish identity. The subject matter is at once arcane and commonplace, for some it is full of mystery and symbolism for others it is just “party time”. It is about what people do and what they think about what they do in relation to the wide spectrum of activities associated with traditional music and dance. These activities range from informal singing sessions and barn dances to ritual customs that mark the turning of the year. In order to establish a research methodology this study draws upon the paradigms of memory, oral history and discursivity. These paradigms provide a range of insights into, and alternative views of, both folk tradition and identity. Action research provides a useful enquiry tool as it binds these elements together and offers a working ethos for this study. Using this model a complex and dynamic process is unveiled within folk tradition that offers a quite different perspective on its relationship with identity and brings into question popular stereotypes.

97 Summary This diploma dissertation is concentrated in Greek traditional music and traditions. Greece, is a country with traditions and customs alive even today. Through dance, song, music people express their feelings, celebrate the joy and settles with the pain. It's a place where history, religion and music are closely tied together and are often difficult to distinguish. This knowledge will ultimately help all teachers understand the power of tradition and the importance of conservation and disseminate it. All are interrelated and the music is the force that unites them and is keeping them over the time. The first chapters focus on theoretical approach and the second part to the practice. Specifically, in the first chapter begins with a definition, as much as possible, of music and a small reference to it, in time. The second chapter deals with the folk song, how is divided and the differences with the European music. Into the third chapter we meet the Greek traditional music instruments and in which categories it divides. How the culture is connected with history and Orthodox Church we will see in fourth chapter as well as the most important celebrations of Greek nation. The dance in Greece has big history and we can find a lot of styles depending of the regions. Six big regions have Greece and we...

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This thesis provides an in-depth account of the Low-Country, ritual, drumming tradition of Sri Lanka. Low-Country drumming is characterized by its expressive and illusive sense of timing which makes it appear to be free of beat, pulse and metre. This makes it special in respect to other drumming cultures of the world. However, the drumming of the Low-Country is marginalized, unaccepted and unexposed. Drawing on original fieldwork from the Western province of Sri Lanka, this study analyses the drumming of three distinct rituals: devol maḍuva, Kalu Kumāra samayama and graha pūjāva of Raigama, the dominant sub-tradition of the Low-Country. The thesis reveals key features of the drumming tradition, some of which are hidden. These features include the musical structure that is beneath the surface of the drumming, timing, embellishment, improvisation and performance practice. It also documents the Low-Country drum, the yak beraya, its construction and relationship to the musician. The thesis addresses some of the changes that are occurring in the contemporary ritual and argues the need for the drumming to be brought out of its ritual context, for its survival in the future. It also documents a collaborative performance between Low-Country ritual performers and musicians from New Zealand.

A thesis submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Doctor of Philosophy in the Department of African Languages at the University of Zululand, 2001. / Lolu cwaningo kuhloswe ngalo ukweneka obala ukubaluleka komculo kaMasikandi kanye noweSicathamiya esikweni lesizwe samaZulu. Isahluko sokuqala-ke sichaza ngayo le njongo. Lapha kubuye kwenekwe nendlela ezosetshenziswa, okuwukuhlolwa kwamaBhuku athile aqukethe ulwazi olufanele. Kubuye kufakanwe imilomo nezinzululwazi ngomculo woMdabu. Kubanjwe izingxoxo nabaculi oPhuzekhemisi benoJoseph Shabalala, okuyibona abawumgogodla walo ucwaningo. Konke okwenziwayo kuhlahla indlela yocwaningo lonke. Isahluko sesibili sibheka umlando nobunjalo bukaMasikandi. Lapha kubhekwa umlando kaPhuzekhemisi, amaqembu ayizingqalabutho namaqembu abesifazane. Kubuye kubhekwe nemvunulo koMasikandi, izimfijoli zomculo kaMasikandi kanye nezinhiobo zezindikimba ezidingidwa koMasikandi. Isahluko sesithathu sibhekana nomlando weSicathamiya. Kubhekwa namaqembu azingqalabutho eSicathamiyeni. Kobuye kuhlelwe nomlando kaJoseph Shabaiala kanye naMambazo aMnyama. Isahluko sesine sicubungula isakhiwo sobunkondlo eculweni likaMasikandi neteSicathamiya. isahluko sesihianu sicubungula izinhlobo zamaculo kaMasikandi neSicathamiya. Lapha kubhekwa amacuio esililo, alandayo, amalirikhi njaio njalo. Isahluko sesithupha siqukethe ukuqhathaniswa kwamaculo, elikaMasikandi kanye neleSicathamiya. Lapha kuthathwa iculo elilodwa ezinhlangothini zombili, lihluzwe ngokupheleie njengoba kwenzeka enkondtweni. Kubhekwa inhloso, umqondo, imizwa nokunye okuphathelene nokuhiuza. Isahluko sesikhombisa sidingida ukufana kwengqikithi eculweni likaMasikandi neleSicathamiya. Lapha kuhlolwa izingqikithi ezifana nothando, inkolo, ukubulalana kwezombangazwe, uxolo, ukubuyisana, inhlonipho emakhosini kanye nenhlalo yesiNtu. isahluko sesishiyagalombili nokungesokugcina, siyisihlaziyo nesiphetho. Kulesi sahluko kwethulwa izincomo bese kusongwa lonke ucwaningo.

