Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures. It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators. / ART HIST, VIS ARTS and MUSIC / DLITT ET PHIL (MUSICOLOGY)

When I studied to become a musician on my instruments violin and nyckelharpa at the Department of Folk Music at the Royal College of Music (KMH) in Stockholm. Musikhögskolan (KMH) in Stockholm, I wrote an artistic bachelor thesis in music. In the thesis, I made a style analysis between the Näck-tuned melodies of Tyska klockorna performed by Pelle Björnlert, Gustaf Wetter and Pär Näsbom. The analysis included a comparison between these fiddlers and musicians with history and notation. I studied their melodies, rhythms, harmonies, tempos, moods, stringing, phrasing, dynamics and sound. I also studied and compared their emotions/values, contextual associations, expression, musical structure, performance/technique and general conditions in three different stylistic mappings between these fiddlers and musicians. At the oral presentation, I performed these three melodies of the Tyska klockorna on my violin, playing as close to Björnlert, Wetter and Näsbom's playing styles as possible. My twin sister Caroline Eriksson and I studied at KMH at the same time. When we started our degree projects, a graduation concert was included. We chose to have a joint “Sister Concert”, where two graduation concerts became one. The concert reflects the years before KMH, the years during KMH and the years after KMH. A varied concert with 24 fantastic fellow musicians and dancers, where we performed the music that is very close to us, both traditional and newly written, with a focus on interaction, play to dance and dance to play. / När jag studerade till musiker med mina instrument fiol och nyckelharpa på institutionen för folkmusik på Kungl. Musikhögskolan (KMH) i Stockholm, skrev jag ett konstnärligt kandidatexamensarbete i musik. I examensarbetet gjorde jag en stilanalys mellan de näckstämda melodierna Tyska klockorna framförda av Pelle Björnlert, Gustaf Wetter och Pär Näsbom. I analysen ingick en jämförelse mellan dessa spelmän och musiker med historia och notation. Jag studerade deras melodier, rytmer, harmonier, tempon, stämningar, stråkföringar, fraseringar, dynamik och klang. Jag studerade och jämförde även deras emotioner/värden, kontextuella associationer, uttryck, musikstruktur, utförande/teknik och generella förutsättningar i tre olika stilistiska mappningar mellan dessa spelmän och musiker. Vid den muntliga redovisningen framförde jag dessa tre melodier av Tyska klockorna på min fiol och spelande så nära Björnlert, Wetter och Näsboms spelsätt och spelstilar som möjligt. Min tvillingsyster Caroline Eriksson och jag studerade samtidigt på KMH. När vi påbörjade våra examensarbeten ingick en examenskonsert. Vi valde att ha en gemensam ”Systerkonsert”, där två examenskonserter blev en gemensam. Konserten speglar åren innan KMH, åren under KMH och åren efter KMH. En varierad konsert med 24 fantastiska medmusiker och dansare, där vi framförde den musik som ligger oss mycket nära. Både traditionell och