abstract: Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary clarinet works by six Chinese composers: Qigang Chen's Morning Song, Yan Wang's Mu ma zhi ge (The Song of Grazing Horses), An-lun Huang's Capriccio for Clarinet and Strings Op. 41, Bijing Hu's The Sound of Pamir Clarinet Concerto, Mei-Mi Lan's Concerto for Clarinet and String Orchestra with Harp and Percussion, and Yu-Hui Chang's Three Fantasias for Solo Clarinet in B-flat. They are examined from different perspectives, including general structure, style, and rejuvenated folk music use. The focus of this research paper is to investigate the use of Chinese folk music in several works in collaboration with the composers. The author found that although contemporary composers use Chinese folk music differently in their works (i.e., some use melodies, others use harmony, while others use modes), each work celebrates the music and culture of the folk music on which the pieces are based. It is the author's hope to stimulate people's interest in music using Chinese folk music elements, and bring these lesser known works into the common clarinet repertoire. / Dissertation/Thesis / Morning Song / Mu ma zhi ge (The Song of Grazing Horses) / Capriccio for Clarinet and Strings Op. 41 / The Sound of Pamir Clarinet Concerto movement I / The Sound of Pamir Clarinet Concerto movement II / The Sound of Pamir Clarinet Concerto movement III / Concerto for Clarinet and String Orchestra movement I / Concerto for Clarinet and String Orchestra movement II / Three Fantasias for Solo Clarinet in B-flat movement I / Three Fantasias for Solo Clarinet in B-flat movement II / Three Fantasias for Solo Clarinet in B-flat movement III / D.M.A. Music 2013

This study details the growth of education in Botswana, with specific reference to the lack of development of Music as a subject. One of the main obstacles to the development of Music in schools has been the theoretical bias in the Colleges of Education, which generally ignore practical and instrumental work, including traditional instruments. This observation was noted during the pilot project of the draft Music syllabus in Botswana, which began in 1999 and continues until the end of 2001. What the teachers in training are taught bears little relation to the syllabus they are expected to teach in schools. Teacher trainers have little practical experience in music making and have little support from institutions that cannot relate to a perceived, noisy (music-filled) environment. Music lecturers have no experience of teaching Music at Primary or Secondary level, and began their own Music careers as adults, when they were sent to the University of Reading, England, for further studies, having expressed an interest in the subject. The training there appears to have been entirely theoretical. The aim of this study is to suggest and offer a course of work for use in teacher training institutions based on a three year/nine term academic programme, as presently followed in Botswana. Although the programme suggested correlates with the Music syllabus for Community Junior Secondary schools in Botswana, it can be used in other teacher training environments, such as training colleges, distance education modules or inservice courses. Following guidelines set by the Music Education Unit Standards for South Africa(MEUSSA) research team at the University of Pretoria, South Africa, and the Department of Vocational Education and Training in Gaborone, Botswana, with reference to international standards and exit levels, this thesis supplies generic music unit standards for use in Botswana, but which are easily adaptable for other Southern Africa Development Community countries (SADC). The units contain Access statements, Range statements, Performance criteria, Evidence requirements and Support notes, which are based in the African tradition in the early stages, so that trainees have a familiar basis from which to spread their wings. At present, there are no suitable Music resources for use in Botswana. The thesis discusses educational research in Botswana concerning teaching methodology and the pertinent Government literature and recommendations. / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

