迎親燈籠、裝點精緻的花轎、幾十人的迎親隊伍和傳統的吹打樂隊，勾勒出一幅上世紀初紹興傳統的婚禮畫面。無論排場大小，吹打樂在當時紹興婚慶中一直是不可缺少的。直到20世紀20年代，一支名為「新聲」的銅管樂隊為紹興帶來了不同以往的音響和表演形式，並很快開始在當地上層階級的婚禮中流行。從第一支樂隊創立至今，紹興已有多達百余支銅管樂隊，兩千多名樂手。但我在一年多的田野調查中卻發現一直被冠以「洋氣」、「時髦」的銅管樂隊仍延續著很強的紹興當地的傳統文化特徵。 / 這其中有很多有趣且值得思考的問題：現用的銅管樂緣何被帶入紹興並成為婚慶音樂？在演奏和傳承過程中，它是如何適應當地的禮俗以及當地人的觀念？西方樂器與紹興當地文化之間的結合又揭示了什麼？帶著這些問題，本文的論述內容主要分為三個部分：1、追溯銅管樂隊在紹興產生和發展的歷史，瞭解不同時代背景下，銅管樂隊如何適應傳統婚慶儀式；2、通過記述近期紹興婚禮儀式的描述及口述歷史中的紹興婚慶習俗，探究它們之間的關係，以及樂隊和音樂在當地婚禮中的角色；3、探討文化、社會環境和政治因素對婚禮音樂的影響，以及紹興婚禮「傳統」在不斷延續和變化中，當地人對銅管樂隊、樂手和音樂的理解和看法。 / 本文認為儘管紹興婚慶的儀式、樂手、樂器、音樂都在改變，傳統文化的影響和人們的音樂觀念仍然在看似「洋化」了的銅管樂中延續，而被改變了的銅管樂也正締造著新的傳統。 / Red lanterns, elaborate bridal sedan, traditional Chinese wind and percussion (chuida 吹打) ensembles, once characterized conventional Shaoxing weddings in the early 20th century. No matter how simple the wedding was, chuida music was a very essential part, which decorated an atmosphere of lively joyance. Since the late 1920s, a newly established western brass band named Xinsheng (New Sound) brought into this county a strikingly different sound, as well as musical practices. In smart military uniform, this band of six, performing a mixed repertoire of Western and Chinese pieces, soon became popular in the weddings of the more affluent class. / As a convenient symbol of Western taste and fashion, this new band positioned itself well by its name "New Sound," an image its members initially wanted to project. However, almost ninety years after its establishment, I have found in my fieldwork that traditional Chinese concepts and practices remalll strong in the brass band's performances and activities. These unique features of border and genre crossing are also the reason why, over the course of a century, the number of brass bands in Shaoxing has increased significantly, and has become an indispensable component of present day weddings. / However, there are some interesting and important questions I want to ask in this thesis: why was the brass band brought into Shaoxing and chosen for the wedding ceremony? How did the band and its repertoire adapt to the Chinese traditional ritual context and appeal to local tastes and aesthetics? What does the brass band's negotiation between Western practices and local culture reveal? In order to answer these questions, this thesis first tracks the band's history and transmission. Then after a chapter of wedding ethnography and a chapter of oral history on traditional wedding, it looks into the function of brass bands and their musIc at weddings, and explores the cultural, historical and political meanings behind them. This paper examines the ways in which musical concepts of local people influence the Western brass bands, performers and the brass music itself. / The paper holds that although the rituals, performers, musical instruments and musical language continued to change throughout during years, the local cultural traditions and people's concepts are still maintained III the Western musical practices. The brass bands chosen by history are also creating and reconstructing the history and tradition. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 鄭思. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 80-85). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zheng Si. / 目錄 --- p.i / Abstract --- p.ii / 中文摘要 --- p.iv / Chapter 第一章、 --- 研究背景介紹 --- p.1 / Chapter 一、 --- 紹興及其婚慶禮俗 --- p.2 / Chapter 二、 --- 文獻回顧 --- p.6 / Chapter 三、 --- 研究方法 --- p.11 / Chapter 第二章、 --- 口述歷史中的紹興婚禮儀式和樂隊 --- p.16 / Chapter 一、 --- 紹興三埭街的「墮民」 --- p.15 / Chapter 二、 --- 「墮民」樂手陳順泰 --- p.18 / Chapter 三、 --- 紹興婚禮的口述歷史 --- p.19 / Chapter 第三章、 --- 紹興婚慶儀式中的銅管樂隊 --- p.26 / Chapter 一、 --- 「新聲」的新生 --- p.26 / Chapter 二、 --- 銅管樂的學習和傳承 --- p.31 / Chapter 三、 --- 銅管樂隊在歷史中的轉變和發展 --- p.31 / Chapter 1、 --- 「新聲」在轉變中適應 --- p.32 / Chapter 2、 --- 從業人員 --- p.34 / Chapter 3、 --- 收益 --- p.35 / Chapter 4、 --- 銅管樂的現在：「紹興人只要結婚，都請、銅管樂 的現在：「紹興人只要結婚，都請隊」 --- p.36 / Chapter 第四章、 --- 銅管樂隊伴奏中的紹興婚慶儀式 --- p.38 / Chapter 一、 --- 紹興婚禮田野志 --- p.38 / Chapter 二、 --- 銅管樂隊演出的節氣、吉日、時辰 --- p.51 / Chapter 三、 --- 銅管樂隊的與鬧 銅管樂隊的與鬧 --- p.55 / Chapter 1、 --- 〈老八套〉 --- p.55 / Chapter 2、 --- 媒體影響下的流行音樂 --- p.61 / Chapter 第五章、 --- 結論 --- p.63 / 參考文獻 --- p.80

