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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. -
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. -
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. -
Tourism Challenges and the Opportunities for Sustainability: a Case Study of Grenada, Barbados, and Tobago
Journal of Tourism and Hospitality Management, October 2015, Vol. 3, No. 9-10, 204-213 doi: 10.17265/2328-2169/2015.10.004 D DAVID PUBLISHING Tourism Challenges and the Opportunities for Sustainability: A Case Study of Grenada, Barbados, and Tobago Helen M. Bhola-Paul St. George’s University, Grenada Tourists travel to the islands of Grenada, Barbados, and Tobago to bask in the sun of these islands’ pristine beaches. This resulting business of tourism provides the catalyst for these host countries to deliver a valuable holiday experience and the dichotomy of the negative impacts created by the very tourism industry. This paper presents three islands whose reliance on the tourism industry has stimulated economic growth, socio-cultural benefits, and environmental preservation along with the negative impacts of environmental degradation, cultural dilution, and economic leakages. Key to this research is the management of those challenges through sustainable tourism opportunities involving various stakeholders and their role in minimizing economic leakages, social inequity, and environmental degradation. Keywords: tourism, excursionist, foreign tourist, sustainability, multiplier effect Tourism’s Viability in Small Island Developing States (SIDS) The United Nations World Tourism Organization (UNWTO, 2015) forecasted that international tourism, from 2010 to 2015, would have an increase of 4% every year. This growth was confirmed in the first quarter of 2015 with the Caribbean having the second highest growth of 7% by sub-region (UNWTO, 2015). According to the World Travel and Tourism Council (WTTC, 2015), travel and tourism contributes 9.8% to the world’s GDP with 105 million people directly employed, representing 9.4% of the world’s employment and sustains more jobs than the automotive, manufacturing, and the chemical industries. -
The Garifuna Music Reader (First Edition)
The Garifuna Music Reader (First Edition) EDITED BY OLIVER N. GREENE Georgia State University Bassim Hamadeh, CEO and Publisher Kassie Graves, Director of Acquisitions and Sales Jamie Giganti, Senior Managing Editor Jess Estrella, Senior Graphic Designer Zina Craft, Senior Field Acquisitions Editor Gem Rabanera, Project Editor Alexa Lucido, Licensing Coordinator Berenice Quirino, Associate Production Editor Joyce Lue, Interior Designer Copyright © 2018 by Cognella, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. For inquiries regarding permissions, translations, foreign rights, audio rights, and any other forms of reproduction, please contact the Cognella Licensing Department at rights@cog- nella.com. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Cover image copyright © Depositphotos/majaFOTO. Printed in the United States of America ISBN: 978-1-5165-1551-6 (pbk) / 978-1-5165-1552-3 (br) III Contents About the Contributors VI Website and Supplemental Materials IX Introduction XI UNIT 1 Music and Rituals—An Overview 1 Ch 1. Garifuna Music & Ritual Arts ����������������������������������������������2 by Oliver N. Greene Questions for Review 37 Ch 2. Notating Garifuna Drum Rhythms �������������������������������������42 by Matthew Daugherty and Emery Yost Ch 3. Song and Ritual as a Key To Understanding Garifuna Personality ��������������������������������������������������������47 by E. Roy Cayetano Questions for Review 69 UNIT 2 Garifuna Spirituality 73 Ch 4. -
Jamaican Migrant and Canadian Host in Toronto's Transnational Re
King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 by John Jason Collins Wilson A dissertation Presented to The University of Guelph In partial fulfilment of requirements for the degree of Doctor of Philosophy in History Guelph, Ontario, Canada © John Jason Collins Wilson, May 2013 ABSTRACT King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 John Jason Collins Wilson Advisor: University of Guelph, 2013 Doctor Catharine Wilson Reggae music facilitated a cultural dialogue between Jamaican migrant and Canadian host in Toronto during the 1970s and 1980s. Exchanges flowed across the city’s ethnic frontier, bridging black and white youth together in an ‘oppositional’ and musical movement. While migrants enacted their Jamaican ethnicity in places where reggae was played, many non-Jamaicans satisfied a curiosity in the music of their migrant friends. This study examines the process of migration of people and music as seen from both the migrant and the host’s perspective. It is as much about black Jamaicans as it is about white Torontonians. Twenty Jamaicans and twenty non-Jamaicans were interviewed for this project. Though reggae became an expected part of Toronto’s musical vernacular, the Canadian version meant different things to different people. Indeed, sometimes the only thread that tied the varied experiences together was that Toronto was the place where reggae happened. Still, as a hybrid, reggae had rather evolved outside of place. It was a transnational musical form, constantly updated by influences traversing the ‘Black Atlantic’ in an on-going and triangular musical conversation. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 MAKING HERSELF AT HOME IN THE WEST/INDIES: THE GENDERED CONSTRUCTION OF IDENTITY IN THE WRITINGS OF MICHELLE CLIFF AND JAMAICA KINCAID DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Antonia MacDonald-Smythe, B.