The main focus of this work explores the ideological concepts surrounding the early development of South African urban music. First, a brief description of the development of some of the major urban music styles of the continent of Africa is provided. This is followed by an overview of the early development of South African urban styles, and includes definitions of the styles as they occurred chronologically up to the development of African jazz in the 1940s. Kwela is discussed as the major commercial offshoot of African jazz in the 1950s. The concepts and beliefs, or 'thought worlds', which were transmitted from white South African liberals to elite black intellectuals in the 1930s and 1940s, in so far as they were presented in the press of these decades, are examined. Specifically, the effects of these liberal ideological concepts on the preference for western civilisation in general and western music in particular is discussed. The role of Black America as the flagship of black progress, achievement, and above all, success in the realms of music, is assessed in relation to its impetus for the black elite 'liberal' strategy which essentially appealed to white moral conscience. The concepts of Africanism and 'New Africanism' are investigated so as to determine their influence on the creation of unique, syncretic African forms, and in particular, on the birth of African jazz or mbaqanga of the 1940s. The viability of describing elite support for the Africanisation of jazz in this decade as expressing or emanating from political militancy as a manifestation of the 'philosophy' of 'New Africanism' is debated. The 1950s are presented as a decade which can be described in generalised terms as one of 'urban protest', in which a mélange of hedonism and political assertion provides the context for the creation of highly commercialised African urban styles. The use of the colloquial epithet 'msakazo' as an umbrella term for these styles is discussed, focussing on the ideological perspectives of the proponents and opponents of the genre. Reasons for the vehement opposition to African styles by some in the media who simultaneously sponsored American progressive jazz styles such as bebop, are analysed. Emphasis throughout the work is given to the interplay between Government policies and the development of the different styles. In particular, the role of the Nationalist Party policy of Apartheid, and its direct and indirect effects on the demise of African jazz, is examined. / Thesis (DPhil (Music))--University of Pretoria, 2007. / Music / unrestricted

The requirement of the South African Qualifications Authority (SAQA) for unit standards to be written for all fields of learning has given music educators a unique opportunity to identify the needs of the whole community and reassess the priorities of music education in South Africa. The field of African musics poses some special problems because it has been excluded from the curriculum in the past and because the informal learning traditions need careful attention if they are to be adapted to formal learning contexts. A simple substitution of African for Western music theory, history and instrumental practice is not an appropriate course of action, as African musics are rooted in a philosophical framework that is quite different from that of Western music. In order for culturally appropriate unit standards to be written, a philosophical basis of African music-making must first be identified from a study of African music practices. Secondly, an examination of the general principles of the musics of South Africa, with judicious examples taken from other parts of Africa will guide the approach to the writing of unit standards for African musics. Curriculum frameworks from other countries which have developed standards within an outcomes-based education (OBE) context, and the specific outcomes for Arts and Culture, are the third element to inform the writing of unit standards for African musics. The problems of implementation are various, including the shift from informal learning contexts to formal, but in the praxial approach to music education this dilemma can potentially be resolved. Most pressing are the limited resources of provincial education departments, and an emphasis on training to develop the musicianship of educators is of primary importance. African musics in the curriculum will require not only fresh musical material but also a shift in approach, incorporating the community values of the music which affirm the processes of music-making. / Dissertation (MMus)--University of Pretoria, 2006. / Music / unrestricted

This thesis is divided into two main parts. Part one is the presentation of the ethnomusicological research study on Abigbo choral dance music, and indigenous music type found in the Mbaise area of Ibgo land in Nigeria. This part is made up of three chapters. Chapter one present the research out line for this work, which contains the Background of the study, personal motivation for the study, need for the study, methodology and value of the study. Chapter two presents a study of Abigbo music and the musicians. In this chapter, the researcher discussed the socio-cultural and creative milieu of Abigbo musicians, the creative performance process, the theoretical content of Abigbo music, and the artistic criticism as well as social aesthetics normative in Abigbo music appreciation. Chapter three of the work discussed transcription and analyses of traditional Ibgo music. Some problems of transcription and analyses in Ibgo music are argued from the perspectives of other writers and the researcher’s experience. The transcription and analysis techniques are then applied to selection Abigbo music repertory. This part of the thesis is, therefore, an Ethnomusicological study of Abigbo music and musicians in which identifiable musical elements, compositional principles and the stylistic forte of Abigbo choral-dance music are discussed. The research-study enables the researcher to identify seminal compositional materials for the modern symphony orchestra composition deriving from the creative principles of Abigbo music. Part two of this work is, essentially, an original creative work for the modern symphony orchestra applying the musical elements, compositional principles and style of Abigbo choral-dance music. This part is in three chapters: four, five and six. Chapter four is the composition of “Abigbo for Modern Symphony Orchestra”. It is a three movement orchestral work in contrasting tempi, in which the second movement introduces a male chorus with the orchestra. Chapter five is a detailed analysis of the work and its compositional procedure. Chapter six presents the conclusions and projections emanating from the study. Part II then presents a perspective in the creative continuum of African music informed by Abigbo choral-dance music. It is a study of Abigbo choral-dance music of the Mbaise people in Igbo land of Nigeria and the application of its elements, compositional principles and style in the composition of modern art music for a modern symphony orchestra. / Thesis (DMus)--University of Pretoria, 2006. / Music / DMus / unrestricted

