To what extent does students' perceived parental cultural capital affect support for students' music listening and students' instrumental learning?;A mixed-method sequential research study, consisting of two distinct phases - quantitative and qualitative - collected data form junior secondary school students in grades seven to nine in eight secondary schools in Beijing and nine in Hong Kong. Survey questionnaires and individual interviews were conducted from mid-June to September 2015, and from April to May 2016, respectively. Completed questionnaires (n=3,288 - 1,674 from Beijing and 1,614 from Hong Kong) complemented by interviews involving 56 respondents (28 students from each region), provided nuanced insights on the interplay between parental cultural capital and parental support, and on how parental support influenced students' participation in music activities.;This study found students in both Beijing and Hong Kong perceived their parents to be generally more supportive of their at-home music activities, and that parental support, both physical and personal, enhanced their motivation to participate in music activities. The perceived degree and perceived importance of parental support for student's music activities were positively associated. Moreover, the study also found that while parental cultural capital may not predict students' musical listening preferences, it may inform the frequency and types of parental support offered, which mediates the intergenerational transmission of musical preferences. This study found Beijing and Hong Kong parents generally exerted similar parental influences on students' music activities; however, Beijing students generally perceived their parents to offer greater physical and mental support than did their Hong Kong peers, and to have greater influence over their music listening. This study also found differences between the types of support Beijing and Hong Kong parents offered for students' instrumental learning.;Secondly, the study shows parental cultural capital predicts the level and types of parental support offered for students' music activities, in both Beijing and Hong Kong. Parents with greater cultural capital may be more capable of providing more musical support and a musical home environment for students' music listening and instrumental learning, which may help cultivate students' cultural capital, particularly in terms of their musical development and enrolment into instrumental class.;This study argues and further complements Bourdieu's concept of cultural capital (Bourdieu, 1973, 1986), which holds the intergenerational transmission of musical disposition, namely musical listening preference and musical knowledge, is facilitated by parental support and mediated by the home music environment, both of which are governed by parental cultural capital. This study implies the intergenerational transmission of cultural capital may not be a direct process, and parental support is necessary to impart parental cultural capital into students' cultural capital. This study further supplements Bourdieu's theory that parental support for their children's music activities reproduces parents' cultural capital as students', in the Chinese context. It found that parental cultural capital informed the types and extent of parental support for students' music activities, which may, in turn, have enhanced students' motivation for participating in music activities. This study argues that the mechanisms for intergenerational transmission of musical dispositions - i.e., musical preferences and musical knowledge - were facilitated by parental support and mediated within a musical home environment, both of which were governed by parental cultural capital. The study suggests a close collaboration among parents, school educators (including school music teachers), and instrumental instructors would best facilitate students' music learning, by providing a more comprehensive and immersive music education to students in their daily life.

published_or_final_version / abstract / Music / Doctoral / Doctor of Philosophy

published_or_final_version / Education / Master / Master of Education

This paper presents an overview of the concepts and strategies in the original composition, The Harbour of Incense, a cycle of three movements for different groups of instruments. Each movement addresses an aspect of the musical cultures of Hong Kong. The first movement Taan Go for Harp Solo explores the sound world of the folk genre saltwater song; the second movement Jat1 Wun2 Sai3 Ngau4 Naam5 Min6 for Flute and Piano highlights the musicality of Cantonese language; the third movement Daa Zaai for Oboe, Clarinet in B-flat, Bassoon, and Percussion, is inspired by the keyi music used in the Taoist funeral. The paper discusses how to bring together Southeast Asian aesthetics and contemporary Western compositional techniques, as well as how to communicate this unique cultural experience to performers and audiences from other backgrounds. It provides the transcriptions of two saltwater songs and an excerpt of keyi music, and illustrate how they inform the structures, textures, and melodic gestures of the composition. The nine tones of Cantonese language are also explored for generating melodic materials, metric plans, and articulation writing.

Cheng, Kam Lam Canny. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 135-144). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / List of Abbreviations --- p.vi / List of Figures --- p.vii / List of Examples --- p.x / List of Tables --- p.x / Maps --- p.xi / Chapter Chapter One: --- Introduction Overview --- p.1 / Filipino Migration / The Filipinos as Diaspora / Theoretical Framework and Literature Review / Methodology / Where is the Field? / Language / Terminology and Stereotypes: Names Used for Filipino/as in Hong Kong / "Social Status, Social Relationships, and Time and Space Constriants" / Overview of the Thesis and Objectives of the Study / Chapter Chapter Two: --- "The Population, Employment and Soundscape of Filipino and Filipina Domestic Helpers in Hong Kong" --- p.31 / Immigration and Employment / Musicality of the Filipinos / The Role of Filipinos in Hong Kong's Musical Scene / "The Soundscape of Hong Kong, a Graphic Illustration" / Chapter Chapter Three: --- Sacred Contexts --- p.42 / "Detailed ""Sacred"" in this Thesis" / The Hong Kong Catholic Diocese and Music of the Chinese Masses / Clerical Support for the Filipino Catholic Community in Hong Kong / Profiles of Five Churches / Detailed Case Study of Two Churches / Selected Examples from Other Hong Kong Church Choirs / "Justification of ""Filipinoness""" / The Impact of Filipino Religious on the Musical Practice of Hong Kong Chinese Parishes / The Impact of Filipino Popular Music on Hong Kong Filipinos' Sacred Music / A Side Trip to the Philippines / Chapter Chapter Four: --- Secular Contexts --- p.83 / Marking Their Piece of Territory / Chater Road: Chater Square and Statue Square / Kantaka (Singing Contests) / Concert in the Park / Culture in Motion / Cultural Initiatives by the Philippine Consulate in Hong Kong / Asia Gathering / Catholic Prayer Gathering / Radio Broadcasts / Buying Recordings / Karaoke / The Hong Kong Musicians Union / Commercial Sponsors for Filipino Musical Activities / The Cordillera Men's Club / Chapter Chapter Five: --- Musical Involvement of the Filipions in Hong Kong during the Anti-World Trade Organization Campaign --- p.115 / Singing of the Filipinos / Chapter Chapter Six: --- Epilogue --- p.127 / Bibliography --- p.135