nyskriven, med fokus på samspel, spel till dans och dans till spel. / <p><strong>Systerkonsert </strong></p><p><strong></strong></p><p><strong>Examenskonsert </strong></p><p><strong></strong></p><p><strong>Madliene Ahlström Eriksson &amp; Caroline Eriksson </strong></p><p><strong></strong></p><p>9 september 2023, kl. 16.00 Kungasalen, Kungl. Musikhögskolan i Stockholm  </p><p></p><p><strong>PROGRAMORDNING </strong></p><p><strong></strong></p><p><strong>Rulin &amp; Ericsson </strong></p><p><strong></strong></p><p>Musik: Polska efter Carl Viktor Rulin, Lerbäck, Närke &amp; Polska efter Pehr Ericsson, Helgarö, Södermanland.</p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Eder bröllopsdag </strong></p><p><strong></strong></p><p>Musik: Brudmarsch till Markus och Rebecca Kviberg, komponerad av Madliene Ahlström Eriksson från Trosa, Södermanland. </p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Näckstämda - Tyska klockorna </strong></p><p><strong></strong></p><p>Text: Madliene, bearbetad av Carin.</p><p>Musik: Pelle Björnlert från Vråka, Kalmar. Björnlerts variant av <em>Tyska klockorna</em> har han från boken <em>Svenska låtar </em>20, Östergötland, med Arvid Bergvall och Pelle Fors, de båda från Rönö socken, Östergötland.</p><p>Gustaf Wetter från Katrineholm, Södermanland. Gustaf har sin variant av <em>”Tiska klocko” / Tyska klocko</em> efter Anders Petter Andersson och August Widmark, de båda från Vingåker socken, Södermanland. Ur A.P. Anderssons bok <em>Låtar och visor från Södermanland och Närke</em>. </p><p>Pär Näsboms född i Tierps kyrkby, Uppland, men nu boende i Winterthur, Schweiz. Proveniens Uppland. Näsboms variant av <em>Tyska klockorna</em> har han efter "Viksta-Lasse", Leonard Larsson, Viksta, Uppland.</p><p>Arr. &amp; musiker: Madliene</p><p>Koreografi &amp; dansare: Carin &amp; Jan-Olof </p><p></p><p><strong>Hornlåt efter Liss-Mats Anna </strong></p><p><strong></strong></p><p>Musik: Hornlåt efter Liss-Mats Anna Ersson från Dalbyn, Ore. </p><p>Arr: Madliene </p><p>Musiker: Caroline, Ida Maria, Leif &amp; Madliene </p><p></p><p><strong>Lästringe storpolska </strong></p><p><strong></strong></p><p>Musik: Lästringe storpolska efter Anders Andersson, Lästringe, Södermanland.</p><p>Arr. &amp; musiker: Caroline, Leif &amp; Madliene </p><p></p><p><strong>Dans till Fryksdalsmelodi </strong></p><p><strong></strong></p><p>Dansen: Dans till Fryksdalsmelodi finns i sex stycken olika Fryksdalsmelodier och som har använts genom historien. Här får ni höra en av dem som vi tycker om att spela.</p><p>Musik: Dans till Fryksdalsmelodi</p><p>Arr: Troligt komponerad inom folkdansrörelsen och L. Johansson </p><p>Musiker: Caroline, Leif &amp; Madliene</p><p>Dansare från Skansens folkdanslag: Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa.  </p><p></p><p><strong>Åttamanengel </strong></p><p><strong></strong></p><p>Dansen: Österbotten har- och är ett svenskt kulturområde och i dansen får ni se danserna; engelska, kadrilj, galopp och polska som flätas samman i två låtmelodier. Första låten går i 2-takt och andra låten går i 3-takt. 3-takts polskan är väldigt lik “Skräddarepolskan” från Sörmland upptecknad efter K.P. Leffler. C.M. Bellman använde Skräddarepolskan-melodin i utbildningssyfte om sexdondelspolskans stil, för att kunna konstruera fram en grundmelodi på åttondelar i åttondelspolskestil av samma polska. Melodin passar lika bra som både åttondelspolska och sexdondelspolska. Bellman namngav därför melodin till “Fackeldansen” som ingick i hans utbildning om “Balen på Gröna Lund” och utlärningen om åttondels- och sexdondelspolskans likheter och olikheter.</p><p>Musik: Åttamanengel från Korsholm i ÖsterbottenArr: Folkdansrörelsen och L. Johansson</p><p>Musiker: Caroline, Leif &amp; Madliene</p><p>Dansare från Skansens folkdanslag: Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa.  </p><p></p><p><strong>Lilla Barn </strong></p><p><strong></strong></p><p>Text: Stina Engelbrecht</p><p>Musik: Jens Engelbrecht</p><p>Arr: S &amp; T. Engelbrecht, Caroline, Daniel &amp; Madliene</p><p>Musiker: Caroline, Daniel, Josephine &amp; Madliene </p><p></p><p><strong>När musiken spelar </strong></p><p><strong></strong></p><p>Text &amp; musik: Trad.</p><p>Arr: Madliene </p><p>Musiker: Josephine &amp; Madliene </p><p></p><p><strong>Vågsveparn  </strong></p><p><strong></strong></p><p>Musik: John McSherry, originaltitel “The Wave Sweeper”, Irland.</p><p>Arr: Caroline, Daniel &amp; Magnus</p><p>Grupp: Albatross: Caroline, Daniel &amp; Magnus. </p><p></p><p><strong>Konstant </strong></p><p><strong></strong></p><p>Musik: Komponerad av Caroline Eriksson från Trosa, Södermanland. </p><p>Arr: Caroline</p><p>Grupp: Albatross: Caroline, Daniel &amp; Magnus. </p><p></p><p><strong>T-korsning &amp; Kärl-eken </strong></p><p></p><p>Musik: Komponerad av Caroline Eriksson från Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Musiker: Caroline, Cecilia, Elsa, Gustav, Hanna, Hannes, Jakob, Madliene, Nora &amp; Torunn. Samt Daniel &amp; Magnus från Albatross. </p><p></p><p><strong>Slängpolska efter Anders Larsson från Sexdrega </strong></p><p><strong></strong></p><p>Musik: Slängpolska efter Anders Larsson från Sexdrega, Västergötland.</p><p>Arr: Caroline</p><p>Musiker: Caroline, Cecilia, Elsa, Gustav, Hanna, Hannes, Jakob, Madliene, Nora &amp; Torunn. Samt Daniel &amp; Magnus från Albatross.</p><p>Dansare: Marita &amp; Thomas    </p><p></p><p><strong>Slängpolska i östra Södermanland <em>- en jämförelse mellan fyra spelmän </em></strong></p><p><strong><em></em></strong></p><p>Musik: Slängpolska efter Axel Axelsson, Östtorp &amp; Anders Andersson, Lästringe, Södermanland. Caroline har den efter Leif, Ulf och Christina.</p><p>Musiker: Caroline </p><p></p><p><strong>Blekingepolskan </strong></p><p><strong></strong></p><p>Musik:Caroline och Madliene har den efter Bo “Bosse” Larsson, Björklinge, Uppland. Som i sin tur har den efter "Viksta-Lasse", Leonard Larsson, Viksta, Uppland.</p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Lilla Lasse  </strong></p><p><strong></strong></p><p>Musik: Slängpolskor från Mörkö, Södermanland. Nummer 659 och 649 från Sörmländska Låtar. </p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva.