This dissertation examines the role of live music venues in structuring local music scenes, using the city of Hamilton as case study. To explore this, I first develop a categorization scheme to distinguish “types” of venues to which individual establishments cluster into on the basis of their organizational characteristics. These venues types allow for claims to be made about the organizational structure of venues within the local scene. I then move forward to show that these venue types are better understood as organizational forms, by conducting a textual and visual analysis of the promotional data, which coincide with types of venue logics which inform promotional practices of each venue form. Finally, I examine the role of venues in contributing to gender inequality in the music scene, by looking at the types of bands that are booked to play in each venue form, taken into account not only gender composition but also the artist configuration (solo/band). Taken together this dissertation highlights the importance of venues as part of the social organization of any music scene over and above the social dynamics of artists and audiences. / Thesis / Doctor of Philosophy (PhD)

This paper concerns processes of youth identification and formation of lifestyles in relation to the recent British music genre 'dubstep'. The music style is viewed as a modern youth leisure practice which construct social meaning and belonging in an urban translocal environment. The research, based on analytical data and qualitative interviewing, has proven that modern youth lifestyles can not be analysed through the theoretical scope of subcultures, as these tend to be homogeneous and out dated. Therefore, a postmodern approach has opened up to possibilities to understand youth identification as fragmented and interrupted processes, influenced by a hybrid of transnational cultural meanings and spaces. The paper also discusses the role of media and the growth of consumerism in relation to youth identifications, and it suggests that the dubstep scene can be viewed as a respond to, and sometimes a borrowing of, the representation of the modern urban youth which can be found in newspapers, as well as fashion and music magazines. Furthermore, several postmodern youth studies has celebrated the rejection of old unequal categories of gender and class when analysing the way contemporary youth socialise and create belonging. However, my study questions this notion and claim that structural power relations still exist and to a certain extend determine lifestyles, behaviour and motivation among different youth.

Text in English / Accompanied DVD with printed record / In this dissertation, I explore music styles from Tshianzwane village in HaMakuya, in the Limpopo Province of South Africa, particularly malende, tshigombela, and children‘s songs. I consider the music styles as embedded in their extra-musical physical structure and abstractions; social rituals; frame of reference; forms of habitus; social order; cultural capital; social meanings, behaviour, power hierarchy, status, space, agency, institutions; formal-informal education and means; symbols; musical instruments; dance; religion; ancestor worship; traditional health practice; norms and values; mentorship and rites of passage. I further explore how and why music performers and other cultural patterns at Tshianzwane interpenetrate with each other and their living space through social roles; demonstration-imitation learning method; enculturation; dialectics of normative-interpretive, embodiment-hexis or cues, internalizationexternalization, surface-deep structure, conscious-unconscious level, qualitativequantitative understanding of music styles and genres and local-foreign context; means of communication; reinterpretation and redefinition of concepts. In conclusion, I consider how people and cultural patterns at Tshianzwane, through interpenetration, form progressing and changing social web; social connections; attachments; trance; state of flux in cultural patterns; synthesis of cultural patterns; embedded contexts; shared culture and resultant cultural patterns. Since cultural patterns, as a result of interpenetration, reflect each other, I point out the challenges in socio-spatial mapping of forms of habitus and cultural patterns. In my dissertation, I use John Blacking‘s work as my primary theoretical framework. Furthermore, I use Pierre Bourdieu‘s theoretical framework, and Hugh Tracey‘s and David Dargie‘s audio CDs on African tribal music to enrich my theoretical ground. I collected my field data at Tshianzwane in collaboration with Joseph Morake and Ignatia Madalane (students), Dr Susan Harrop-Allin (supervisor), Samson Netshifhefhe, Obert Ramashia, Paul Munyai and Musiwalo (informants). / M. Mus. / Art History, Visual Arts & Musicology

Accompanied DVD with printed record / In this dissertation, I explore music styles from Tshianzwane village in HaMakuya, in the Limpopo Province of South Africa, particularly malende, tshigombela, and children‘s songs. I consider the music styles as embedded in their extra-musical physical structure and abstractions; social rituals; frame of reference; forms of habitus; social order; cultural capital; social meanings, behaviour, power hierarchy, status, space, agency, institutions; formal-informal education and means; symbols; musical instruments; dance; religion; ancestor worship; traditional health practice; norms and values; mentorship and rites of passage. I further explore how and why music performers and other cultural patterns at Tshianzwane interpenetrate with each other and their living space through social roles; demonstration-imitation learning method; enculturation; dialectics of normative-interpretive, embodiment-hexis or cues, internalizationexternalization, surface-deep structure, conscious-unconscious level, qualitativequantitative understanding of music styles and genres and local-foreign context; means of communication; reinterpretation and redefinition of concepts. In conclusion, I consider how people and cultural patterns at Tshianzwane, through interpenetration, form progressing and changing social web; social connections; attachments; trance; state of flux in cultural patterns; synthesis of cultural patterns; embedded contexts; shared culture and resultant cultural patterns. Since cultural patterns, as a result of interpenetration, reflect each other, I point out the challenges in socio-spatial mapping of forms of habitus and cultural patterns. In my dissertation, I use John Blacking‘s work as my primary theoretical framework. Furthermore, I use Pierre Bourdieu‘s theoretical framework, and Hugh Tracey‘s and David Dargie‘s audio CDs on African tribal music to enrich my theoretical ground. I collected my field data at Tshianzwane in collaboration with Joseph Morake and Ignatia Madalane (students), Dr Susan Harrop-Allin (supervisor), Samson Netshifhefhe, Obert Ramashia, Paul Munyai and Musiwalo (informants). / M. Mus. / Art History, Visual Arts and Musicology

