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The musical activities of Filipino domestic helpers in Hong Kong in the dual scared [i.e. sacred] and secular contexts.January 2007 (has links)
Cheng, Kam Lam Canny. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 135-144). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / List of Abbreviations --- p.vi / List of Figures --- p.vii / List of Examples --- p.x / List of Tables --- p.x / Maps --- p.xi / Chapter Chapter One: --- Introduction Overview --- p.1 / Filipino Migration / The Filipinos as Diaspora / Theoretical Framework and Literature Review / Methodology / Where is the Field? / Language / Terminology and Stereotypes: Names Used for Filipino/as in Hong Kong / "Social Status, Social Relationships, and Time and Space Constriants" / Overview of the Thesis and Objectives of the Study / Chapter Chapter Two: --- "The Population, Employment and Soundscape of Filipino and Filipina Domestic Helpers in Hong Kong" --- p.31 / Immigration and Employment / Musicality of the Filipinos / The Role of Filipinos in Hong Kong's Musical Scene / "The Soundscape of Hong Kong, a Graphic Illustration" / Chapter Chapter Three: --- Sacred Contexts --- p.42 / "Detailed ""Sacred"" in this Thesis" / The Hong Kong Catholic Diocese and Music of the Chinese Masses / Clerical Support for the Filipino Catholic Community in Hong Kong / Profiles of Five Churches / Detailed Case Study of Two Churches / Selected Examples from Other Hong Kong Church Choirs / "Justification of ""Filipinoness""" / The Impact of Filipino Religious on the Musical Practice of Hong Kong Chinese Parishes / The Impact of Filipino Popular Music on Hong Kong Filipinos' Sacred Music / A Side Trip to the Philippines / Chapter Chapter Four: --- Secular Contexts --- p.83 / Marking Their Piece of Territory / Chater Road: Chater Square and Statue Square / Kantaka (Singing Contests) / Concert in the Park / Culture in Motion / Cultural Initiatives by the Philippine Consulate in Hong Kong / Asia Gathering / Catholic Prayer Gathering / Radio Broadcasts / Buying Recordings / Karaoke / The Hong Kong Musicians Union / Commercial Sponsors for Filipino Musical Activities / The Cordillera Men's Club / Chapter Chapter Five: --- Musical Involvement of the Filipions in Hong Kong during the Anti-World Trade Organization Campaign --- p.115 / Singing of the Filipinos / Chapter Chapter Six: --- Epilogue --- p.127 / Bibliography --- p.135
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Subject to change: nine constructions of the crossover between Western art and popular musics (1995-2005)Millington, Aliese January 2008 (has links)
Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study considers the crossover between Western art music string instruments and popular musics in the context of extra-musical promotion and critical reception. It examines four artists in the period 1995 to 2005. These four examples are: U.K./Australian string group bond; Australian string group FourPlay; U.K. violinist Nigel Kennedy; and U.K. violinist Vanessa-Mae. It also draws on other relevant cases to illuminate the discussion. The primary aim of the study is to discover and analyse the complex ways that parties engage, consciously or unconsciously, with the term “crossover”. The inherent complexity of the term is not commonly captured by scholarly musical writing since crossover is often regarded simply as a marketing term. The study begins by establishing the scholarly and popular context of the crossover between the Western art music string tradition and popular forms. Nine constructions or layers of meaning evoked by the term “crossover” are then identified. In the context of each of these nine constructions, the work continues by exploring how the term “crossover” is used in the promotion and critical reception of the examples. It is argued that crossover is constructed as a marketing category, to mark individuality, to provide media shortcuts and signposts, to evoke associations of prestige and of credibility, to increase accessibility, to encourage confrontation and to take part in larger musical debates. This research thus identifies multiple layers of meaning evoked by the term that are “subject to change” and that, in turn, illuminate deeper social and cultural implications of “crossingover”, ones which no doubt themselves continue to change. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1338922 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008
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An Investigation of the Relationship Between Seventh, Tenth, and Twelfth Graders' Participation in School Choir and Their Perceived Levels of Self-Concept and Social SupportMurdock, Mervin Charles 05 1900 (has links)
The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significant differences of self-concept and social support to choir participation alone.