</p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare  </p><p></p><p><strong>Vi ska dansa med Sara </strong></p><p><strong></strong></p><p>Text &amp; musik: Vispolska från Mörkö, Södermanland. Nummer 662 från <em>Sörmländska Låtar</em>. </p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare  </p><p></p><p><strong>Ragatan </strong></p><p><strong></strong></p><p>Musik: Ragatan komponerad av Caroline Eriksson från Trosa, Södermanland. Samt<em> Korta Rosenberg</em>, slängpolska efter Anders Gustaf Rosenberg från Mellösa socken, Södermanland.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Skärborgarvisan </strong></p><p><strong></strong></p><p>Text &amp; musik: Skärborgarvisan från Trosa efter Claes Hagström, som har den efter sin far Gotthard Hagström Stensund/Trosa, Södermanland. Samt låt nummer 661 från Anders Gustav Andersson från Mörkö, i samlingen <em>Sörmländska låtar</em>.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Äh, jag tror ja’ ska ta å’ gå hem ja’ </strong></p><p><strong></strong></p><p>Musik: Schottis av Madliene Ahlström Eriksson från Trosa, Södermanland och Sofia Svahn från Ore, Dalarna.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Burr i magen </strong></p><p><strong></strong></p><p>Musik: Burr i magen av Caroline Eriksson, Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Koreografi: Caroline</p><p>Musiker: Caroline, Cecilia, Danie, Elsa, Gustav, Hanna, Hannes, Ida Maria, Jakob, Josephine, Leif, Madliene, Magnus, Nora, Sunniva &amp; Torunn.</p><p>Dansare: Carin, Jan-Olof, Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa. </p><p></p><p><strong>No poker face </strong></p><p><strong></strong></p><p>Musik: No poker face av Caroline Eriksson, Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Koreografi: Carin &amp; Jan-Olof</p><p>Musiker: Caroline, Cecilia, Danie, Elsa, Gustav, Hanna, Hannes, Ida Maria, Jakob, Josephine, Leif, Madliene, Magnus, Nora, Sunniva &amp; Torunn.</p><p>Dansare: Carin, Jan-Olof, Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa. </p><p></p><p>______________________ </p><p></p><p><strong>Alla medmusiker och dansare: </strong></p><p><strong></strong></p><p>Carin Alnebratt - Dans</p><p>Caroline Eriksson - Fioler, nyckelharpa, oktavnyckelharpa och sång</p><p>Cecilia Etterlin - Fiol</p><p>Daniel Fredriksson - Mandora och mandola</p><p>Elsa Örde - Fiol</p><p>Gustav Stavbom - Fiol</p><p>Hanna Areskoug - Fiol</p><p>Hannes Ahlinder - Nyckelharpa</p><p>Ida Maria Schwahn - Fiol</p><p>Jakob Grunditz - Nyckelharpa</p><p>Jan-Olof Johansson - Dans</p><p>Josephine Betschart - Sång och rytminstrument</p><p>Leif Johansson - Fiol</p><p>Madliene Ahlström Eriksson - Fioler, nyckelharpa, oktavnyckelharpa, sång och gitarr</p><p>Magnus Lundmark - Slagverk</p><p>Marita Lagergren Lindberg - Dans</p><p>Mattias Lindberg - Dans</p><p>Mikael Lindberg - Dans</p><p>Mira Loringer - Dans</p><p>Nora Lilja - Fiol</p><p>Olle Hovmark - Dans</p><p>Sunniva Abelli - Nyckelharpa, oktavnyckelharpa och sång</p><p>Thommas Andersen - Dans</p><p>Torunn Thurfjell - Nyckelharpa</p><p>Wendi Löffler - Dans</p><p>Åsa Hannegård - Dans <strong></strong></p><p></p>

