During the first two decades of the 17th century King Philip III (1598-1621) of Spain and Portugal launched an effort to standardize all shipbuilding in the Iberian Peninsula. These efforts of standardization constitute an important collection of information about Iberian shipbuilding practices of that period. This thesis will analyze the content of the three sets of ordinances, issued in 1607, 1613 and 1618, in the context of the history of the Iberian Peninsula, the regulation of the Carrera de Indias (Indies Trade), and Spanish shipbuilding practices based on written sources of that period.

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The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.

Thesis (M.A.)--香港中文大學. / MS. / Includes bibliographical references (l. 442-447). / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 概論 / Chapter 第一節 --- 孟稱舜的生平及著述 / Chapter 第二節 --- 柳枝、酹江倆集與劇曲□弄夲的關係 / Chapter 第三節 --- 柳枝集的鳥瞰 / Chapter 第四節 --- 酹江集內容的分析 / Chapter 第五節 --- 元明雜劇版本的流佈 / Chapter 第二章 --- 酹江集所收元代雜劇的校勘 / Chapter 第一節 --- 馬致遠孤雁漢宮秋雜劇 / Chapter 第二節 --- 馬致遠三渡任風子雜劇 / Chapter 第三節 --- 馬致遠雷轟薦福碑雜劇 / Chapter 第四節 --- 白仁甫秋夜梧桐雨雜劇 / Chapter 第五節 --- 宮天挺范張雞黍雜劇 / Chapter 第六節 --- 鄭光祖王粲登樓雜劇 / Chapter 第七節 --- 關漢卿竇娥冤雜劇 / Chapter 第八節 --- 岳伯川鐵拐李雜劇 / Chapter 第九節 --- 康進之李逵負荊雜劇 / Chapter 第十節 --- 高文秀評范叔雜劇 / Chapter 第十一節 --- 秦簡夫東堂老雜劇 / Chapter 第十二節 --- 紀君祥趙氏孤兒雜劇 / Chapter 第十三節 --- 王寶甫高宴麗春堂雜劇 / Chapter 第十四節 --- 李文蔚燕青博魚雜劇 / Chapter 第十五節 --- 武漢臣天賜老生兒雜劇 / Chapter 第十六節 --- 羅貫中龍虎風雲會雜劇 / Chapter 第十七節 --- 孟漢卿智勘魔合羅雜劇 / Chapter 第十八節 --- □□□隔江鬭智雜劇 / Chapter 第三章 --- 酹江集所收明代雜劇的校勘 / Chapter 第一節 --- 周籓寭王黑旋風仗義疎財雜劇 / Chapter 第二節 --- 王九思沽酒遊春雜劇 / Chapter 第三節 --- 康海中山狼雜劇 / Chapter 第四節 --- 馮惟敏一世不伏老雜劇 / Chapter 第五節 --- 梅鼎祚昆侖奴雜劇 / Chapter 第六節 --- 梁辰魚江線女雜劇 / Chapter 第七節 --- 王衡鬱輪袍雜劇 / Chapter 第八節 --- 徐渭狂鼓史漁陽三弄雜劇 / Chapter 第九節 --- 徐渭雌木蘭替父從軍雜劇 / Chapter 第十節 --- □□□真傀儡雜劇 / Chapter 第十一節 --- 沈自徴鞭歌妓雜劇 / Chapter 第十二節 --- 孟稱舜鄭節度殘唐再創雜劇 / Chapter 第四章 --- 結論

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