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This study examines changing perceptions of Ecuadorian national identity in the aftermath of the social, economic, and political transformations in Ecuador in the period 1960-2004. By comparing upper-middle-class discourses about Ecuador's lack of international presence in the world, on the one hand, and lowerclass musical practices expressing pride for Ecuadorian national culture, on the other, I seek to understand how Ecuadorians of different racial, ethnic, and social class backgrounds articulate their sense of nationhood. To these ends, I examine the notion of música nacional, a surrogate term for Ecuadorian music, as metaphor for Ecuadorian national identity. I argue that the way this phrase is used, showing the inclusion or exclusion of musical genres associated with the indigenous and the urban-working-class populations, provides information about how different social groups envision the nation's ethnic configuration. First, I analyze how the elites' ideology of mestizaje neglects the indigenous component of the mestizo nation, which is reflected in the nationalization of the pasillo in the 1930s. Then, I examine the emergence and development of música rocolera and música chicha, two styles of music associated with stigmatized working-class and indigenous populations, which emerged in the aftermath of the rural-to-urban migration in the 1970s. Finally, I examine the massive exodus of Ecuadorians to Spain and the United States as a result of the economic crisis in the late 1990s, which coincided with the tecnocumbia boom in Ecuador. I argue that changing perceptions of national identity at the turn of the twenty-first century are musically reflected in the decline of the pasillo, the elite symbol of the nation, and the boom of música chicha. I demonstrate that the naming of the latter as música nacional is symptomatic of the weakening of the socio-cultural hegemony of the uppermiddle classes. The lower classes are de-homogenizing, racializing, and pluralizing perceptions of "Ecuadorianness" through the dissemination of their music at national and international levels. By doing so, they are stressing the indigenous component of the mestizo nation and providing a better picture of the actual configuration of the Ecuadorian nation.

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This study explores the impact of the counter culture on students at two Anglophone universities in the 1960s and 70s. It focuses on the social and historical differences that predisposed English speaking youth to metropolitan based cultures. It explores this in the context of a lack of identity with the dominant culture of apartheid. The study examines the method of transmission, absorption, translation and incorporation of the counterculture and the New Left. The factors that highlighted the differences between South African students and their counterparts abroad are seen not only in their access to technology but also in the nature of their relationship to power both political and educational. The importance of understanding what bred different responses to similar stimuli assists in understanding the process in which the global became local. It is argued here that the attraction of the counterculture lay in the broader cultural scope it gave to expressions of difference and resistance as a response to the rigid and continuous expansion of punitive measures by the apartheid government. The persistence through the 1960s of a liberal framework is examined in the context of a response to these measures as well as a failure to move beyond the racial foregrounding of the political system. The influences of events in the USA, UK and France in 1968 are seen in the context of their importance in South Africa as a catalyst to practical and theoretical change. The significance of individuals as translators of the discourses of the New Left is paralleled in examinations of South African musicians whose lyrics and compositions carried both the ideas of the counter culture as well as expressed responses and issues shared by their audiences. The importance of the coalescing of both the New Left and the counterculture are evident in the early 1970s. Students adopted a Marxist framework within which to analyse South Africa, and the methods of the New Left in France in seeking alliances with workers. This practical approach was an example of the global becoming local and introduced those with access to privileged white education into a reexamination of the role of education in changing society. The counterculture expressed itself in the adoption of both cultural and educational methods of focusing on change as a response both to students relationship to power as well as to the emphasis of the 1960s on a broader more individually expressed ability to embrace change and new values. The study concludes that the framework of the New Left when employed in redefining South African history was central to a process of both economic and cultural change within the country. The absence of a strongly expressed identity suggests the widespread appeal of the central values of the counterculture which emphasized distance and disaffiliation from the dominant culture. The opportunity offered by this position is seen as a response to the political expressions of a racially defined student body against a less obvious but significant change in the definition and role of tertiary education and cultural institutions. / Theses (Ph.D)-University of KwaZulu Natal, Durban, 2010.

This study investigated the nature and extent of implementation of music education in Lesotho primary schools in Maseru district. A case study conducted focused on Mohokare LEC Primary School and Hoohlo ACL Primary School. The findings from the study suggest that teachers at both schools had a relatively positive attitude towards music education and that they think the subject area should be taught in their schools. However, they suggest that effective implementation of the subject is hampered by several structural, contextual and curricular factors in the education system and the schools themselves. For example, preparations for implementation of music education were not sufficient (e.g., human and other resources were not in place). Teachers were not adequately trained in the subject itself as well as in its pedagogy. This has implications for the Ministry of Education and Training (MoET) to strengthen pre-service and in-service music education. In addition, a clear music education policy should be drawn up to guide schools and district offices in the implementation of music education. This should be followed by a provision of adequate and appropriate resources needed for the process. / Thesis (M.Ed.)-University of KwaZulu-Natal, Durban, 2004.

Chapter one began with an introduction to the rhetorical study of Paul Simon's Graceland album. The events which led to the recording and release of the album were discussed, showing the significance of the album in the context of 1985-86, and research questions were posed, showing the focus of the study. Furthermore, the definition of rhetoric was given beginning with Aristotle's "the faculty of observing in any given case the available means of persuasion" (Rhetoric I: 1356a) through the advancements made by the National Development Project on Rhetoric, which included music in the study of rhetoric. Finally the literature review included articles which showed the relationship between music and rhetorical theory, and James Irvine and Walter Kirkpatrick's six musical variables along with Ernest Bormann's method of fantasy theme analysis were discussed for the purposes of critical analysis. Chapter two presented the historical, political, and social contexts surrounding the recording and release of Graceland. Most importantly, U.S. attempts to intervene in the affairs of South Africa as well as musical attempts at intervention were discussed as background material to understand more clearly the impact of the Graceland album.Chapter three moved from the context to the people involved on Graceland. Paul Simon's and Ladysmith Black Mambazo's musical careers and interests were recounted. The importance of Paul Simon in boosting the careers of Ladysmith Black Mambazo as well as concert co-stars Miriam Makeba and Hugh Masekela was also emphasized.Chapter four presented the critical analysis. First the album analysis based on the musical variables of James Irvine and Walter Kirkpatrick was discussed. What was found on the album itself seemed very innocent and nonsensical; thus, the importance of the media and the ideas it imposed became very clear. However, the major section of analysis involved the identification of mediated fantasy themes based on Ernest Bormann's method of fantasy theme analysis. Chronologically, characters, plots, and settings were portrayed, which helped to explain the development of Graceland as a rhetorical drama. Finally, one overarching rhetorical vision was identified, "The Unification of an Unaware Public," which was evident throughout the drama.Chapter five concluded the findings of the study. Because of the unrealistic goals that the media placed on Graceland, the many successes that came as a result of Paul Simon and Graceland were overshadowed by political controversy. Thus, the impact of the media on the outcome of persuasive events is of the utmost importance to consider. / Department of Speech Communication