subject:( Ritual)

University of Texas – Austin

1. Kreger, Alexander Colin. Dem is drunk through the ears: sound, space, and listening in Alevi collective worship ritual.

Degree: MM, Music, 2016, University of Texas – Austin

URL: http://hdl.handle.net/2152/41478

► In Turkey, Alevi social and religious identity is often constructed in conscious opposition to institutionalized Sunni Islam. Sound is an important medium by which the… (more)

▼ In Turkey, Alevi social and religious identity is often constructed in conscious opposition to institutionalized Sunni Islam. Sound is an important medium by which the relationship of violence and resistance between Alevis and the Sunni state is produced and perpetuated. This paper focuses on the ways in which Alevi aural dispositions and spatial constructions constitute and reinforce one another. These auralities and spacialities are rehearsed and disciplined within the context of collective worship rituals [cem or muhabbet], but play a broader role in molding and thus preserving the Alevi community as a religious minority under the threat of assimilation. In particular, I examine how Alevis map space by cultivating listening habits based on oppositions of interior and exterior, private and public, and esoteric and exoteric. Two Alevi concepts play especially prominent roles in regulating the relationship between sound and space. Dem refers to the divine power which resides in the words, voice, and breath of spiritually mature individuals. It is also the name for the alcohol Alevis may drink as part of their collective worship services. With the idea of dem, Alevis draw a link between listening and the acquisition of knowledge on the one hand, and drinking and interiority on the other that is embodied in the phrase “dem is drunk by the ears” [dem kulaktan içilir]. Just as tea is said to steep [demlenmek], Alevis steep—discipline themselves as Alevi subjects—during muhabbet by listening to words of wisdom spoken or sung by spiritually mature individuals. Meanwhile, dem is emplaced through its association with a face, or didar. The Alevi fixation on didar creates spatial orientations also experienced as listening vectors linking people together. Instead of facing towards Mecca while praying, Alevis face towards one another because they see God as the human being him/herself, and the beauty of God as reflected in the beauty of the human countenance. As a result, Alevi spiritual landscapes strikingly different from those of Sunni Islam, in which prayer is oriented towards a single, remote point. Advisors/Committee Members: Seeman, Sonia Tamar, 1958- (advisor), Dell'Antonio, Andrew (committee member), Moin, Azfar (committee member).

Subjects/Keywords: Alevi; Turkey; Sound; Space; Listening; Religion; Ritual

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APA (6^th Edition):

Kreger, A. C. (2016). Dem is drunk through the ears: sound, space, and listening in Alevi collective worship ritual. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/41478

Chicago Manual of Style (16^th Edition):

Kreger, Alexander Colin. “Dem is drunk through the ears: sound, space, and listening in Alevi collective worship ritual.” 2016. Masters Thesis, University of Texas – Austin. Accessed December 08, 2019. http://hdl.handle.net/2152/41478.

MLA Handbook (7^th Edition):

Kreger, Alexander Colin. “Dem is drunk through the ears: sound, space, and listening in Alevi collective worship ritual.” 2016. Web. 08 Dec 2019.

Vancouver:

Kreger AC. Dem is drunk through the ears: sound, space, and listening in Alevi collective worship ritual. [Internet] [Masters thesis]. University of Texas – Austin; 2016. [cited 2019 Dec 08]. Available from: http://hdl.handle.net/2152/41478.

Council of Science Editors:

Kreger AC. Dem is drunk through the ears: sound, space, and listening in Alevi collective worship ritual. [Masters Thesis]. University of Texas – Austin; 2016. Available from: http://hdl.handle.net/2152/41478

University of Florida

2. Witulski, Christopher James. "Because the People Will Like It" The Changing Gnawa Ritual in Morocco.

Degree: PhD, Music, 2014, University of Florida

URL: http://ufdc.ufl.edu/UFE0046577

► The music and ritual of the Gnawa in Morocco draws its syncretic roots and identity from both the sub-Saharan population brought to Morocco through the… (more)

Subjects/Keywords: Ceremonies; Fezzes; Musical aesthetics; Musical performance; Musical rhythm; Musicians; Performing artists; Popular music; Ritual music; Rituals; africa – ethnomusicology – islam – music – ritual

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APA (6^th Edition):

Witulski, C. J. (2014). "Because the People Will Like It" The Changing Gnawa Ritual in Morocco. (Doctoral Dissertation). University of Florida. Retrieved from http://ufdc.ufl.edu/UFE0046577

Chicago Manual of Style (16^th Edition):

Witulski, Christopher James. “"Because the People Will Like It" The Changing Gnawa Ritual in Morocco.” 2014. Doctoral Dissertation, University of Florida. Accessed December 08, 2019. http://ufdc.ufl.edu/UFE0046577.