This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called “The Folk Music Vogue”, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s. Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician. In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians. I am focusing on their personal relationship to the Swedish folk music climate of today, as well as to the Folk Music Vogue of the 70s. The essay also focuses on the interpretation of traditional folk tunes, which leads us further on into the folk music tradition itself. During the 70s there was a young generation of fiddlers, which my informants was a strong part of, who was questioning the old values of the traditional folk music. With new kinds of perspectives and with different values this young generation changed the values in the tradition and through this, the folk musical climate became more open minded than before. One of my main conclusions in this essay is that my informants have been changing their relationship to the style of folk music as well as to the field of folk music. They have been changing their point of view, and these changes is mainly a result of the developments that have occurred in the style and on the field of folk music, after the era of the Folk Music Vogue, and further on up to this very date. These changes have also been affecting their personal relationship to their own musicianship. The history chapter of this essay will give the reader relevant information about the Swedish folk music history. Throughout the history the reader will get a bigger picture of the circumstances before and meanwhile the time of the Folk Music Vogue. The answers of my informants are compared to this history but firstly I have been comparing them with each other, and thereby answer the main questions of this essay.

<p>This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called “The Folk Music Vogue”, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.</p><p>Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.</p><p>In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians. I am focusing on their personal relationship to the Swedish folk music climate of today, as well as to the Folk Music Vogue of the 70s.</p><p>The essay also focuses on the interpretation of traditional folk tunes, which leads us further on into the folk music tradition itself. During the 70s there was a young generation of fiddlers, which my informants was a strong part of, who was questioning the old values of the traditional folk music. With new kinds of perspectives and with different values this young generation changed the values in the tradition and through this, the folk musical climate became more open minded than before.</p><p>One of my main conclusions in this essay is that my informants have been changing their relationship to the style of folk music as well as to the field of folk music. They have been changing their point of view, and these changes is mainly a result of the developments that have occurred in the style and on the field of folk music, after the era of the Folk Music Vogue, and further on up to this very date. These changes have also been affecting their personal relationship to their own musicianship.</p><p>The history chapter of this essay will give the reader relevant information about the Swedish folk music history. Throughout the history the reader will get a bigger picture of the circumstances before and meanwhile the time of the Folk Music Vogue. The answers of my informants are compared to this history but firstly I have been comparing them with each other, and thereby answer the main questions of this essay.</p>

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 103-106).

This study probes the state of psalm-singing in the Nederduitse Gereformeerde Kerk (Dutch Reformed Church) in South Africa and Namibia during 2007-2008. First, the history of psalm-singing, from its Old Testament origin to its contemporary use in South Africa, is researched. Highlights of its development, as well as low points where congregational psalm-singing all but died out, are researched in order to establish the causes of the current situation. The essence of the study involves an empirical study to determine the frequency of use and functionality of psalms. The results of different approaches all show that to a large extent, psalms have fallen in disuse in this church and that, with the exception of only a small number of psalms, they are becoming extinct. However, in criticism against the Liedboek van die Kerk (Songbook of the Church) (2001) a number of important problems were emphasised, according to which conclusions and recommendations are made. The most prominent cause of the problem is identified as the cultural difference between the existing psalm tradition and the intelligibility of the members of the church. The reason for this problematic situation is traced back to the one-sided application of fixed norms. Based on these, research is done to determine which factors should be taken into account in terms of the receptiveness of church-goers to accommodate these norms as adaptable norms. These factors are explained, ways to apply them are discussed and recommendations are made accordingly. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.

This study probes the state of psalm-singing in the Nederduitse Gereformeerde Kerk (Dutch Reformed Church) in South Africa and Namibia during 2007-2008. First, the history of psalm-singing, from its Old Testament origin to its contemporary use in South Africa, is researched. Highlights of its development, as well as low points where congregational psalm-singing all but died out, are researched in order to establish the causes of the current situation. The essence of the study involves an empirical study to determine the frequency of use and functionality of psalms. The results of different approaches all show that to a large extent, psalms have fallen in disuse in this church and that, with the exception of only a small number of psalms, they are becoming extinct. However, in criticism against the Liedboek van die Kerk (Songbook of the Church) (2001) a number of important problems were emphasised, according to which conclusions and recommendations are made. The most prominent cause of the problem is identified as the cultural difference between the existing psalm tradition and the intelligibility of the members of the church. The reason for this problematic situation is traced back to the one-sided application of fixed norms. Based on these, research is done to determine which factors should be taken into account in terms of the receptiveness of church-goers to accommodate these norms as adaptable norms. These factors are explained, ways to apply them are discussed and recommendations are made accordingly. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.

Art, health and faith.. These three topics are the main elements of the thesis. I am interested in the point when faith and art meet and offer to a person support certainty or hope. In the thesis I deal with the phenomenon of searching places of pilgrimage, which spiritually fulfilled people and in time those places have become the reflection of culture and mentality of a nation. Exactly in these places happened miraculous recoveries the most often and because of it, the people started believing in strength and magic. The thesis examines if even today we visit cultural and artistic events with the same ambition and energy as the original pilgrims. The basic element of my final part is the video of my personal places of pilgrimage which I visited within the last year. The second part deals with my newly founded online gallery which maps modern forms of pilgrimage. The whole installation is supported by the third part which is my pilgrim coat which I customized during my last travels to suit my needs.