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Songwriting in adolescence : an ethnographic study in the Western CapeVan Rensburg, Adriana Janse 12 1900 (has links)
Thesis (D. Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of
adolescent songwriting phenomenologically to ascertain the implications for
music education. Secondary aims and research questions include ascertaining if
and to what extent songwriting in adolescence serves as medium for emotional
expression, self-therapy, socio-cultural cohesion and informal learning. Other
secondary research aims are establishing the quality of the creative product and
determining the implications for music education curricula in keeping with
current curriculum development strategies.
Adolescents’ engagement in music is considered as a socio-cultural
phenomenon. Individuals’ interaction with music is thus considered on Doise’s
(1986:10-16) four levels of social explanation: the intra-personal, the interpersonal,
the positional level and the ideological level. On the intra-personal level
music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy
and mood control and technology of the body. On the inter-personal
level music is discussed as a form of self-expression serving as communicative
form. On the positional level music’s role in bonding between individuals,
namely social cohesion, is expounded. Lastly, on the ideological level, music is
considered as part of youth, youth culture and cultural identity.
The compositional (songwriting) process is analyzed. Compositional modes,
individual and collaborative, are identified and described and the creative process
namely composing, is delineated according to creativity, creativity as social
formation, creativity as process and the role and nature of informal learning.
Adolescents use the process of songwriting to establish and enhance social
cohesion, to further communication and expression with peers and to exert
creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General
perspectives and theories about musical analysis are addressed to include a
broader, socio-cultural view of analysis to analyze adolescent music. The musical
and lyrical features are analyzed within the context of their socio-cultural setting.
The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an
evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of
popular music analysis are applied in combination with Goodwin’s (1992) soundimage
model, synaestesia, to expand on the socio-cultural context of popular
music analysis. The implications of musicology namely “formal music
education” versus popular music styles and the effects of formal and informal
learning strategies on songwriting are considered. A new understanding of
musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role
that locality plays in this analysis is expounded. The role of notation and playing
by ear is set out to validate the adolescents’ creative product.
The research methodology employed in this research include group discussion,
observation, experience sampling method (adapted from Larson &
Csikszentmihalyi, 1983) and individual interviews and are described according to
methodology, results and analysis of the results.
General perspectives on music education curricula are considered in light of the
possible contribution songwriting, as an informal learning activity, could bring to
music education as composition is currently a high priority in international music
education discourse and features prominently in current curricula.
Recommendations and conclusions are made. / AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf
in adolessensie fenomenologies te beskryf om sodoende die implikasies vir
musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in
die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir
emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer.
Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die
kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met
inagneming van huidige kurrikulumontwikkeling strategieë.
Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele
fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise
(1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die
inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike
vlak word musiek beskou as ‘n tegnologie van die self (DeNora,
2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n
tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek
bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm.
Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s.
sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg
as deel van jeug, jeugkultuur en kulturele identiteit.
Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele
metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die
kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit,
kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van
informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale
binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n
informele leeromgewing uit te oefen.
Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf.
Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n
breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese
eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO
Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie
prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van
populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se
klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van
populêre musiekanalise. Die implikasies van musikologie, “formele
musiekopvoedkunde” versus populêre musiek en die effek van formele en
informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van
musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en
die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op
gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig.
Die navorsingsmetodologie toegepas in hierdie navorsing sluit in
groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van
Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf
volgens metodologie, resultate en die analise van die resultate.
Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en
prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene
perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die
moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan
musiekopvoedkunde kan bring.
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Reimagining the city, rewriting narratives: music, suburban youths, and inner city redevelopment in Johannesburg, circa 2015Mullins, Amanda January 2016 (has links)
A thesis submitted to the Faculty of Humanities,
University of the Witwatersrand, Johannesburg,
in fulfilment of the requirements for the
Degree of Master of Arts by Research in Music
Johannesburg 2016 / This research explores the influence that inner city redevelopment in Johannesburg has had on both
its music scenes and the identities of those participating in the music scenes, particularly young
participants from Johannesburg’s suburbs who did not interact with the city before its
redevelopment. Understanding the city’s history as well as the current lived and imagined divides
between its suburbs and inner city illuminates its fragmented nature and informs the significance of
the presence of suburban youths in today’s inner city music scenes. Personal and collective
narratives gathered from participants of these inner city music scenes provide insight into the city’s
spatial, social, and musical transitions, adding subjective voices to the city’s complex and ever-evolving
history. The use of culture-led regeneration (within cultural clusters), as a model of
redevelopment, has aided in the success of attracting new audiences to the inner city once eschewed
by suburbanites, providing grounds for new experiences and interactions within an increasingly
diverse social sphere. Due to this, the music’s diversity within these spaces is expanding too. The
role of music – and in particular, alternative music – in enticing suburban youths to the inner city
requires an understanding of why ‘alternative’ (or arguably, creative) people are often drawn to
urban spaces, and in doing so, often become main contributors to the accomplishments and successes
of redevelopment initiatives. Examining social interactions and relationships within the inner city, in
comparison to those in suburban Johannesburg, exposes a unique and highly valued manner of
communal bonding amongst participants that is often tied to involvement in similar music scenes.