MLA Handbook (7^th Edition):

Witulski, Christopher James. “"Because the People Will Like It" The Changing Gnawa Ritual in Morocco.” 2014. Web. 08 Dec 2019.

Vancouver:

Witulski CJ. "Because the People Will Like It" The Changing Gnawa Ritual in Morocco. [Internet] [Doctoral dissertation]. University of Florida; 2014. [cited 2019 Dec 08]. Available from: http://ufdc.ufl.edu/UFE0046577.

Council of Science Editors:

Witulski CJ. "Because the People Will Like It" The Changing Gnawa Ritual in Morocco. [Doctoral Dissertation]. University of Florida; 2014. Available from: http://ufdc.ufl.edu/UFE0046577

University of Minnesota

3. Christensen, Lars. The Time-Suturing Technologies of Northern Song Musicology.

Degree: PhD, Music, 2019, University of Minnesota

URL: http://hdl.handle.net/11299/206308

► Scholars of ritual music in the Northern Song dynasty (960–1127) keenly sensed a temporal distance from the ancient sages that manifested as a divergence from… (more)

▼ Scholars of ritual music in the Northern Song dynasty (960–1127) keenly sensed a temporal distance from the ancient sages that manifested as a divergence from canonical norms. To maintain a distinctive intellectual heritage and counterbalance outward-facing political and economic conditions, they located cultural identity in the idealized past. Given the overwhelming discursive importance of music, ministers and rulers alike sought to restore powerful practices and thereby transcend the boundedness of the dynastic cycle. Since their principal sources about antiquity, the textual classics, provided limited practical information about music, scholars had to supplement them with technologies grounded in linguistics, mathematics, and visualizations, which I explore in this dissertation. First, I observe how ritual music prescriptions were constituted in allusive or even paronomastic scholarly language. The Confucian principle of the rectification of names, stressing an enduring concord between words and reality, gave scholars rhetorical tools with which to critique at once society and music practices. Three case studies, treating the symbolism of the pentatonic scale, the discourse of harmony in the ritual bell-knife, and the implications of pitch metaphors, illustrate how reformers interrelated sociological commonplaces and concrete reform measures. Second, contrasting parallel mathematized and unmathematized music discourses, I trace the evolving relationship between mathematical and classical learning, showing how by Northern Song times mathematics could signify invariance. This discursive adoption afforded music reformers a precision that dovetailed elegantly with the royal prerogative of standardizing metrological systems. A case study explores the resilience of the numerical measurement of the standard pitch pipe across time and the overlapping metonymy that made it resistant to metrical reorganization. Finally, I contextualize the turn toward visual epistemology in the Northern Song in terms of classical precedent, the explosion of woodblock printing, and nascent archaeology. I compare two kinds of musical images, cosmological diagrams and prescriptive illustrations of ancient instruments. Though quite distinct in assumptions, intellectual pedigree, and style, both image types demonstrate a technology surpassing the power of text to organize, preserve, and disseminate orthodox musical practice. These technologies allowed the scholars to suture time, bringing them into more direct contact with their own exalted history.

Subjects/Keywords: Chinese music; mathematics; music theory; ritual music; Song Dynasty; temporality

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APA (6^th Edition):

Christensen, L. (2019). The Time-Suturing Technologies of Northern Song Musicology. (Doctoral Dissertation). University of Minnesota. Retrieved from http://hdl.handle.net/11299/206308

Chicago Manual of Style (16^th Edition):

Christensen, Lars. “The Time-Suturing Technologies of Northern Song Musicology.” 2019. Doctoral Dissertation, University of Minnesota. Accessed December 08, 2019. http://hdl.handle.net/11299/206308.

