The purpose of this research is to explore the benefits of chant music and its pedagogical applications for the individual trombonist or ensemble member. Several common method books are examined and categorized as either musical exercise or lyrical etude. Through this analysis I highlight a gap between the two method types that can be bridged through practice of chant. I support this claim through an analysis of chant characteristics that make it an ideal candidate to encourage pure sound production and connection in a performable work. Practice of chant in trombone chamber or choir ensembles will also encourage the development of skills necessary to play as a member of a group. I propose regular practice of this music will aid the ensemble in blend and balance, intonation, articulation, and slide coordination. The final chapter of the research provides the reader with a brief summary of the works refenced to promote further study as one chooses.

La musique liturgique est au coeur de ce mémoire. Elle en constitue même le sujet, sous l’angle de la participation active des fidèles à la messe. Cette notion apparue au début du XXe siècle dans les documents officiels de l’Église catholique fera du chant liturgique un important instrument de la pastorale liturgique. Suite à la parution de l’encyclique Mediator Dei en 1947, deux mouvements de musique liturgique se distinguent nettement au Canada français : le mouvement grégorien et celui du cantique populaire. Ces deux mouvements sont l’objet de notre étude. Il s’agit donc d’analyser le répertoire de chacun de ces mouvements sous l’angle de la participation active des fidèle à la messe. Liturgie, musique et participation active représentent les principaux éléments qui composent ce mémoire. Les trois premiers chapitres en dégagent les principales composantes ainsi que leurs divers aspects et le dernier chapitre présente les groupes de musiciens qui représentent les deux mouvements tout en mettant en relief les caractéristiques de leur répertoire respectif. Le résultat de cette analyse démontre que la situation actuelle est grandement tributaire de la réalité de cette époque et permet également de mieux cerner la cause des problèmes actuels.

Largely based on material recorded during an internationally sponsored inter-university research tour through the Sesotho speaking area of southern Africa in August 2000, this thesis explores the state of the Basotho oral poetry, the dithoko `praise poems', the difela `mine workers' chants' and the diboko `family odes' at the beginning of the 21st century. Unlike the classical dithoko which were inspired by the wars or the battles in which the Basotho fought as well as cannibalism, those composed at the beginning of the 21st century are inspired by socio-economic and political situations of the poets. Lack of wars has resulted in the poets turning the praising to their chiefs and themselves. Changing socio-economic conditions inspired the difela compositions. The diboko though still a living tradition among the rural Basotho are not adhered to by some who are affected by modernism. Performance of the three oral genres has shifted from the natural settings such as the battlefield, working parties, traditional courts, assemblies, etc., to organized annual festivals such as Morija Arts & Cultural Festival which constitute the Basotho's `popular culture'. The subject-matter and themes of the dithoko have shifted from warfare to traditional chiefs, current heroic deeds of the poets, current political situations and religion. The difela are characterized by inclusion of new subject-matter. The diboko still play an important function as carriers of the names of the ancestors, the tribal idiosyncrasy of the clan and the history associated with the clan's establishment. The three Basotho oral genres demonstrate an emergence of a new phenomenon whereby one genre penetrates another, a phenomenon which may be called `migration of texts'. The last chapter explores the insights emanating from the entire research, and discusses suggestions on what should be done to ensure that the Basotho oral genres are maintained and improved. The video footage of the poets recorded at various places of the Free State and Lesotho have contributed to the success of the research. The thesis serves as a contribution to the Basotho's dynamic oral poetry on which scholars will hopefully do further research in the near future. / African Languages / D. Litt et Phil. (African Languages)

Largely based on material recorded during an internationally sponsored inter-university research tour through the Sesotho speaking area of southern Africa in August 2000, this thesis explores the state of the Basotho oral poetry, the dithoko `praise poems', the difela `mine workers' chants' and the diboko `family odes' at the beginning of the 21st century. Unlike the classical dithoko which were inspired by the wars or the battles in which the Basotho fought as well as cannibalism, those composed at the beginning of the 21st century are inspired by socio-economic and political situations of the poets. Lack of wars has resulted in the poets turning the praising to their chiefs and themselves. Changing socio-economic conditions inspired the difela compositions. The diboko though still a living tradition among the rural Basotho are not adhered to by some who are affected by modernism. Performance of the three oral genres has shifted from the natural settings such as the battlefield, working parties, traditional courts, assemblies, etc., to organized annual festivals such as Morija Arts & Cultural Festival which constitute the Basotho's `popular culture'. The subject-matter and themes of the dithoko have shifted from warfare to traditional chiefs, current heroic deeds of the poets, current political situations and religion. The difela are characterized by inclusion of new subject-matter. The diboko still play an important function as carriers of the names of the ancestors, the tribal idiosyncrasy of the clan and the history associated with the clan's establishment. The three Basotho oral genres demonstrate an emergence of a new phenomenon whereby one genre penetrates another, a phenomenon which may be called `migration of texts'. The last chapter explores the insights emanating from the entire research, and discusses suggestions on what should be done to ensure that the Basotho oral genres are maintained and improved. The video footage of the poets recorded at various places of the Free State and Lesotho have contributed to the success of the research. The thesis serves as a contribution to the Basotho's dynamic oral poetry on which scholars will hopefully do further research in the near future. / African Languages / D. Litt et Phil. (African Languages)

