published_or_final_version / Chinese / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Arts

這份作品集包括三首我在修讀碩士課程時的作品。這三首作品代表了我思索及尋找如何表達中國元素的過程。創作過程中，我特意集中於三方面：中國樂器的獨特音色、小型樂隊中樂手之間的親暱、及樂手自發的創造力。而在探索這三方面的同時，我嘗試保留在中國文學常見的表現力，從而創作出一個充分表達中國元素的作品。 / 在第一首樂曲《亂了殘紅》中，我嘗試探索胡琴的獨特音色，在單一的音色組合當中（四部胡琴）尋找音色上的細微變化。另外，我亦嘗試運用有較大自由的記譜法，在給予樂手空間的同時，令他們有緊密的合作，令團隊中有一種緊密而又自然的合作。 / 在《風刀霜劍》中，我將這記譜法更廣泛地運用，而透過這記譜法，我希望可以解放樂手的創造力，同時有效地運用在中國傳統音樂中常見的即興元素。另外，中國樂器有不少先天的限制，我在尊重這些限制的前提下，嘗試在正常以外的演奏技巧，以加強表現力。 / 此後，我將《風刀霜劍》的成果運用於《殘月葬花》，希望從而可以在西方樂器的組合上體現中國文化的影響。在前作的基礎上，顧及到西方音樂訓練中沒有即興演奏的習慣，在記譜上作出了調整，但仍然保留對音色轉變的敏感以及演奏者的自由與緊密合作。而在這些的技巧上，我希望仍然能夠表達一個屬於中國文化的境象，以此作為我對中國文化的回應。 / The works included in this portfolio represent my continual effort to develop a solution for my search for an expression of my Chinese influences. I focus mainly on three aspects: the unique timbre of Chinese instruments, the intimacy of a small traditional Chinese music ensemble, and the spontaneity of individual performers. I attempt to include these three elements into my work while retaining an expressive quality that I find to be common in Chinese literature. The three works presented in this portfolio are my continual attempts to develop these ideas into a way of expression. / The first work in the portfolio, "Rummage through the Crimson", explores the unique timbre of huqin. The instrumentation (three erhus and one zhonghu) allows me to search for difference within a homogenous texture and thus to discover the timbral nuance available. I also experiment with a notation that at the same time allows freedom and requires cooperation among performers to create a cohesive and natural ensembleship. / The second work, "Slashes of Frost and Wind", extends the experimentation of notation to a greater scale. While using an ensemble of Chinese instruments, I try to utilize the freedom allowed by the notation to unleash the innate creativity of the performers and to evoke the improvisatory nature of their traditional playing. On the other hand, I explore the use of extended techniques while respecting the instrument's natural capabilities. / In "Flower Burial under a Pallid Moon", I attempt to transfer the findings from "Slashes of Frost and Wind" to a purely Western context, in the hopes of creating a piece of music that express Chinese elements while using Western instruments, so as to expand the expressive possibilities of such an ensemble. Many technical elements have been brought over, namely sensitivity to timbral nuance, improvisatory nature of the notation, and close cooperation while in a state of performance freedom. More suggestive descriptions are added to guide the performers in improvisatory passages. Most importantly, I retain a Chinese imagery that runs through the veins of all these three works. In essence, the technical attempts here merely try to approach a succinct expression of my Chinese influence. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Ting, Chung Wai. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2012. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgement --- p.iii / Rummage through the Crimson --- p.1 / Slashes of Frost and Wind --- p.16 / Flower Burial under a Pallid Moon --- p.27

如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端，中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者，中國搖滾樂並沒有簡單複製西方搖滾樂史；作為一種流行次文化現象，中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷，而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史，筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。 / 作為中國搖滾樂的先驅者，在崔健的音樂作品中保留著一種「紅色情結」，一些革命年代的印記依舊會在他的歌曲中顯現；另外，崔健的一句「一無所有」喊出了那一代青年人的心聲，這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意，也因此使中國搖滾樂的命運同西方搖滾樂一樣，最先以一種反叛的不安分子形象示人；唐朝樂隊是中國搖滾樂「黃金時代」的代表，對中國古代輝煌歷史時期的追憶，加之重金屬音樂風格的衝擊力，使其再造了一個理想的中國陽剛之氣──「文武雙全」；創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩， 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比，本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。 / Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on “Chineseness“ in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000. / Widely regarded as the forerunner of Chinese rock, Cui Jian’s music has a “red“ ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock’s “golden age“. Through invoking a glorious period in China’s ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of “Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians’ attitudes toward an “ideal“ conceptualization of China have likewise also gradually changed. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Ren, Shaoren. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references and discographies. / Abstracts also in Chinese. / Abstract --- p.ii / Table of Contents --- p.iv / List of Figures --- p.v / Chapter Chapter I --- Introduction --- p.1 / Initial Research and Methodology --- p.2 / Chinese Rock in Historical Context --- p.5 / The “Chinese in Chinese Rock --- p.6 / Literature Review --- p.9 / Limits of This Study --- p.16 / Thesis Outline --- p.17 / Chapter Chapter II --- Cui Jian and Chinese Rock’s First On the New Long March --- p.19 / Alternative Military Song on the New Long March --- p.20 / “On a Stretch of Exhausted Earth, We Harvest Meager Hopes“ --- p.28 / Chapter Chapter III --- Tang Dynasty and Chinese Masculinity --- p.39 / China Calling for Heavy Metal --- p.40 / Tang Dynasty and Chinese Masculinity --- p.43 / Patriotism and Idealism --- p.57 / Chapter Chapter IV --- Second Hand Rose and Ironic Aesthetic --- p.62 / Spring Festival Gala and Twirling Duet --- p.64 / Twirling Duet Rock --- p.68 / “Big Bro, You’re Playing Rock, But What the Heck For?“ --- p.72 / Chapter Chapter V --- Conclusion --- p.83 / Maintaining Chineseness --- p.83 / Shifting Styles of Chineseness and Understanding “Ideals“ --- p.86 / Bibliography --- p.89

