Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 308-319).

Thesis (Ph. D.)--University of Wisconsin, Madison 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--Brigham Young University. Dept. of Music. / Includes index. Includes bibliographical references (leaves 76-77).

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future. When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important. / 2016-09-29

No description available.

Recent music educational reforms in Hong Kong stress the need to cultivate students??? understanding toward Chinese music. However, research indicates that Hong Kong music teachers lack sufficient confidence and valuing to teach Chinese music. Based on this background, the purpose of this study was to address the need to train teachers with the confidence and skills to teach Chinese music. An indigenous genre, Chaozhou xianshi music was introduced as a focus of study because the genre is considered to be a useful mediator for teachers and their students to understand and appreciate Chinese music. The study comprised two inter-related parts. Part I included fieldwork in xianshi music, semi-structured interviews with xianshi musicians and literature review that investigated the theory, teaching and learning of xianshi and Chinese music. Based on the findings of Part I, Part II involved a Pilot and Main Study that were designed to trial a pre-service teacher education programme at the Hong Kong Institute of Education that would prepare trainees to undertake the teaching of xianshi and Chinese music. A xianshi music ensemble was formed to expose the trainees to practical experiences of the genre. During their final teaching practice session, the trainees were asked to design and teach xianshi and Chinese music in schools. Qualitative data were collected from interviews and an analysis of video-recordings of their teaching. Findings revealed that a sequenced exposure in xianshi music was advantageous for the trainees to develop their potential and competence to teach Chinese music, as was evident in these trainees??? teaching approaches and implementation. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study. Importantly, music teachers should demonstrate their role as transmitters of musical heritage and be capable to design and implement effective lessons, to involve their students to practical experiences in traditional Chinese music, and to develop their students intellectually and artistically so that they become informed consumers of their own and other musical traditions. In the long run, these approaches may help to increase the valuing of Chinese music and culture among students and citizens in the society more generally.

Thesis (M.A.)--State University of New York at Binghamton, Department of Theater, 2006. / Includes bibliographical references.

This recital seeks to explore the various ways in which Eastern-European composers have utilized traditional folk-music as inspiration for their works. The programing focuses on several techniques used as a means for synthesizing folk-songs and art-music, ranging from setting preexisting melodies to accompaniment, to manipulating the idiomatic musical and linguistic features of folk-music as the basis for one���s musical language. In addition, this recital reveals the wide range of styles and genres, including neoclassicism, expressionism, and polytonality, that can be derived from Eastern-European folk-songs. In this regard, the program itself highlights the relevance of folk-music as a viable source of inspiration for artistic expression. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

This thesis describes how illuweet or teasing cousin songs are an expression of King Island Inupiaq identity. It is based upon ten months of intermittent participation observation and fieldwork. In the summer of 1991, my uncle, Alex Allughuk Muktoyuk, began teaching Inupiaq songs and dances to a group of displaced Inupiat living in Tacoma, Washington. Of the eleven songs that he taught this group, six had occurred between illuweet or teasing cousins. However, a review of the literature on Inupiaq songs rarely mentioned these kinds of songs. By reviewing the literature on ethnic identity, Inupiaq family relations and Inupiaq song and humor, it is concluded that my uncle taught these six songs as a way to express his King Island Inupiaq identity and of proving his connection to the community from which he has been separated for approximately 30 years. / Graduation date: 1994