MLA Handbook (7^th Edition):

Christensen, Lars. “The Time-Suturing Technologies of Northern Song Musicology.” 2019. Web. 08 Dec 2019.

Vancouver:

Christensen L. The Time-Suturing Technologies of Northern Song Musicology. [Internet] [Doctoral dissertation]. University of Minnesota; 2019. [cited 2019 Dec 08]. Available from: http://hdl.handle.net/11299/206308.

Council of Science Editors:

Christensen L. The Time-Suturing Technologies of Northern Song Musicology. [Doctoral Dissertation]. University of Minnesota; 2019. Available from: http://hdl.handle.net/11299/206308

University of California – Riverside

4. Dalzell, Victoria Marie. Freedom, Margins, and Music: Musical Discourses of Tharu Ethnicity in Nepal.

Degree: Music, 2015, University of California – Riverside

URL: http://www.escholarship.org/uc/item/0vg8n6pg

► The Tharu are reportedly the fourth largest minority group in Nepal. Yet despite their numerical strength, their social experience in modern Nepal largely consists of… (more)

Subjects/Keywords: Music; South Asian studies; Religion; dance; ethnicity; ethnomusicology; musical performance; Nepal; ritual

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APA (6^th Edition):

Dalzell, V. M. (2015). Freedom, Margins, and Music: Musical Discourses of Tharu Ethnicity in Nepal. (Thesis). University of California – Riverside. Retrieved from http://www.escholarship.org/uc/item/0vg8n6pg

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Dalzell, Victoria Marie. “Freedom, Margins, and Music: Musical Discourses of Tharu Ethnicity in Nepal.” 2015. Thesis, University of California – Riverside. Accessed December 08, 2019. http://www.escholarship.org/uc/item/0vg8n6pg.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Dalzell, Victoria Marie. “Freedom, Margins, and Music: Musical Discourses of Tharu Ethnicity in Nepal.” 2015. Web. 08 Dec 2019.

Vancouver:

Dalzell VM. Freedom, Margins, and Music: Musical Discourses of Tharu Ethnicity in Nepal. [Internet] [Thesis]. University of California – Riverside; 2015. [cited 2019 Dec 08]. Available from: http://www.escholarship.org/uc/item/0vg8n6pg.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Dalzell VM. Freedom, Margins, and Music: Musical Discourses of Tharu Ethnicity in Nepal. [Thesis]. University of California – Riverside; 2015. Available from: http://www.escholarship.org/uc/item/0vg8n6pg

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

5. Ghanai, Katayoun. The Sound of Silence: An Ethnography on the Sama 'Ritual in the Nematollahi Kaneqah in Toronto.

Degree: MA -MA, Music, 2018, York University

URL: http://hdl.handle.net/10315/35474

► This thesis examines the Sufi ritual of Sama as practiced by the Nematollahi order in Toronto and will explore how music induces trance in Sufis… (more)

Subjects/Keywords: Cultural anthropology; Music; Trance; Sama'; Kaneqah; Sufism; Wajd; Ethnography; Fana; Hal; Ecstasy; Ritual; Cultural ceremony

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APA (6^th Edition):

Ghanai, K. (2018). The Sound of Silence: An Ethnography on the Sama 'Ritual in the Nematollahi Kaneqah in Toronto. (Masters Thesis). York University. Retrieved from http://hdl.handle.net/10315/35474

Chicago Manual of Style (16^th Edition):

Ghanai, Katayoun. “The Sound of Silence: An Ethnography on the Sama 'Ritual in the Nematollahi Kaneqah in Toronto.” 2018. Masters Thesis, York University. Accessed December 08, 2019. http://hdl.handle.net/10315/35474.

MLA Handbook (7^th Edition):

Ghanai, Katayoun. “The Sound of Silence: An Ethnography on the Sama 'Ritual in the Nematollahi Kaneqah in Toronto.” 2018. Web. 08 Dec 2019.

Vancouver:

Ghanai K. The Sound of Silence: An Ethnography on the Sama 'Ritual in the Nematollahi Kaneqah in Toronto. [Internet] [Masters thesis]. York University; 2018. [cited 2019 Dec 08]. Available from: http://hdl.handle.net/10315/35474.

