Energy Efficiency in the Caribbean
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An Ethnography of African Diasporic Affiliation and Disaffiliation in Carriacou: How Anglo-Caribbean Preadolescent Girls Express Attachments to Africa
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses August 2015 An Ethnography of African Diasporic Affiliation and Disaffiliation in Carriacou: How Anglo-Caribbean Preadolescent Girls Express Attachments to Africa Valerie Joseph University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Social and Behavioral Sciences Commons Recommended Citation Joseph, Valerie, "An Ethnography of African Diasporic Affiliation and Disaffiliation in Carriacou: How Anglo-Caribbean Preadolescent Girls Express Attachments to Africa" (2015). Doctoral Dissertations. 370. https://doi.org/10.7275/6962219.0 https://scholarworks.umass.edu/dissertations_2/370 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. AN ETHNOGRAPHY OF AFRICAN DIASPORIC AFFILIATION AND DISAFFILIATION IN CARRIACOU: HOW ANGLO-CARIBBEAN PREADOLESCENT GIRLS EXPRESS ATTACHMENTS TO AFRICA A Dissertation Presented By Valerie Joseph Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2015 Department of Anthropology © Copyright by Valerie Joseph 2015 All Rights Reserved AN ETHNOGRAPHY OF -
Creolizing Contradance in the Caribbean
Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean. -
Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom. -
Danielle Sirek, Phd Candidate [email protected] 418-5340 Supervisor: Dr
MUSICKING AND IDENTITY IN GRENADA: STORIES OF TRANSMISSION, REMEMBERING, AND LOSS DANIELLE DAWN SIREK A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by the Manchester Metropolitan University December 2013 For my family, for my colleagues, for my students: May you find stories of ‘who you are’, and feel connected to others, through your musicking ii Acknowledgements I am grateful for the unending support, academic and personal, that I have received throughout the research and writing of this dissertation. Firstly I would like to thank my husband Adam Sirek, my parents Kim and Marius LaCasse, and my father- and mother-in-law Jan and Elizabeth Sirek, who have been my constant support in every possible way throughout this journey. My thankfulness to you is immeasurable. And to my baby Kathryn, whose smiles were a constant source of strength and encouragement, my thanks and love to you. I would like to express my sincere gratitude to my co-supervisory team, Drs Felicity Laurence and Byron Dueck, who devoted seemingly unending hours closely analysing my thesis, discussing ideas with me, and providing me with encouragement and inspiration in many more ways than just academic. I am truly grateful for their guidance, expertise, and for being so giving of their time and of themselves. I learned so much more than research techniques and writing style from both of them. -
"All That Glitters Is Not Junkanoo": the National Junkanoo Museum And
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 "All That Glitters Is Not Junkanoo" the National Junkanoo Museum and the Politics of Tourism and Identity Ressa MacKey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE “ALL THAT GLITTERS IS NOT JUNKANOO” THE NATIONAL JUNKANOO MUSEUM AND THE POLITICS OF TOURISM AND IDENTITY By RESSA MACKEY A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded Fall Semester, 2009 The members of the committee approve the thesis of Ressa Mackey defended on August 18, 2009. __________________________________ Roald Nasgaard Professor Directing Thesis __________________________________ Karen Bearor Committee Member __________________________________ Michael Carrasco Committee Member Approved: _______________________________ Adam Jolles, Co-Chair, Department of Art History _______________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above-named committee members. ii To Michael and Abigail iii ACKNOWLEDGMENTS First and foremost, I would like to thank the members of my committee, Roald Nasgaard, Karen Bearor, and Michael Carrasco, whose guidance and patience tremendously benefitted my project. I am also grateful for the opportunities afforded to me by the Penelope E. Mason Grant, which enabled me to witness the Junkanoo festival and interview several of the Junkanoo artists. My understanding of the festival was truly enriched by the testimonies provided by Stan Burnside, Angelique McKay, Mornette Curtis, Jackson Burnside, and Eddy Dames. -
