Thesis (MMus) -- Stellenbosch University, 1986. / INLEIDING: Die Sangfees op Stellenbosch is tans nog’n belangrike jaarlikse musiekaktiwiteit en studente-geleentheid. Die vrae rondom die geskiedenis daaragter was die aansporing tot die studie, en met hierdie ondersoek sal gepoog word om vrae te beantwoord soos die volgende: (1) Watter faktore het aanleiding gegee tot die ontstaan; (2) wanneer en deur wie is die Sangfees gestig; (3) hoe het die heel eerste Sangfees daar uitgesien; (4) hoe is dit met verloop van jare georganiseer en deur wie; (5) neem dit tans nog dieselfde vorm aan as destyds; (6) hoe belangrik was die Sangfees tydens die aanvangsjare en watter plek beklee dit teen 1980 in die Stellenbosse musieklewe. Daar sal ook gelet word op die reaksie wat die Sangfees ontlok het, hetsy deur musiekkenners, die pers, studenterade, die studente self, dit wil sê almal wat deur die jare daarby betrokke was. 'n Ander belangrike aspek wat nagevors sal word is die musiek wat tydens Sangfees uitgevoer is sedert die ontstaan tot en met 1980. Het die styl van die Sangfeesprogramme mettertyd verander en indien weI, wat was die aard van die veranderinge?

Estonian national identity is defined by its centuries-long struggle forindependence and autonomy. This thesis examines this struggle and resulting identity through the lens of the laulupidu, or song festival, and its employment as a vehicle of political mobilization and re-constructor of Estonian history. Regarding folklore, in this case festivals and folk songs, as containers of the soul of the nation, I show how Estonians have produced and reproduced their national identity through the practice which they hold sacred: choral singing. I implemented a critical geopolitical approach coupled with Billig’s concepts of ‘hot’ and banal nationalism, and Paasi’s focus on independence, to study the 2014 song festival, entitled “Touched by Time. The Time to Touch.” Utilizing the song selection from the 2014 festival and comparing it against the programs from festivals ranging from 1869-2009 (from which selections were gleaned for the 2014 event), this thesis shows how Estonian national identity and historical memory are reconstructed through the symbolic choice of song.

Siekiama išanalizuoti dainų švenčių poveikį šiuolaikinei Lietuvos kultūrai. Apžvelgus Dainų švenčių įstatymo (2007), Dainų švenčių tradicijos 2007-2011 metų tęstinumo programos patvirtinimo, internetinių svetainių (llkc.lt dainusventes.lt, unesco.lt), sub-regioninių konferencijų rezoliucijų (2005-2007) turinius paaiškėjo, jog dažniausiai minimos dainų šventės, švenčių tradicijos, tęstinumas ir ugdymas. Apklausus Lietuvos gyventojus išsiaiškinta, kad dainų šventės reikšmingos dėl puoselėjamų vertybių ir tradicijų, etninės kultūros pristatymo, tačiau pačios šventės siejamos su pažintimis, laisvalaikiu, kolektyvinėmis pramogomis ir pakiliais jausmais. Šiuolaikinės melodijos nėra itin vertinamos. Dainų šventės daro teigiamą poveikį visuomenei (psichologiškai saugo nuo išmykimo grėsmės). Teigiamos nuomonės formavimui pasitelkiama žiniasklaida, visuomenės ugdymas ir integravimas, renginiai susiję su dainų švenčių tradicijos tęstinumu. / The goal of the study is to analyze the influence of song festivals on the contemporary Lithuanian culture. The Song Festival Law (2007), Approval of the Song Festival Tradition Continuity Programme for 2007-2011, internet websites (llkc.lt, dainusventes.lt and unesco.lt) and sub-regional conference resolutions (2005-2007) were reviewed and conclusions were drawn that song festivals, festival traditions and its continuity and development were regarded the most. Lithuanian residents were surveyed and it became clear that song festivals are valued highly for the values and traditions that they uphold and the representation of ethnic culture. Also, the festivals were linked to new acquaintances, leisure time, group activities and elevated mood. However, contemporary pieces are not highly valued. Song festivals have a positive impact on the society (they provide psychological protection from the threat of disappearance). To form positive opinion the following tools are employed: press, society education and integration and events related to the continuity of song festival tradition.