Accompanying music files attached (mp3) / The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group. / Arts History, Visual Arts & Musicology / D. Mus.

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73. / Art History, Visual Arts & Musicology / M.Mus.

Text in English / The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase. / Linguistics and Modern Languages / D. Phil. (Languages, Linguistics and Literature)

A content analysis of Leonard Karikoga Zhakata’s sungura music unpacks shared experiences of Zimbabweans during a decade of crises.Various musicians composed music pregnant with cultural meaning. These genres defied the ruling Zanu PF party‘s propaganda. The ZANU P.F. flagged enemy was imperialist history, whose characteristic was bankrupt in civil justice. Common sense ‘umunthu’ (‘Humaness)’ philosophy could have witnessed the ruling party stand by the people at the height of economic decline. This dissertation argued that the sungura genre became a formidable force. The music had dramatic effect of unifying citizens of different distinct cultural traditions, often which set Shona, Manyika, Korekore, Changana and Ndebele apart. ‘Mugove’ ‘(Reward) and ‘Hupenyu mutoro’ (Life is a burden) lyrics manifested thought processes, ideas and actions which projected popular unity against ruling elite hegemony. Zimbabweans’ collective cultural awareness that could have defined social experiences indirectly or directly motivated formations of oppositional political establishments. The Movement for Democratic Change (MDC) was the brainchild of political disillusionment chorused in “Hupenyu Mutoro’ (Life is a burden) and ‘Mugove’ (Reward) lyrics. The musical texts unravelled the hidden sin of gross graft by the powerful built on self aggrandisement at the expense of the vulnerable subalterns. The sungura genre manifested an art of aggressive entertainment and enjoyment yet passively and remotely awakening citizens to the obtaining dire economic hardships. The genre’s scholarly fabric and dynamics, cut deep into life sensibilities as exemplified by ‘Hupenyu Mutoro’. The deplorable life style experienced by the suffering majority epitomised by political repression and economic meltdown became catalyst for political participation and opportunities for plural voices.This dissertation argues that academic curricula harnesses the influential sungura genre in teaching a people’s story. Sungura music authenticates national historical versions that comfortably orbits around official realities of civil governance processes, what Fanon refers to as ‘a zone of occult instability (Fanon, 1963 p. 253). Unemployment, hyper-inflation, cholera out breaks, empty shelves in shops compounded with a ravaging parallel market prices became food for thought. Disllusionment nagged Zimbabweans below and above the poverty datum peg vis a viz the material power index of a handful citizens in the ruling party. Hence Zhakata’s ‘Hupenyu mutoro’ (Life is a burden) and ‘Mugove’ (Reward) became a classical and contested terrain that motivated the teaching and learning of Zimbabwean history. / Communication / M.A. (Communication)

Accompanying music files attached (mp3) / The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group. / Arts History, Visual Arts and Musicology / D. Mus.

Kersti Ståbi Performing poems from the Poetic Edda I am a folk singer and oral storyteller. In my Masters project I have made a series of concerts performing the poem Vǫluspá from the Poetic Edda in its original Old Norse. Building on the musical elements in the Eddic poems, I’ve been searching the borderlands between speech and singing, using melodic material in the modern Swedish and Norwegian languages. As a method I have imitated singers in different living epic singing traditions from around the world, basing the creative process on mimicry and improvisation. This was a fast route to performances of great diversity: the Manas singer from Kyrgyzstan gradually enters a trancelike state, while Pansori from Korea made me think "unmelodic folk opera" and the Indian Pandvani is all-or-nothing storytelling with music serving as an engine. One specific perspective I have researched is the concept of a ”First Listener” - a representative of the audience on stage that can, but doesn’t necessarily have to, contribute musically. Traditionally the First Listener in Pandvani is very active; singing, shouting and challenging the teller, while the Pansori First Listener is a supporting commenting percussionist. As a storyteller and lead singer I found the presence of a First Listener highly fruitful in the process leading up to the performances. As a stage concept it offers forceful dynamics between the singer, the listeners and the poem. The poems of the Poetic Edda were created and performed in an oral tradition, but survived to modern times only via written text. I regard myself a performer formed in a literate culture but in an oral music tradition. With that in mind I have explored performance of this epic material and its metres. Translation has become a keyword with many facets.

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73. / Art History, Visual Arts and Musicology / M.Mus.

An examination of the utilization of folk song elements in the wind band music of Australian composer David Stanhope, represented in two movements ("Lovely Joan" and "Rufford Park Poachers") from his Folk Songs for Band. Sets 1 and 2. Included is an historical overview of English folk music, emphasizing the theoretical properties of the English folk song and the events surrounding the modern renaissance of British folk music. Background information related to the musical development of Vaughan Williams, Grainger, and Stanhope is provided, noting the influence of the folk idiom in their compositional styles and Grainger's influence on the music of David Stanhope. An historical account of the two folk songs examines the events and compositional procedures related to the inclusion of "Lovely Joan" in Vaughan Williams' Fantasia on Greensleeves. and Grainger's use of "Rufford Park Poachers" in Lincolnshire Posv. Emphasis is placed on the subsequent compositional treatment of the folk elements in Stanhope's wind band compositions. A detailed analysis of Stanhope's compositional style includes structural, harmonic, melodic, and historical considerations, while specifically illuminating his contemporary and innovative approaches to scoring and instrumentation.