Sonic Modernities of Our Present By
Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present by Mark V. Campbell A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Sociology and Equity Studies Ontario Institute for Studies in Education University of Toronto © Copyright by Mark V. Campbell 2010 Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present Doctor of Philosophy 2010 Mark V. Campbell Sociology and Equity Studies University of Toronto Abstract Far from simply playing music, the turntable has, in recent decades, been transformed into a musical instrument. Those that play these new instruments, called Turntablists, alter existing sounds to produce new sonic arrangements, exceeding the assumed use value of the turntable. The turntable’s transformation from record player to instrument captures one of the ways in which Afrosonic sound making activities refuse to conform to existing paradigms of music making in the western world. Throughout the African diaspora, it has been the musics from various regions and nations that continually capture the attention of the world’s music connoisseurs. This dissertation examines the ways in which careful consideration of the sonic innovations in Afrodiasporic cultures produce alternative paradigms through which we might analyze contemporary life. The following chapters interrogate turntablism, remix culture and hip hop music as subtexts that elaborate a foundational narrative of Afrodiasporic life. These subtexts are used as tools to examine the various ethnoscapes of Black Canadian life, official multiculturalism and notions of home within the African diaspora in Canada. The dominant narrative of the African diaspora explored in this work, housed within the sonic, elaborates a relational conception of freedom and modernity born out of the ii particularities of Afrodiasporic life in the west. -
Mother/Motherland in the Works of Jamaica Kincaid
027+(5027+(5/$1' ,1 7+( :25.6 2) -$0$,&$ .,1&$,' 7pVLVÃGRFWRUDOÃSUHVHQWDGDÃSRU 6DEULQDÃ%UDQFDWR SDUDÃODÃREWHQFLyQÃGHOÃWtWXORÃGH 'RFWRUDÃHQÃ)LORORJLDÃ$QJOHVDÃLÃ$OHPDQ\D 'LULJLGDÃSRUÃODÃ'UDÃ.DWKOHHQÃ)LUWKÃ0DUVGHQ 3URJUDPDÃGHÃGRFWRUDGR 5HOHFWXUHVÃGHOÃ&DQRQÃ/LWHUDUL ELHQLRÃ 8QLYHUVLWDWÃGHÃ%DUFHORQD )DFXOWDWÃGHÃ)LORORJLD 'HSDUWDPHQWÃGHÃ)LORORJLDÃ$QJOHVDÃLÃ$OHPDQ\D 6HFFLyÃG¶$QJOpV %DUFHORQDÃ A Matisse, con infinito amore &RQWHQWV $&.12:/('*0(176 &+5212/2*< ,1752'8&7,21 &+$37(5Ã $WÃWKHÃ%RWWRPÃRIÃWKHÃ5LYHU: M/othering and the Quest for the Self &+$37(5Ã $QQLHÃ-RKQ: Growing Up Under Mother Empire &+$37(5Ã $Ã6PDOOÃ3ODFH: The Legacy of Colonialism in Post-Colonial Antigua &+$37(5Ã /XF\: Between Worlds &+$37(5Ã 7KHÃ$XWRELRJUDSK\ÃRIÃ0\Ã0RWKHU: The Decolonisation of the Body &+$37(5Ã 0\Ã%URWKHU: The Homicidal Maternal Womb Revisited &21&/86,21 %,%/,2*5$3+< $FNQRZOHGJPHQWV I give endless thanks to my dear friend and supervisor, Professor Kathleen Firth, for having encouraged the writing of this work and carefully revised it, as well as for suggestions that always respected my intentions. To Isabel Alonso I owe heavy doses of optimism in difficult times. Thanks for having been my best friend in my worst moments. I am infinitely grateful to Matteo Ciccarelli for the help, love and protection, the spiritual sustenance as well as the economic support during all these years, for preventing me from giving up and for always putting my needs before his. During the years I have been preparing this thesis, many people have accompanied me on the voyage to discovery of the wonderful mysteries of books. Thanks to Raffaele Pinto, Annalisa Mirizio and the other friends of the seminar on writing and desire for the enlightening discussions over shared drinks and crisps. -