Jangwa music is traditional to the Manyika people of Zimbabwe. The Manyika are a sector of the Shona people, occupying a portion of Manicaland Province in the eastern part of Zimbabwe. African societies carefully craft songs for different contexts to serve a functional and educational purpose. The aim of the study was to explore the origin and the structure of jangwa music, the sociological and social psychological functions of the music and its performance, as well as its aesthetic values among the Manyika people. The study utilised focused ethnographical methods. A large group of elderly Manyika people with extensive knowledge and experience who were purposively selected acted as key informants. Data collection strategies included participant and non-participant observation during jangwa music performances, as well as in-depth individual and focus-group interviews. The study employed content analysis and selected songs were transcribed in staff notation using Crescendo Music Notation Software for analysis purposes. The outcomes of the study reveal some form of acculturation in the origin and structure of the music resulting in the music being a contemporary choral music. While some of the songs are for school sporting events, others are to demonstrate pride in teachers, community leaders and natural features within the Manyika region. However, the findings reveal that the majority of jangwa songs are for wedding and marriage ceremonies. Most of the wedding songs focus on the role of brides and married women as a whole, signifying the pivotal role they play within the Manyika society, yet a glimpse of the male roles are heard. In all the contexts, jangwa music contributes in uplifting the sociological and social psychological well-being of performers and audience members. For the Manyika people, the function of jangwa music takes precedence in its aesthetical values. Considering the diminishing of African musical arts, the study recommends the ethno-musicological use of jangwa music in informal and formal education in Zimbabwe for the promotion of indigenous knowledge systems. Jangwa song lyrics convey the distinctive values, virtues, and life skills of the Manyika people, and are therefore inextricably bound to the indigenous fabric and context-specific utilitarian purposes of the music. / Thesis (DMus)--University of Pretoria, 2016. / Music / DMus / Unrestricted

A Wedding Ceremony is a composition of approximately 17 minutes in duration and is scored for horn in F, two trumpets in B-flat, trombone, two percussionists (timpani, roto toms, chimes, snare, triangle, suspended cymbal), 2-part boys choir, female soprano, and organ. The work consists of five parts of a mass, the Processional, Kyrie, Alleluia!, Hosanna!, and Recessional, with texted sections being taken from the Latin mass. The work is intended for a sacred wedding service of any denomination. The work was composed with the traditional aspects of the Latin mass in combination with a contemporary setting.

余詠宇. / 論文(博士)--香港中文大學, 1999. / 附參考文獻(p. 210-222)及索引. / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / 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. / Yu Yongyu. / Lun wen (bo shi)--Xianggang Zhong wen da xue, 1999. / Fu can kao wen xian (p. 210-222) ji suo yin. / Zhong Ying wen zhai yao.

Abstract not available. / Thesis (M.A.) - University of Natal, Durban, 2000.

Weddings have always been an indispensable and auspicious part of Hindu life both in South Africa and in India. This study is an examination of one aspect of Hindu weddings, viz. the vocal and sometimes instrumental recital of songs of blessing and praise. These songs are known as mangalams and have evolved in South Africa in the last century due to various factors. Analysis of the mangalam enables us to understand how traditions and customs continue and change in accordance with changing circumstances. Much of the data presented in this thesis has been gleaned from oral sources and, as such, the methodology of oral history has been extremely influential in the shaping of this dissertation. / Thesis (M.Mus)-University of Natal, Durban, 1999.

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts and Musicology / D. Litt et Phil. (Musicology)