The study examines two selected Yorùbá movies, focuses on the oral tradition, feelings, and messages in them. Its purpose is to show that the classification or categorisation by previous scholars is not limited to Yorùbá movies; it is adaptable to other movies. Consequently, the study sets out to find an identity for Yorùbá movies and is able to accomplish its aim. It draws on copious examples of oral tradition genres in the selected movies, extract their examples from the movies, and use the extracts to make an argument that the unique way to identify Yorùbá movies is the Yorùbá oral tradition which frequents in the movies. In its attempt to find its focus, it highlights scholars’ ideas of oral tradition worldwide and narrows the concept to the Yorùbá paradigm. The dissertation contains information on research approach, theories, analysis, and findings. Also, it presents the weaknesses of the study and offers useful recommendations. Finally, the study asserts its claim and proves it with evidence from its data. / African Languages / D. Litt. et Phil. (African Languages)

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Thesis (M.A.)--Miami University, Dept. of Comparative Religion, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 61-64) and discography (p. 65).

Ce mémoire porte sur le fruit de mon travail accompli lors de ma maîtrise en composition instrumentale de l’Université de Montréal. J’y présente mon approche poétique envers lacomposition où des expériences imaginées de paysages et de déroulements sont évoqués par des éléments musicaux. J’y discute également des méthodes que j’utilise pour parvenir aux agencements intervalliques afin de créer ces expériences. J’y traiterai aussi de ma nouvelle approche intervallique vis-à-vis la modalité à travers les modes multicycliques, la majorité de mon travail ayant été le développement de ce système. J’y aborderai ensuite les explorations hors mode dans des stades moins avancés, mais qui m’ont amené des solutions pour des procédés intervalliques moins réalisables dans un contexte strictement modal, à travers des traitements de cellules, des jeux d’intervalles purs et des sonorités provenant des idiomes folkloriques Européen de l’est, précisément des Balkans. Enfin, j’analyse également la forme de chaque œuvre composée lors de ma maîtrise en approfondissant davantage sur l’imaginaire extramusical qui détermine la forme ainsi que le caractère de chaque groupe thématique, y compris le choix du mode s’il y a lieu. / This memoir elaborates on the outcome of my work during my master's degree in the instrumental composition program of Université de Montréal. It begins with a presentation of my poetic approach towards composition, where experiences of landscapes and happenings within them are illustrated through musical devices. What follows is a discussion of all methods I apply to harness the power of intervals to create these experiences. A significant chapter will be devoted to a rather intervallic approach towards modality in the form of multicyclical modes, as most of my work of this master's degree focuses on development of their use. The next chapter focus on all my explorations outside the modal structures, which are at earlier stages of development but have already given me solutions to procedures that are less applicable in a strictly modal context. That includes the treatment of cells, working with just pure intervals and integration of colours derived from the folk traditions of Eastern Europe, more specifically the Balkans. Finally, there will be a chapter that analyzes every individual work included here while digging deeper into the extra-musical imagination behind every work, determining its form and the character of all the sections including the mode of choice if there is one.

The study examines two selected Yorùbá movies, focuses on the oral tradition, feelings, and messages in them. Its purpose is to show that the classification or categorisation by previous scholars is not limited to Yorùbá movies; it is adaptable to other movies. Consequently, the study sets out to find an identity for Yorùbá movies and is able to accomplish its aim. It draws on copious examples of oral tradition genres in the selected movies, extract their examples from the movies, and use the extracts to make an argument that the unique way to identify Yorùbá movies is the Yorùbá oral tradition which frequents in the movies. In its attempt to find its focus, it highlights scholars’ ideas of oral tradition worldwide and narrows the concept to the Yorùbá paradigm. The dissertation contains information on research approach, theories, analysis, and findings. Also, it presents the weaknesses of the study and offers useful recommendations. Finally, the study asserts its claim and proves it with evidence from its data. / African Languages / D. Litt. et Phil. (African Languages)