The Choral Music of Noel Dexter
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-1-2015 A Jamaican Voice: The Choral Music of Noel Dexter Desmond A. Moulton University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, Music Theory Commons, and the Other Music Commons Recommended Citation Moulton, Desmond A., "A Jamaican Voice: The Choral Music of Noel Dexter" (2015). Dissertations. 112. https://aquila.usm.edu/dissertations/112 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi A JAMAICAN VOICE: THE CHORAL MUSIC OF NOEL DEXTER by Desmond Moulton Abstract of a Dissertation Submitted to the Graduate School of the University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts August 2015 ABSTRACT A JAMAICAN VOICE: THE CHORAL MUSIC OF NOEL DEXTER by Desmond Moulton August 2015 As we approach the 21st-century, the world generally is moving away from the dominance of the European aesthetic toward a world music that owes much to the musical resources of the African-American tradition. Jamaica’s social and philosophical music belong mainly to that tradition, which includes the use of rhythms, timbral, and melodic resources that exist independently of harmony. Already in this century, Jamaicans have created two totally new music - nyabinghi, which performs a philosophical function and reggae, which performs a social function. -
Island Journey Island Journey
WELCOME TO AN CHRISTIANSTED About the trail ST. CROIX ISLAND JOURNEY & this brochure FREDERIKSTED The St. Croix Heritage Trail As with many memorable journeys, there is no association with each site represent attributes found there, traverses the entire real beginning or end of the trail. You may want to start such as greathouse, windmill, nature, Key to Icons 28 mile length of St. your drive at either Christiansted or Frederiksted as a or viewscape. All St. Croix roads are not portrayed, so do not consider this Croix, linking the point of reference, or you can begin at a point close to Greathouse Your Guide to the where you’re staying. If you want to take it easy, you can a detailed road map. historic seaports of History, Culture, and Nature cover the trail in segments by following particular Sugar Mill of St. Croix, U.S. Virgin Islands Frederiksted and subroutes, such as the “East End Loop,” delineated on the Christiansted with the map. Chimney Please remember to drive on the left, fertile central plain, the The Heritage Trail will take you to three levels of sites: a remnant traffic rule bequeathed by our full-service Attractions that can be toured: Visitation Ruin Danish past. The speed limit along the mountainous Northside, Sites, like churches, with irregular hours; and Points of Trail ranges between 25 and 35 mph, We are proud that the St. Croix Church unless otherwise noted. Seat belts are Heritage Trail has been designated and the arid East End. The r e Interest, which you can view, but are not open to the tl u B one of fifty Millennium Legacy Trails by public. -
Installation Ceremony Programme
Many scholars and activists, and many movements and moments, have shaped his mentality. Professor Sir Hilary Beckles shares a glimpse into this world of gestation and generosity with ten celebrations. CELEBRATION Symbol of liberty and freedom in the Caribbean and beyond...universal declaration of commitment to human rights. The Unknown Maroon, Port-Au-Prince, Haiti The Installation OF Professor Sir Hilary Beckles as Vice-Chancellor Of The University of the West Indies Professor Sir Hilary Beckles assumed office as Vice-Chancellor on May 1, 2015 Before assuming the office of been staged to popular acclaim. Vice-Chancellor of The University In the corporate community his of the West Indies on May footprint is well established. He is 1, 2015, Professor Sir Hilary a long serving director of Sagicor was Principal and Pro Vice- Financial Corporation, and has Chancellor of The University served as a