Council of Science Editors:

Ghanai K. The Sound of Silence: An Ethnography on the Sama 'Ritual in the Nematollahi Kaneqah in Toronto. [Masters Thesis]. York University; 2018. Available from: http://hdl.handle.net/10315/35474

University of Florida

6. Nyamuame, Samuel Elikem. History, Religion and Performing Yeve Ewe Dance-Drumming, Songs and Rituals at Ave-Dakpa, Ghana.

Degree: PhD, Music, 2013, University of Florida

URL: http://ufdc.ufl.edu/UFE0045941

► This study examines one of the significant and spiritually powerful traditional religious cult, its rituals and musical practices called Yeve as performed at Ave-Dakpa in… (more)

▼ This study examines one of the significant and spiritually powerful traditional religious cult, its rituals and musical practices called Yeve as performed at Ave-Dakpa in the southeastern Volta region of Ghana. As a cult, Yeve is a kind of secret society whose rituals and other performative practices are restricted from the public. Throughout Ghana,Yeve is not found among any region besides the southern part of the Volta region. Thus, Yeve and its practices becomes quintessentially Ewe religious and musical tradition. It is also practiced among the neighboring Ewe speaking people in Togo and Dahomey, now the Republic of Benin. Yeve also has a historical tie to the Yoruba Shango in southwestern Nigeria through its characteristics and practices. Yeve is perhaps the most overlooked traditional religious society due to pervasive presence and long lasting influences and establishment of Christianity. However, the cult is popularly known and referenced by all not only in the Volta region but across entire Ghana due to its fearful and destructive nature as a mechanism for crime preventions and a means of settling disputes among others. This study critically examines the ethnography of Ave-Dakpa, its people and belief system. It further discusses the historical backgrounds and the functions of the Yeve cult and its ritual practices since its establishment investigating the state of the cult before and after Ghana’s independence and the missionaries’ interventions and failures in the abolishment of the Yeve cult. In addition, the study a variety of songs,dance-drumming, song and drum texts as a powerful tool in empowering and igniting successful ritual activities and performance. As a resistance to changes and modernity, this study describes Yeve cult and its practices as Ghana’s colonial past with the positive notion to preserve traditional values embedded in rituals and esoteric knowledge systems in Ave-Dakpa and the continuity and active maintenance of authentic and unadulterated modes of its dance-drumming. ( en ) Advisors/Committee Members: Crook, Larry Norman (committee chair), Robinson, Russell L (committee member), Frosch, Joan D (committee member), Broadway, Kenneth Lee (committee member), Tremura, Welson Alves (committee member), Kane, Abdoulaye (committee member).

Subjects/Keywords: Cults; Dance; Drums; Ewes; Musical performance; Musical rhythm; Priests; Religious dances; Rituals; Traditional dance; dance – drumming – ewe – ghana – ritual – yeve

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APA (6^th Edition):

Nyamuame, S. E. (2013). History, Religion and Performing Yeve Ewe Dance-Drumming, Songs and Rituals at Ave-Dakpa, Ghana. (Doctoral Dissertation). University of Florida. Retrieved from http://ufdc.ufl.edu/UFE0045941

Chicago Manual of Style (16^th Edition):

Nyamuame, Samuel Elikem. “History, Religion and Performing Yeve Ewe Dance-Drumming, Songs and Rituals at Ave-Dakpa, Ghana.” 2013. Doctoral Dissertation, University of Florida. Accessed December 08, 2019. http://ufdc.ufl.edu/UFE0045941.

MLA Handbook (7^th Edition):

Nyamuame, Samuel Elikem. “History, Religion and Performing Yeve Ewe Dance-Drumming, Songs and Rituals at Ave-Dakpa, Ghana.” 2013. Web. 08 Dec 2019.

Vancouver:

Nyamuame SE. History, Religion and Performing Yeve Ewe Dance-Drumming, Songs and Rituals at Ave-Dakpa, Ghana. [Internet] [Doctoral dissertation]. University of Florida; 2013. [cited 2019 Dec 08]. Available from: http://ufdc.ufl.edu/UFE0045941.