Vocal polyphonic music, as one of Georgia’s primary cultural exports that has been gaining popularity in the world, plays a big part in the effort of creating a marketable Georgian identity – an effort tied to the Georgian state’s desire to join the EU and get away from its Soviet past. Whether state-sponsored or private, a number of institutions have risen to prominence in recent years, all proclaiming to be dedicated to the preservation and popularization of Georgian folklore. While their contribution to these missions is extensive, their policies and practices often carry an eerie resemblance to the Soviet attempts at selective promotion of indigenous cultures. By the very nature of their structure, these institutions impose a particular idea of power and hierarchy: wherein a few select people control the distribution of finances, information, and other resources, performers adhere to dress codes, and ensembles have centralized leadership. My argument in this work is that this idea of power and hierarchy is at odds with the practice of Georgian polyphonic singing, which involves (usually) three distinct voices coming together, without designating a “chief” or “main” one among them. Rather, the singers trade off taking the lead, with endless opportunities for melodic and textual improvisation, and the songs in question are not possible if all the voices are not present. Through a close analysis of ethnographic data from the provinces of Guria and Svaneti in Western Georgia, this project explores how power, preservation, and death — both semiotic and literal — coincide, intersect, and diverge in the Georgian folk singing communities. I approach the tradition as a dynamic habit, with its practitioners as participants in a continuous process, which can only die if performance reaches the “perfect” form, so often exulted by the very institutions that vow to keep it alive. My discussion of the singing practice in this dissertation poses broader questions within the disciplines of anthropology and ethnomusicology, such as: how does the growing popularity of a musical practice shape the worldwide discourse and local policies around it? What happens when rigid institutional power structures are imposed onto a tradition that is pre-disposed against them? And what options and choices do the practitioners of this tradition have when it comes to maintaining their commitment to it?

Report of travels, encounters, exchanges and impromptu music creations with musicians from different cultures, countries, musical traditions and backgrounds.

Der historische Ursprung Kleinlitauens, sein Alltag, seine Sitten, Bräuche, Sprache und Kultur stellten schon immer Forschungsziele für Fachleute und Wissenschaftler verschiedener Richtungen dar. Die ethnokulturellen Forschungen sind auch heute aktuell. Aus diesem Grund wird in den nachfolgenden Ausführungen versucht, die Volksmusikinstrumente darzustelle~ die in der Blütezeit Kleinlitauens gespielt wurden.

This dissertation deals with comprehensive analysis of contemporary Albanian piano pieces. There have been selected compositions with artistic and educational value for these purposes. The pieces also represent different genres of Albanian piano music. Genres are exceptionally important in this view; the stylish range was reduced, in recent past. The reason was based not on cultural field, but on strict ideological rules. Piano music is embedded in a broader historical context that allows to stress the peculiarities of the Albanian musical language and thereby to clarify the uniqueness and value of selected compositions for the educational needs. Keywords Piano; album, folk-music; neoclassical style; analysis; pedagogical interpretation

This paper will trace the development of musicology in Estonia, focusing especially upon some research problems and methods used for investigating folk music in the 1970s and 1980s.