director of its principal of the West Indies, Cave Hill subsidiaries Sagicor Jamaica Ltd, Campus, Barbados for thirteen and Sagicor Barbados Ltd. He is years(2002-2015). Sir Hilary a director of Cable and Wireless has emerged as a distinguished Barbados Ltd, and is Chairman of university administrator, The University of the West Indies internationally reputed Economic Press. Historian, and transformational leader in higher education.He Sir Hilary received his higher has had a spectacular journey education in the United Kingdom within the UWI, entering as a and graduated with a BA (Hons) temporary assistant lecturer in degree in Economic and Social 1979 at the Mona campus. In History from Hull University short time he was promoted to in 1976, and a PhD from the senior lecturer and then to the same university in 1980. -
The Antigua and Barbuda Review of Books Volume 8 Number 1 Fall 2015
THE ANTIGUA AND BARBUDA REVIEW OF BOOKS VOLUME 8 NUMBER 1 FALL 2015 Tim Hector on Gregson Davis Gregson Davis on Tim Hector Lawrence Jardine on Tim Hector Tim Hector on Jamaica Kincaid Dorbrene O’Marde on Tim Hector Joanne Hillhouse on Dorbrene O’marde Hazra Medica on Marie-Elena John Tim Hector on Novelle Richards Edgar Lake on Henry Redhead Yorke Charles Ephraim on Tim Hector Lowell Jarvis on Tim Hector Tim Hector at Brown University And Much Much More ... THE ANTIGUA AND BARBUDA REVIEW OF BOOKS A Publication of the Antigua and Barbuda Studies Association Volume 8 • Number 1 • Fall 2015 Copyright © 2015 Antigua and Barbuda Studies Association Editorial Board: Ian Benn, Joanne Hillhouse, Paget Henry, Edgar Lake, Adlai Murdoch, Ermina Osoba, Elaine Olaoye, Mali Olatunji, Vincent Richards Paget Henry, Editor The Antigua and Barbuda Studies Association was founded in 2006 with the goal of raising local intellectual awareness by creating a field of Antigua and Barbuda Studies as an integral part of the larger field of Caribbean Studies. The idea for such an interdisciplinary field grew out of earlier “island conferences” that had been organized by the University of the West Indies, School of Continuing Edu- cation, in conjunction with the Political Culture Society of Antigua and Barbuda. The Antigua and Barbuda Review of Books is an integral part of this effort to raise local and regional intellectual awareness by generating conversations about the neglected literary traditions of Antigua and Barbuda through reviews of its texts. Manuscripts: the manuscripts of this publication must be in the form of short reviews of books or works of art dealing with Antigua and Barbuda. -
Saraca — Funerary Music of Carriacou
SARACA — FUNERARY MUSIC OF CARRIACOU 1. I Have a Sword in My Hand (1:42) Edith Hector and chorus 2. Near the Cross (1:45) chorus 3. Timi, Timi, Zewon (2:45) Newton Joseph and chorus 4. Mbadi-o, Dem Dei-o (2:19) (Charlie Bristol and chorus 5. I Promise the Lord (2:04) Martha Dick and chorus 6. Gone to Nineveh (2:44) chorus 7. Be on Time (2:05) chorus 8. Yard-o, Yard-o (3:18) Charlie Bristol and chorus 9. Humble-o (6:12) Daniel Aikens, singer and storyteller 10. Ring Down Below (3:39) Charlie Bristol and chorus 11. O, the Angels (2:31) Martha Dick and chorus 12. Cromanti (2:09) Sugar Adams, cot drum; Daniel Aikens and Caddy Lazarus John, boula drums 13. Juba (2:46) Sugar Adams, cot drum; Daniel Aikens and Caddy Lazarus John , boula drums 14. Quilbe (3:06) Sugar Adams, cot drum; Daniel Aikens and Caddy Lazarus John, boula drums 15. Juba noel / Juba–lo (Bongo) (3:08) Jemima Joseph, May Fortune and chorus, with drum accompaniment 16. Mmwe malade ayo (Gwa bèlé) (4:01) Jemima Joseph, May Fortune and chorus, with drum accompaniment 17. Anansi-o-e (Cromanti) (4:30) Jemina Joseph and chorus, with drum accompaniment 18. Anti-o, coro, coro (Kongo) (2:36) Jemina Joseph and chorus, with drum accompaniment 19. Maiwaz-o (Old People’s Bongo) (3:55) Jemina Joseph and chorus, with drum accompaniment 20. Di ye mwe ’rivé (Old People’s Kalenda) (4:09) Jemina Joseph and chorus, with drum accompaniment 21.