Council of Science Editors:

Nyamuame SE. History, Religion and Performing Yeve Ewe Dance-Drumming, Songs and Rituals at Ave-Dakpa, Ghana. [Doctoral Dissertation]. University of Florida; 2013. Available from: http://ufdc.ufl.edu/UFE0045941

University of Georgia

7. Stefansson, Hanna Lisa. Ritual habit:: an electroacoustic music composition and dance collaboration.

Degree: DMA, Music, 2017, University of Georgia

URL: http://hdl.handle.net/10724/37591

► My dissertation performance, Ritual Habit, is a music composition and dance choreography collaboration. This document is a written reflection of my experience with my collaboration… (more)

▼ My dissertation performance, Ritual Habit, is a music composition and dance choreography collaboration. This document is a written reflection of my experience with my collaboration with dancer and choreographer Andrea Trombetta. A composer or other artist seeking to collaborate with others might find this document to be a helpful resource and a case study of sorts. The concept of ritual forms the narrative of the piece, which is structured around the characteristics of ritual-like activities outlined by the late scholar Catherine Bell. These characteristics include formality, invariance, sacral symbolism, and performance. The element of mystery is another characteristic often involved in ritual that I incorporate into the piece. I discuss collaboration in its many forms, going into specific examples of music composer and choreographer collaborations. These examples include the following composer and choreographer pairs: Charles Griffes and Michio Ito, Otto Luening and Doris Humphrey, Pyotr Ilyich Tchaikovsky and Marius Petipa, Igor Stravinsky and Vaslav Nijinsky, and finally, John Cage and Merce Cunningham. I also discuss Henry Cowell’s technique of elastic form as a useful tool for collaborative work, as well as Alwin Nikolais’s total theater concept to show what can be derived from a “one-man show.” After introducing the archetypes of ritual that are used to structure my piece, I discuss the form and the narrative of Ritual Habit, section by section. I include discussion of instrumentation, the sound sources of the electronics, the ways in which these sounds were manipulated, and the spatialization of the fixed and live electronics. I describe the dancers’ movements as they pertain to the ritual structure and to the music. I end my dissertation with a discussion of ways in which the collaborators take on the production roles and the idea of a true collaboration being one that results in the expansion of a person’s capacity. Advisors/Committee Members: Peter Lane.

Subjects/Keywords: music composition; choreography; collaboration; ritual; formality; invariance; repetition; sacral symbolism; performance; mystery; movement meditation; spatialization; electronics; electroacoustic; natural elements; earth; water; air; fire

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APA (6^th Edition):

Stefansson, H. L. (2017). Ritual habit:: an electroacoustic music composition and dance collaboration. (Doctoral Dissertation). University of Georgia. Retrieved from http://hdl.handle.net/10724/37591

Chicago Manual of Style (16^th Edition):

Stefansson, Hanna Lisa. “Ritual habit:: an electroacoustic music composition and dance collaboration.” 2017. Doctoral Dissertation, University of Georgia. Accessed December 08, 2019. http://hdl.handle.net/10724/37591.

MLA Handbook (7^th Edition):

Stefansson, Hanna Lisa. “Ritual habit:: an electroacoustic music composition and dance collaboration.” 2017. Web. 08 Dec 2019.

Vancouver:

Stefansson HL. Ritual habit:: an electroacoustic music composition and dance collaboration. [Internet] [Doctoral dissertation]. University of Georgia; 2017. [cited 2019 Dec 08]. Available from: http://hdl.handle.net/10724/37591.

Council of Science Editors:

Stefansson HL. Ritual habit:: an electroacoustic music composition and dance collaboration. [Doctoral Dissertation]. University of Georgia; 2017. Available from: http://hdl.handle.net/10724/37591

Wesleyan University

8. Lee, Mitchell. New York is Blue and White: Social Identity and Ritual at NYCFC.

Degree: Music, 2016, Wesleyan University

URL: https://wesscholar.wesleyan.edu/etd_mas_theses/138

Subjects/Keywords: Ethnomusicology; Ritual; Social Identity; Soccer; Football; New York; Fandom; Community; Place

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APA (6^th Edition):

Lee, M. (2016). New York is Blue and White: Social Identity and Ritual at NYCFC. (Masters Thesis). Wesleyan University. Retrieved from https://wesscholar.wesleyan.edu/etd_mas_theses/138

Chicago Manual of Style (16^th Edition):

Lee, Mitchell. “New York is Blue and White: Social Identity and Ritual at NYCFC.” 2016. Masters Thesis, Wesleyan University. Accessed December 08, 2019. https://wesscholar.wesleyan.edu/etd_mas_theses/138.

