The use of orchestral excerpts from standard music repertoire as a pedagogical means has been adopted by many instrumental pedagogues to train the advanced instrumentalist. This dissertation presents an innovative idea among the excerpt tradition by drawing excerpts from solo, chamber music and orchestral music to function as etudes for the intermediate level cellist. 320 music excerpts are drawn and organized under the headings of different technical categories in order to train the techniques within the context of quality music. The purpose of the dissertation is to introduce the young player to the concept that techniques and musical expression are not two separated entities, rather, techniques serve as a medium to convey the music.

Die-bleibende Stadt : Quintet für fünf Bläser Nr. 1, op. 27 -- La nuit et l'extra-terrestre : Deuxième Poéme Symphonique pour Orchestra à vents, op. 28 -- Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, op. 30 -- 3 duets of strings, "Information Engineering", op. 31. / Lam, Wang Kong. / Durations: 8 min.; 8 min.; 70 min.; 8 min. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves ). / Lyrics of 3rd work in Latin; abstract also in Chinese. / Abstract --- p.ii / Acknowledgements --- p.iii / Die bleibende Stadt: Quintet fur funf Blaser Nr. 1，Op.27 --- p.1 / Programme notes --- p.2 / Score --- p.3 / "La nuit et I'extra-terrestre : Deuxieme Poeme Symphonique pour Orchestre a vents, Op.28" --- p.9 / Programme notes --- p.10 / Score --- p.11 / "Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, Op.30" --- p.39 / Programme notes --- p.40 / Score: / Chapter I. --- Introit --- p.44 / Chapter II. --- Offertorio --- p.72 / Chapter III. --- Sanctus --- p.102 / Chapter IV. --- Pie Jesu --- p.121 / Chapter V. --- Agnus Dei --- p.126 / Chapter VI. --- Lux aetema --- p.137 / Chapter VII. --- Libera me --- p.141 / Chapter VIII. --- In paradisum --- p.171 / "3 Duets for strings, ""Information Engineering´ح, Op.31" --- p.184 / Programme notes --- p.185 / Score: / Chapter I. --- Fourier Transform --- p.186 / Chapter II. --- Cryptography --- p.188 / Chapter III. --- Information Theory --- p.190

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Korean composer Young Jo Lee (b.1943) is considered a precursor of Korean fusion music. In his works, he interlaces elements of traditional Korean music with compositional styles and performances techniques from western musical traditions. This dissertation provides an analysis of Lee's Dodri for Cello and Janggo (1995), one of his most representative works of fusion music. As indicated by the title Dodri (which in Korean means a "movement back and forth"), Lee intended to showcase a friendly interplay of the janggo and the cello, with each instrument playing a leading role that helps bring out the essence of traditional Korean traditional music. In this piece, Lee writes a number of melodies and uses traditional Korean performance techniques for the cello intended to imitate the sound and sentiments of traditional Korean instruments, all while preserving its inherent nature. This kind of fusion, where different musical elements are merged with each other but remain separate enough to maintain their own uniqueness, is significant to Lee's philosophy. This dissertation also describes Lee's efforts to preserve the integrity of traditional Korean music within fusion music and lend new insights regarding traditional Korean musical practice to musicologists, composers, and audiences. Furthermore, this study is intended to serve as a performer's guide for professional cellists new to Lee's music so they may approach Dodri with a greater understanding of the composer's original intentions when first learning the work.

This thesis is a critical study of three violoncello suites of Johann 8ebastian Bach from the performer's point of view. Its purpose is to determine the comparative differences and similarities of several well known editions including the Bach Gesellschaft edition and the Pablo Casals recording. It will explain a few of the many discrepancies and provide adequate reasons for given suggestions and preferences concerning dynamics, tempi, ornamentation, bowing styles, and other elements of performance. By stating a brief historical background of the evolution of the violoncello and the development of musical form and style, it is possible to conceive Bach's ideas and intentions as he wrote the collection of six suites.