The thesis analyzes the role of politicized music of Kurdish music groups (koms) that emerged in the 1990s in the construction of Kurdish identity. The relation between politics and music is analyzed in the framework of the relation between nationalism and music and political movements&#039 / relation to music. Through koms&#039 / politicized music, the movement communicated its cause, told the struggle of the movement and aimed to mobilize the masses. In addition to this, music has functioned as a field where the collective identity of the movement as well as the Kurdish identity is constructed. As the Kurdish movement did not possess the institutional and ideological apparatuses of the national state in its national identity construction process, music started to play an important role. Through modernization of Kurdish folk music, the identity is constructed as a modern and authentic one. In addition, with the political lyrics of the songs, the national elements such as common language, common history and the imagined territory are constructed, popularized, and canonized. Despite their counter-hegemonic position, koms have articulated elements of the hegemonic discourses as well.

Thesis (M.A.)--University of Alberta, 2010. / Title from PDF file main screen (viewed on Feb. 8, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Department of Music, University of Alberta. Includes bibliographical references and discography.

Thesis (Ph. D.)--Ohio State University, 2007. / Full text release at OhioLINK's ETD Center delayed at author's request

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Detta examensarbete har, inspirerat av diskursteori, syftat till att fördjupa kunskaper om körmetodik för erfarenhetsmässigt blandade körgrupper. Utgångspunkterna har varit ämnena motivation, frivillig kontra obligatorisk musikundervisning, enskilt och kollektivt musicerande, Self Determination Theory, nivågruppering, gamifiering, skolans roll i samhället, körmetodik, genrer, relationellt arbete och musikens potential till emotionella uttrycksformer, om hur stor vikt det har för unga och vuxna musikutövare. Sex musikgymnasieelever med skilda genreinriktningar och huvudinstrument har intervjuats i två halvstrukturerade gruppintervjuer. Några av samtalsämnena var vad som var mest respektive minst stimulerande i sin obligatoriska körundervisning, och hur eleverna har påverkats som musiker av kören. Resultatet visar på att eleverna har blivit bättre notläsning och gehör, och att de har upplevt undervisningen som musikaliskt givande och lärorik när repertoaren varit stimulerande, repetitionstempot väl avvägt och när repetitioner och konserter har varit roliga att vara med om, på grund av en hög musikalisk nivå. Eleverna har upplevt väntan på andra stämmor som repeterar, ostimulerande repertoar, lektionstid på sena fredagar och för snabbt repetitionstempo i större icke nivågrupperade körgrupper som några av de största problemen. I diskussionen och slutsatserna fastställs, utefter detta examensarbetes omfattning, att ämnesdidaktiskt kompetenta körpedagoger, gott relationellt arbete, nivågruppering, välanpassade repertoarval, inslag av fysisk aktivitet, samt improvisation och komposition är några av verktygen som kan bidra till stärkt motivation och lärande i körsångsundervisning.

The purpuse of my study was to investigate how two preschool teachers creates mening around musik throughout their lives. I wanted to see which experiences thats been meaningful for both their private and professional relationship to music that they have today, if they diverge, and if it´s necessary to have a god relationship to music before their education and their start as a professional preschool teacher. I used life story by interviews as a method which means the participant tells me about their lives, how they experienced, understood and interpreted their world. I have analysed the stories through a whole perspective with focus on the content to understand what experience throughout their lives that´s been especially meaningful in creating the relation that they have to music today. In my study, I have seen that meaningful experiences has been formed by encouraged, stimulated and supported environments and a joyful communion. I have seen that my participants private experiance reflects on their profession, and it also shows that these experiances can come at anytime and anywhere. / Syftet med min studie var att undersöka hur två pedagoger har skapat mening kring musik under hela sitt liv. Jag ville se vilka erfarenheter som varit betydelsefulla för den relation som de har till musiken både privat och i sin yrkesroll som förskollärare idag, om de skiljer sig åt, och om det är nödvändigt att ha bra relation till ämnet innan utbildning och yrkesstart. Jag har använt mig utav livsberättelseintervju som metod vilket innebär att respondenten berättar om sitt liv, hur hen har upplevt, uppfattat och tolkat sin värld. Jag har analyserat berättelsen genom ett helhetsperspektiv med fokus på innehållet för att förstå vilka erfarenheter genom hela livet som varit meningsfulla för respondenterna i skapandet av sin nuvarande relation till musik. I min studie har jag sett att de meningsfulla erfarenheterna som mina respondenter har erfarit har kantats av en uppmuntrande, stimulerande och stöttade miljö, och en glädjefylld samvaro. Jag har sett att respondenternas privata erfarenheter som det skapats mening kring formar yrkesprofessionen, den visar också att respondenten kan få erfara positiva meningsfulla erfarenheter vid olika tider och i olika kontexter.

This thesis presents research on an amateur composer-oriented Bach choir. Its main purpose is to study the development of musical identities and musical preferences of choir members as they take shape through the collective learning process of rehearsing and performing large-scale choral music. The study analyses how the choral participation and performance creates a certain type of ‘choral capital’ (a combination of social and cultural capital within the choral setting) and how the choristers reconstruct and relate to the composer (J.S. Bach) by creating ‘choral identities’ linked to the composer-orientation of their choir. This study is based on an interdisciplinary approach, seeking concepts and ideas from different fields of study – primarily sociology and music sociology (music in everyday life and the concepts of social and cultural capital in the amateur choral setting) but also music psychology regarding concepts of musical and vocal identities, history of music (especially Bach scholars, previous biographical writings about J.S. Bach), music and education (choral singing as informal music education) and interdisciplinary studies on music, health and well-being. The methodological approach of this research consists of a grounded theory based, single case study where the case was the Croydon Bach Choir in London performing J.S. Bach’s Mass in B Minor, using participant observation (where I sang with the choir for one semester) and qualitative interviews as main research methods and gathering demographic background data on choir members via paper-based survey. Whereas significant research on music performances has been conducted, so far choral research, where the direct participation of the researcher as a member of the choir is used as one of the main research methods, is still quite rare. Results indicate that participants develop socio-musical identity both through their choral participation in general, performance experiences and early music consumption in the family household and the emphasis of the importance of choral singing as a fulfilment instead of pursuing a professional career. Through choral singing, participants developed ‘choral capital’ through a) the effects of collective learning on their musical taste and preferences (thus broadening their musical taste and preferences and reconstructing the composer) and b) the well-being factor of collective singing and communal learning through the process of rehearsing and performing the Mass in B Minor. Furthermore, findings indicated that participants construct Bach as a genius and a devout Lutheran, an image that relates to the romantic image of Bach presented in the late 19th – early 20th century biographical writings on the composer. Thus in general, their choral activities form a valuable addition to their social and cultural capital (´choral capital´), which they use as a source of well-being in everyday life. In addition, participants create a certain ‘choral identity’ by relating to the composer-orientation of their choir; the promotional label of Bach as a synonym for quality choral singing and the emphasis of challenging repertoire.