MLA Handbook (7^th Edition):

Lee, Mitchell. “New York is Blue and White: Social Identity and Ritual at NYCFC.” 2016. Web. 08 Dec 2019.

Vancouver:

Lee M. New York is Blue and White: Social Identity and Ritual at NYCFC. [Internet] [Masters thesis]. Wesleyan University; 2016. [cited 2019 Dec 08]. Available from: https://wesscholar.wesleyan.edu/etd_mas_theses/138.

Council of Science Editors:

Lee M. New York is Blue and White: Social Identity and Ritual at NYCFC. [Masters Thesis]. Wesleyan University; 2016. Available from: https://wesscholar.wesleyan.edu/etd_mas_theses/138

Arizona State University

9. Lebert, Raymond Russell. Jam Sessions as Rites of Passage: An Ethnography of Jazz Jams in Phoenix, AZ.

Degree: Music, 2019, Arizona State University

URL: http://repository.asu.edu/items/53868

Subjects/Keywords: Music; Ethnography; Ethnomusicology; Jazz Studies; Music Theory; Phenomenology; Ritual Studies

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APA (6^th Edition):

Lebert, R. R. (2019). Jam Sessions as Rites of Passage: An Ethnography of Jazz Jams in Phoenix, AZ. (Masters Thesis). Arizona State University. Retrieved from http://repository.asu.edu/items/53868

Chicago Manual of Style (16^th Edition):

Lebert, Raymond Russell. “Jam Sessions as Rites of Passage: An Ethnography of Jazz Jams in Phoenix, AZ.” 2019. Masters Thesis, Arizona State University. Accessed December 08, 2019. http://repository.asu.edu/items/53868.

MLA Handbook (7^th Edition):

Lebert, Raymond Russell. “Jam Sessions as Rites of Passage: An Ethnography of Jazz Jams in Phoenix, AZ.” 2019. Web. 08 Dec 2019.

Vancouver:

Lebert RR. Jam Sessions as Rites of Passage: An Ethnography of Jazz Jams in Phoenix, AZ. [Internet] [Masters thesis]. Arizona State University; 2019. [cited 2019 Dec 08]. Available from: http://repository.asu.edu/items/53868.

Council of Science Editors:

Lebert RR. Jam Sessions as Rites of Passage: An Ethnography of Jazz Jams in Phoenix, AZ. [Masters Thesis]. Arizona State University; 2019. Available from: http://repository.asu.edu/items/53868

Louisiana State University

10. Blandino, Michael Vincent. Musical time and revealed timelessness.

Degree: MM, Music, 2006, Louisiana State University

URL: etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928

► Scholarship on musical time recognizes the depiction of timelessness in music as a possibility. However, many theories of musical timelessness center around total stasis as… (more)

Subjects/Keywords: music theory; ritual time; susanne langer; virtual time; lewis rowell; jonathan kramer; stasis; moment time; vertical time

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APA (6^th Edition):

Blandino, M. V. (2006). Musical time and revealed timelessness. (Masters Thesis). Louisiana State University. Retrieved from etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928

Chicago Manual of Style (16^th Edition):

Blandino, Michael Vincent. “Musical time and revealed timelessness.” 2006. Masters Thesis, Louisiana State University. Accessed December 08, 2019. etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928.

MLA Handbook (7^th Edition):

Blandino, Michael Vincent. “Musical time and revealed timelessness.” 2006. Web. 08 Dec 2019.

Vancouver:

Blandino MV. Musical time and revealed timelessness. [Internet] [Masters thesis]. Louisiana State University; 2006. [cited 2019 Dec 08]. Available from: etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928.

Council of Science Editors:

Blandino MV. Musical time and revealed timelessness. [Masters Thesis]. Louisiana State University; 2006. Available from: etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928

University of Florida

11. Witulski, Christopher. Defining and Revising the Gnawa and Their Music through Commodification in Local, National, and Global Contexts.

