Thesis (D. Mus. Arts)--University of Washington, 1990. / Vita. Includes bibliographical references (leaves [136]-151).

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Musicology and Ethnomusicology. / Typescript. Includes bibliographical references (leaves 599-617). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR19848

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Syftet med arbetet är att jämföra två musikstycken från skilda stilar, ett barockstycke och ett verk influerat av amerikansk folkmusik, och se ifall jag kan applicera tekniker, instuderingsmetoder och musikaliska infallsvinklar på liknande sätt i båda styckena.    De stycken jag har valt är Concerto for Jazz violin and Orchestra, 1: Blue Reel av Scott Routenberg och Partita III i E-dur, 1: Prelude, för soloviolin av Johann Sebastian Bach.   I min arbetsprocess har jag även instuderat en ”äkta” bluegrasslåt, Ragtime Annie, för att få inspiration och hjälp till instuderandet av stycket för jazzviolin. Arbetets konstnärliga del består av en inspelning av varje stycke i slutskedet av instuderingen.   Under mitt arbete har jag kommit fram till att de flesta svårigheter var av samma tekniska karaktär och att man kan använda sig av samma sorts instuderingsmetoder i båda styckena. Jag har även upptäckt att spelsätt och tekniker från den klassiska traditionen, som användes i Bachs Prelude, kunde appliceras på Blue Reel, men vissa typiska stråktekniker från Ragtime Annie inte fungerade lika bra i Bachs Prelude.   Arbetet har resulterat i insikten att en god grundteknik och ett medvetet spelsätt är grundförutsättningen för att kunna spela musik från flera musikstilar och traditioner.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1985. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 353-370).

Thesis (M.A.)--Memorial University of Newfoundland, 2003. / Restricted until May 2004. Title on cassette: Dan R. MacDonald home recording. Bibliography: leaves 196-215.

On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.

On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.