Made available in DSpace on 2016-04-28T19:33:37Z (GMT). No. of bitstreams: 1 Anaiza Rodrigues da Silva.pdf: 2512988 bytes, checksum: 8c2b4f80d8950d43eec8c8a9ebd0f179 (MD5) Previous issue date: 2012-10-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The song festivals held in Brazil between 1965 and 1985, became a historical, cultural and political landmark of our country, considered today as one of the most creative moments of our popular music. They revealed great MPB talents and brought to light beautiful compositions that boldly defied the rules imposed by the military government. During the military dictatorship, censorship acted strongly against all forms of communication and cultural expression, especially music. Artists were imprisoned, tortured, exiled. Compositions were banned or had their lyrics changed so they could go public. Despite censorship and repressive means used by the military government, many composers do not shut up and continued to convey, through music, their message of protest. To be able to say what they wanted, but could not, these composers have relied on language resources that deserve to be studied. Through implicit contents these songs could pass the scrutiny of censorship and, while carrying the message to the public, who learned to read between the lines. We seek with this research demonstrate which language resources which enabled the implicit assumptions and implied and specifically how they are identifiable in the text. We found that to understand the implied collaborate factors beyond the structural aspect of language. In this sense, besides the marks highlighted in the text, contribute the context of enunciation, the intertext, the encyclopedic knowledge, the reader's expectations. We conclude that the implicit feature was much explored by composers since the creation of meaning to content implicit is the responsibility of the reader, allowing the enunciator deny responsibility for what was said / Os festivais da canção, realizados no Brasil entre 1965 e 1985, tornaram-se um marco histórico, cultural e político de nosso país, considerado até hoje como um dos momentos mais criativos da nossa música popular. Revelaram grandes talentos da MPB e trouxeram à luz belíssimas composições que desafiaram corajosamente as regras impostas pelo governo militar.Durante a ditadura militar, a censura agiu fortemente contra todos os meios de comunicação e de expressão cultural, especialmente a música. Artistas foram presos, torturados, exilados. Composições foram proibidas ou tiveram suas letras modificadas para que pudessem ir a público.Apesar da censura e dos meios repressores utilizados pelo governo militar, muitos compositores não se calaram e continuaram a transmitir, por meio da música, sua mensagem de protesto.Para poder dizer o que queriam, mas não podiam, esses compositores valeram-se de recursos linguísticos que merecem ser estudados. Por meio de conteúdos implícitos puderam passar pelo crivo da censura e, ao mesmo tempo, levar a mensagem ao público, que aprendeu a ler nas entrelinhas.Procuramos com esta pesquisa demonstrar quais os recursos linguísticos que permitiram criar os implícitos, especificamente pressupostos e subentendidos, como são identificáveis no texto e seu reflexo na criação de sentido. Verificamos que para a compreensão do subentendido colaboram fatores que vão além do aspecto estrutural da língua. Nesse sentido, além das marcas evidenciadas no texto, contribuem o contexto de enunciação, o intertexto, o conhecimento enciclopédico, as expectativas do leitor. Concluímos que o implícito foi recurso muito explorado pelos compositores, já que a criação de significado para esse conteúdo é de responsabilidade do leitor, permitindo ao enunciador negar a responsabilidade sobre o que foi dito

Indiana University-Purdue University Indianapolis (IUPUI) / Expressions of German-American culture in Indianapolis reached a high point in the first decade of the twentieth century. Social clubs such as the Socialer Turnverein and the Maennerchor enriched the city’s cultural life through musical performances and athletic classes and provided a social outlet for their members. During this decade, these clubs played a large role in organizing two national festivals held in Indianapolis: a Turnfest (gymnastics festival) in 1905 and a Saengerfest (singing festival) in 1908. Examining the planning and implementation of the Turnfest and Saengerfest sheds light on how club leaders responded to their social and political environment at the beginning of the twentieth century, how the respective clubs’ members conceived of their ethnic and club identities, and how they represented these identities in the festivals.