Degree: M.M., Music, 2009, University of Florida

URL: http://ufdc.ufl.edu/UFE0021206

► In this thesis I examine the shift of Morocco?s Gnawa music from a local tradition (marginalized nationally) to one of commercial prominence on national and… (more)

▼ In this thesis I examine the shift of Morocco?s Gnawa music from a local tradition (marginalized nationally) to one of commercial prominence on national and international stages. The Gnawa are a population in Morocco commonly presented as black ex-slaves whose religion involves trance and possession by various spirits, personifications of significant Muslim figures. Religious debate surrounds the groups and centers on the ontology of these spirits: are they truly saints, or manipulative demons? This theological concern, along with the importation of sub-Saharan ritual and song, has historically rendered the group outside of ?acceptable? Islamic practice. Yet, since the 1960s, their music has become increasingly popular with the Moroccan public and international audiences, troubling more orthodox authorities across the country. By contextualizing Sufism and non-Orthodox practice within Morocco?s social and political history, I interrogate the strategies that festivals and the international record industry use in promoting and defining Gnawa music. The ways in which these groups portray the Islamic and sub-Saharan elements directly coincides with their pragmatic goals and target audiences, causing the actors to reconfigure Gnawa music and faith differently for regional, national, and international audiences. These activities define the Gnawa to the rest of the Moroccan population, often with a lack of regard for actual practices and theological positions. By shifting to the neighborhood setting of Blida, in the heart of Fez?s old city, I consider how religious groups incorporate controversial Gnawa musical and ritual traditions into their own practices. By analyzing oral testimony of members of the Hamadcha, Tijaniyya, and ?Aissawa Sufi brotherhoods in Fez and Mekne graves, I show the poignant and effective strategies, both musical and commercial, that they use to engage with each other, the Gnawa, and the commercial opportunities that exist through Moroccan festivals and in the wider local music scene. These changes and negotiations do not come without a social price, as many of these behaviors evoke criticism from other organizations, the press, and Muslims who question the intent and faith of these novel religious/commercial performances. Spiritual and moral authority is up to debate, a debate that is frequently both about, and argued through, music. The conclusions gained through this work emphasize the potential role ethnomusicology can and should play in anthropological research on Islam and argues that the discursive nature of musical performance creates contested spaces for debates about the validity and authority of religious tradition. ( en ) Advisors/Committee Members: Crook, Larry N. (committee chair), Tremura, Welson (committee member), McLaughlin, Fiona (committee member).

Subjects/Keywords: Anthropology; Cultural anthropology; Islam; Music festivals; Musical performance; Musicians; Muslims; Ritual music; Rituals; Sufism; aissawa, arab, arabic, berber, derdba, diffusion, ethnomusicology, fes, fez, fusion, gimbri, ginbri, global, globalization, gnaoua, gnawa, gnawi, hajhuj, hamadcha, hamadsha, islam, issawa, jinn, laila, layla, maalem, maroc, maskun, mluk, moroccan, morocco, music, orientalism, possession, qaraqeb, qarqeba, shakshaka, shaqshaqa, spirit, sufi, sufism, tbal, tijani, tijaniyya, trance

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APA (6^th Edition):

Witulski, C. (2009). Defining and Revising the Gnawa and Their Music through Commodification in Local, National, and Global Contexts. (Masters Thesis). University of Florida. Retrieved from http://ufdc.ufl.edu/UFE0021206

Chicago Manual of Style (16^th Edition):

Witulski, Christopher. “Defining and Revising the Gnawa and Their Music through Commodification in Local, National, and Global Contexts.” 2009. Masters Thesis, University of Florida. Accessed December 08, 2019. http://ufdc.ufl.edu/UFE0021206.

MLA Handbook (7^th Edition):

Witulski, Christopher. “Defining and Revising the Gnawa and Their Music through Commodification in Local, National, and Global Contexts.” 2009. Web. 08 Dec 2019.

Vancouver:

Witulski C. Defining and Revising the Gnawa and Their Music through Commodification in Local, National, and Global Contexts. [Internet] [Masters thesis]. University of Florida; 2009. [cited 2019 Dec 08]. Available from: http://ufdc.ufl.edu/UFE0021206.

Council of Science Editors:

Witulski C. Defining and Revising the Gnawa and Their Music through Commodification in Local, National, and Global Contexts. [Masters Thesis]. University of Florida; 2009. Available from: http://ufdc.ufl.edu/UFE0021206

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