The experience of the inner city, the experience of music in the inner city, and the experience of a
community of like-minded people within the inner city all combine to create new discourses about
Johannesburg, as well as impacting on the identities and experiences of those contributing to these
discourses. Transforming city. Transforming music. Transforming people. / GR2017
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The practice of marginality: a study of the subversiveness of Blackbird.January 1999 (has links)
Lee Ying Chuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 104-110). / Abstracts in English and Chinese. / Chapter Chapter One --- Introduction --- p.6 / Chapter Chapter Two --- Literature Review --- p.13 / Chapter Chapter Three --- Mapping the Local Sound Scape --- p.29 / Chapter Chapter Four --- Blackbird: A living Song --- p.54 / Chapter Chapter Five --- Freedom of Art as Freedom of Life --Cultural Discourse as Political Activity --- p.80 / Chapter Chapter Six --- Concluding Remarks --- p.95 / Postscript --- p.98 / Appendix --- p.101 / References --- p.104
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香港「兒歌」與香港社會文化研究(一九八零-). / 香港兒歌與香港社會文化研究(一九八零-) / Study of Hong Kong yi goh and Hong Kong social culture after 1980s / Xianggang "er ge" yu Xianggang she hui wen hua yan jiu (yi jiu ba ling-). / Xianggang er ge yu Xianggang she hui wen hua yan jiu (yi jiu ba ling-)January 2007 (has links)
杜綺明. / "2007年12月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 90-96). / "2007 nian 12 yue". / Abstract also in English. / Du Qiming. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 90-96). / 摘要 --- p.iii / 目錄 --- p.iv / Chapter 第一章 --- 導論 --- p.1-10 / Chapter 第二章 --- 民族音樂學與香港「兒歌」的硏究 --- p.11-19 / Chapter 第三章 --- 從歷史看「幼童時期」Childhood的槪念與香港「兒歌」 的關係 --- p.20-35 / Chapter 第四章 --- 中國兒童歌謠與香港電視「兒歌」 --- p.36-48 / Chapter 第五章 --- 香港電視廣播有限公司與香港「兒歌」的發展 --- p.49-73 / Chapter 第六章 --- 校園裡兒歌與兒童生活及成長 --- p.74-81 / Chapter 第七章 --- 總結 --- p.82-89 / 書目 --- p.90-96
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The performance of history : music, identity and politics in Berlin, 1800-1815Hambridge, Katherine Grace January 2013 (has links)
No description available.
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Cantonese popular song in Hong Kong in the 1970s: an examination of musical content and social context inselected case studiesMan, Oi-kuen, Ivy. January 1998 (has links)
published_or_final_version / Music / Master / Master of Philosophy
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Word, sound and power : Rastafari and conceptions of musical meaning in roots reggae musicMacaulay, David E. (David Edward) January 1993 (has links)
Reggae is a popular musical form that originated in Jamaica in the late 1960's and soon came to be closely associated with the oppositional, Afrocentric Rastafarian movement. During the 1970's it achieved global popularity and is now produced in many locations around the world. In Montreal, reggae is produced by and for a cosmopolitan community; however, certain conceptions of the distinctiveness of this music as an effective intervention in social processes, derived from Rastafarian philosophy, are maintained by its performers. This thesis examines reggae song lyrics and elements of discourse about reggae music in relation to Rastafarian cultural practices, showing how the aesthetic conventions of the form involve a certain ritualization of musical activity that allows for the interpretation of aesthetic experience in terms of solidarity, resistance and historical progress.
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