Performance Practice of the Dagara-Birifor Gyil Tradition Through the Analysis of the Bewaa and Daarkpen Repertoire
| dc.contributor.author | Vercelli, Michael Biagio | |
| dc.creator | Vercelli, Michael Biagio | en_US |
| dc.date.accessioned | 2011-12-06T13:36:16Z | |
| dc.date.available | 2011-12-06T13:36:16Z | |
| dc.date.issued | 2006 | en_US |
| dc.identifier.uri | http://hdl.handle.net/10150/195052 | |
| dc.description.abstract | This analysis of the Bewaa and Daarkpen gyil repertoire is designed as a blueprint to create a culturally accurate performance of the xylophone music of the Dagara-Birifor. By producing a tangible archive to this historically rich music, previously only passed on through oral tradition, I hope to foster greater awareness of this music to audiences outside of Ghana. Preliminary research for this project began in May, 2002 at the Dagara Music Center located in Medie, Ghana, and continued with the fieldwork conducted from January through June of 2004 principally at the Dagara Music Center and augmented with study throughout the Upper West region of Ghana. Included are transcriptions of the repertoire as well as suggestions for the performance practice and organization of an ensemble. All music discussed was taught by master musicians Bernard Woma and Tijan Dorwana and supplemented by xylophonists Jerome Balsab, and Isaac Birituro. | |
| dc.language.iso | EN | en_US |
| dc.publisher | The University of Arizona. | en_US |
| dc.rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. | en_US |
| dc.subject | gyil | en_US |
| dc.subject | Ghana | en_US |
| dc.subject | xylophone | en_US |
| dc.subject | percussion | en_US |
| dc.subject | Dagara | en_US |
| dc.subject | Birifor | en_US |
| dc.title | Performance Practice of the Dagara-Birifor Gyil Tradition Through the Analysis of the Bewaa and Daarkpen Repertoire | en_US |
| dc.type | text | en_US |
| dc.type | Electronic Dissertation | en_US |
| dc.contributor.chair | Cook, Gary D. | en_US |
| dc.identifier.oclc | 659746457 | en_US |
| thesis.degree.grantor | University of Arizona | en_US |
| thesis.degree.level | doctoral | en_US |
| dc.contributor.committeemember | Weinberg, Norman | en_US |
| dc.contributor.committeemember | Ervin, Tom | en_US |
| dc.contributor.committeemember | Sturman, Janet | en_US |
| dc.identifier.proquest | 1895 | en_US |
| thesis.degree.discipline | Music | en_US |
| thesis.degree.discipline | Graduate College | en_US |
| thesis.degree.name | DMA | en_US |
| refterms.dateFOA | 2018-06-28T21:33:38Z | |
| html.description.abstract | This analysis of the Bewaa and Daarkpen gyil repertoire is designed as a blueprint to create a culturally accurate performance of the xylophone music of the Dagara-Birifor. By producing a tangible archive to this historically rich music, previously only passed on through oral tradition, I hope to foster greater awareness of this music to audiences outside of Ghana. Preliminary research for this project began in May, 2002 at the Dagara Music Center located in Medie, Ghana, and continued with the fieldwork conducted from January through June of 2004 principally at the Dagara Music Center and augmented with study throughout the Upper West region of Ghana. Included are transcriptions of the repertoire as well as suggestions for the performance practice and organization of an ensemble. All music discussed was taught by master musicians Bernard Woma and Tijan Dorwana and supplemented by xylophonists Jerome Balsab, and Isaac Birituro. |
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