Investigação dos conjuntos denominados Bandas de Pífanos ou Zabumbas, atuantes na região do sertão baiano, nas proximidades da cidade de Canudos. Buscamos as fontes bibliográficas sobre o assunto, destacamos as abordagens acadêmicas e realizamos extensa pesquisa de campo na região. Apresentamos um estudo das características ogrnanológicas dos conjuntos com dados da nossa pesquisa de campo. Todos os conjuntos pesquisados utilizam o aerofone longitudinal, a gaita, apesar da denominação pífano também ser utilizada. Procuramos a desambiguação dos termos e tratamos das diferenças entre os aerofones transversais, pifanos, e os longitudinais, gaitas. Apresentamos 40 transcrições musicais realizadas e um estudo das característica musicais dos grupos pesquisados. Analisamos aspectos melódicos, harmônicos, formais e os gêneros musicais praticados pelas Zabumbas do sertão baiano. / Investigation of the bands called Bandas de Pífanos or Zabumbas, operating in the region of Bahia\'s countryside, near the town of Canudos. We draft the academic approaches of the subject, up to now, and present a study of the organological characteristics of the musical instruments based on our field research in the countryside of Bahia. All goups researched utilizes the longitudinal aerofone, the gaita, although the designation fife also be used. We seek the disambiguation of the terms and studied the differences between the transverse aerophones, fifes, and the longitudinal, gaitas. We also presented 40 musical transcriptions and a study of the reserched groups` musical caracteristics. Then, we anilysed the melodical, harmonical and forms aspects as well the musical genres practiced by the Zabumbas of the countryside of Bahia. We highlight our experience in field research and present a study of the characteristics of the musical band of Bendegó, from the Canudos Velho village. We analyze aspects of melodic, harmonic and cadential formula of beginning and termination of transcripts from artists in field research.

Investigação dos conjuntos denominados Bandas de Pífanos ou Zabumbas, atuantes na região do sertão baiano, nas proximidades da cidade de Canudos. Buscamos as fontes bibliográficas sobre o assunto, destacamos as abordagens acadêmicas e realizamos extensa pesquisa de campo na região. Apresentamos um estudo das características ogrnanológicas dos conjuntos com dados da nossa pesquisa de campo. Todos os conjuntos pesquisados utilizam o aerofone longitudinal, a gaita, apesar da denominação pífano também ser utilizada. Procuramos a desambiguação dos termos e tratamos das diferenças entre os aerofones transversais, pifanos, e os longitudinais, gaitas. Apresentamos 40 transcrições musicais realizadas e um estudo das característica musicais dos grupos pesquisados. Analisamos aspectos melódicos, harmônicos, formais e os gêneros musicais praticados pelas Zabumbas do sertão baiano. / Investigation of the bands called Bandas de Pífanos or Zabumbas, operating in the region of Bahia\'s countryside, near the town of Canudos. We draft the academic approaches of the subject, up to now, and present a study of the organological characteristics of the musical instruments based on our field research in the countryside of Bahia. All goups researched utilizes the longitudinal aerofone, the gaita, although the designation fife also be used. We seek the disambiguation of the terms and studied the differences between the transverse aerophones, fifes, and the longitudinal, gaitas. We also presented 40 musical transcriptions and a study of the reserched groups` musical caracteristics. Then, we anilysed the melodical, harmonical and forms aspects as well the musical genres practiced by the Zabumbas of the countryside of Bahia. We highlight our experience in field research and present a study of the characteristics of the musical band of Bendegó, from the Canudos Velho village. We analyze aspects of melodic, harmonic and cadential formula of beginning and termination of transcripts from artists in field research.

Comme toute forme artistique, le film qui s'exprime à travers le langage cinématographique est une communication entre émetteur (réalisateur) et récepteur (spectateur). Voici un exposé de mes recherches personnelles et de mes expériences de cinéaste, relatives au processus de la fabrication d’un film. / As any art form, a movie that expresses itself through cinematographic language is a communication between a sender (the director) and a receiver (the spectator). Here is a presentation of my personal researches and experiences as a film-maker, concerning the process of fabricating a movie.