For example, "Some banduras use an additional set of strings for the semitones; others use a mechanism for retuning individual strings by a semitone; and some banduras employ both devices" (Hornjatkevyc 1984: 170).
Victor Mishalow also hopes to facilitate the importation of banduras into music stores and to market them as popularly as guitars (from fieldnotes).
From my fieldnotes, 18 March, Bandura Festival 2000:
The fieldwork I conducted at Bandura Festival 2000, held in March in Oakville, Ontario, was initiated as part of my dissertation research to examine how diasporic Ukrainian communities use music simultaneously to create "local" identity and to participate in the construction of a Ukrainian sense of history and nationhood on a global scale.
As Ukraine's national instrument, the bandura evokes contradictory and conflicting national narratives.
The bandura is highly politicised as a marker of Ukrainian culture.
Their epic ballads, or dumy (plural of duma), are considered the "original" and traditional bandura repertoire (Wytwycky 1984: 171).
Unexpectedly, I came upon a blind bandura player, who like the old rhapsodes, walking, from one place to another, sang of the exploits of the native heroes.
These comments highlight two fundamental issues of bandura performance and meaning.
The theoretical framework for analysis of teacher sense of self-efficacy in this paper, is the work of Albert Bandura (1977) who introduced a theory of behavioral change known as Self Efficacy Theory (SET).
Bandura (1977) defined self-efficacy as a cognitive motivational construct that involves two components, outcome expectancy and self-efficacy.
Bandura (1982) posited that even when individualOs perceive that specific actions will likely bring about the desired behavior, they will not engage in the behavior or persist after initating the behavior, if they feel that they do not possess the requisite skills.