Made available in DSpace on 2016-04-28T18:23:37Z (GMT). No. of bitstreams: 1 Ulisses Tadeu Vaz de Oliveira.pdf: 516269 bytes, checksum: 0844816fc09b2fcd6b0196adc281a80d (MD5) Previous issue date: 2008-02-19 / The galego-portuguese chants have been traditionally studying by brilliant philologists that been made huge advances in terms of understanding what was the galego-portuguese language and its production context. However, the galegoportuguese chants have a lot to offer to any researcher interested to investigate its particularities. In fact, the traditional methodologies and proceedings applied in the medieval texts analysis, specially in the galego-portuguese chants, could not examining appropriately the implications of the context in the text; as: ideology, courtesy, education, formation, ways of production, etc. Admitting this reflection and presenting a new purpose, this research develops a multifunctional critic analysis (Fairclough, 1992) of D.Dinis galego-portuguese chants (a great king and troubadour, c.f. Vasconcelos, 1943), trying to identify a collection of ideas arose from education, ethic, esthetic, courtesy and a knight ideal (Ceschin, 1998) inside these texts through the standings of: fegnedor (or aspirant), precador (or suppliant), entendedor (or suitor) and drut (or lover) (Spina, 1996:363). Since the analysis focus the lyrical chants, we re only going to talk about the standings of fegnedor, precador and entendedor; intending to understand: (a) how the linguistic analysis can contribute to reveal the ideological complexes that permeate the speech of fegnedor in love chants and precador in friend chants. (b) how fegnedor and precador can behave linguistically in this context? To achieve these objectives and make a multifunctional analysis (a method of textual linguistic analysis associate with a social theory of the language functioning in ideological processes), we mainly adopt the theoretical framework of Systemic-Functional Linguistics (Halliday, 1985, 1994) specially the ideational and interpersonal metafunctions, complemented by proposes of Critical Discourse Analysis, Register and Genre Theory (Eggins & Martin, 1997), Appraisal (Martin, 2000, 2003), and the concepts of Logogenesis (Halliday, 1994) and Resonance (Thompson, 1998). The Systemic-Functional Linguistics is distinguishable from other relate theories because it views language as a social semiotic, including the cultural and situational contexts implications. Therefore, by its perspective, we determine some obrigatory and optional stages in D.Dinis lyrical chants, as well examine the interface between social context and ideological issues on Middle Ages and the chants language (fegnedor and precador stances), we are able to map some social regulations and the ability of troubadours to compose these texts / As cantigas galego-portuguesas têm sido estudadas tradicionalmente por ilustres filólogos, e seus estudos avançaram muito na compreensão do que foi a língua galego-portuguesa e seu contexto de produção, porém as cantigas galegoportuguesas ainda têm muito a oferecer ao pesquisador que nelas se debruça, bem como aos estudantes que por elas se interessam. De fato, as ferramentas metodológicas e procedimentais utilizadas nas análises tradicionais dos textos medievais, em especial as cantigas galego-portuguesas, não conseguiram analisar satisfatoriamente as implicações do contexto no texto; a saber: ideologia, cortesia, educação, formação, meio de produção, etc. Partindo desta reflexão, de forma inédita até então, esta pesquisa realiza uma análise crítica multifuncional (Fairclough 1992) das cantigas líricas galego-portuguesas de D.Dinis (grande rei e trovador, c.f. Vasconcelos, 1943), buscando identificar um ideário inspirado na educação, ética, estética, cortesia e cavalaria (Ceschin, 1998) e presentes nas cantigas galego-portuguesas através dos posicionamentos de: fenhedor (ou suspirante), precador (ou suplicante), entendedor (ou namorado) e drudo (ou amante) (Spina; 1996: 363). Como a análise se restringe apenas aos cantares líricos, trataremos apenas dos posicionamentos de fenhedor, precador e entendedor, visando compreender: (a) como a análise lingüística pode contribuir para revelar os complexos ideológicos que permeiam a fala do fenhedor nas cantigas de amor e do precador nas cantigas de amigo?; (b) como podem se comportar lingüísticamente o fenhedor e o precador considerando esse contexto. Para atingir esses objetivos e realizar uma análise crítica multifuncional (um método de análise lingüística textual com uma teoria social do funcionamento da linguagem em processos ideológicos), adotamos prioritariamente os pressupostos teóricos da Lingüística Sistêmico-Funcional (Halliday, 1985, 1994) e as metafunções ideacional e interpessoal, complementada pelas propostas da Análise Crítica do Discurso, a Teoria de Gêneros e Registros (Eggins & Martin, 1997), as propostas de avaliatividade (Appraisal), de Martin (2000, 2003), e os conceitos da Logogênese (Halliday, 1994) e Ressonância (Thompson, 1998). O que distingue a Lingüística Sistêmico-Funcional é que ela estuda o caráter social da língua, relacionando-a ao contexto cultural e situacional. Portanto, através dela, conseguimos delinear alguns estágios obrigatórios e opcionais nas cantigas líricas de D.Dinis, bem como, mapear a cátedra e o engenho do trovador, examinando a interface entre o contexto social e implicações ideológicas da Idade Média com a linguagem das cantigas e o contraste entre os posicionamentos de fenhedor e precador