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The subject of this study is the historical development of a vehicle for a form of western art (the orchestra) in China from 1840 to the present. The writer was primarily concerned with how the orchestra developed in broad socio-economical, political-cultural, and historical contexts with an emphasis on elaborating certain conditions responsible for the specific features of this development. The following major aspects of the development of the orchestra in China are discussed:1)The uniqueness of China's culture before accepting western culture;2)Reason and procedures by which China accepted western music and its orchestra;3)The social change in the 1950s which affected the function of the orchestra in China;4)The influence of political movements and individual roles on the development of the orchestras in China;5)The emergence of the orchestra as a cultural symbol during China's modernization;6)The fact in which the orchestra become a cultural symbol during China's modernization;7)Roles and functions of the orchestra during the cultural merging of China and the West;8)The future of the orchestra in China.The purpose of this study is to confirm the cultural assimilation of the western orchestra as a world-wide trend, one in which East and West enrich one another. / School of Music

This dissertation is an analytical study of five Chinese piano pieces: Buffalo Boy's Flute by He Lu-ting, Flower Drum by Qu Wei, Xing-jiang Dance No. 1 and No. 2 by Ding Shan-de and Tunes at Sunset by Li Ying-hai. These five pieces represent a specific historical period from the 1930s to the 1950s--a primary phase in the establishment of Chinese piano music. Each piece is analyzed in terms of melody, rhythm, harmony, form and style, in order to ascertain how Chinese composers fused Western compositional techniques with the Chinese musical heritage. A second objective was to provide an historical background of the introduction and development of the piano in China. Through the investigation, this study has traced the channels through which Western music was introduced to China.The study consists of five chapters. Chapter 1 presents introductory information as well as the purpose, significance, procedures and delimitation of the study. Chapter 2, a review of related literature, provides a brief description and evaluation of important sources utilized. Chapter 3 presents a brief history of the piano in China. Chapter 4 provides an analysis of each of the five Chinese piano pieces. Also included are an evaluation of each work, brief biographies, and the historical circumstances surrounding the composition of each piece. Summary and conclusions are reported in Chapter 5.The history of Chinese piano music is relatively short--spanning approximately eighty years. Western music was not introduced to China until the beginning of the twentieth century. The founding of the National Conservatory in 1927 marked the beginning of professional musical higher education in China. Because of the musical training which Chinese musicians received, the German-Russian romantic style exerted a strong influence on the musical development of China. In the past eighty years, Chinese musicians have taken different paths trying to establish a national identity within their musical culture. The five pieces analyzed in this study reflect the accomplishments which Chinese musicians achieved in combining Western compositional techniques with Chinese musical idioms. These innovations have since become common practice among most Chinese composers. / School of Music

No description available.

While China possesses one of the world's richest musical heritages, it remained unaffected by Western music until early in this century. Subsequently, there was a movement of nationalism in music approximately three decades after the introduction of Western music. This movement, aimed at utilizing Western compositional techniques to create musical works that still would be uniquely Chinese, continues even today. Huang's piano concerto was written in 1982, just a few years after the Cultural Revolution. At the time, most Chinese composers were "handicapped" by their lack of knowledge of Western contemporary music and by their limited study of both Western and Chinese traditional forms. Huang Anlun, a composer-in-residence at the Central Opera House in Beijing, traveled to North America to study at the University of Toronto and Yale University. Subsequently his music is widely performed and well received around the world. After presenting background information on Western music in China and an introduction to basic Chinese music theory, this study has analyzed Huang's piano concerto, with a particular focus on identifying, comparing, and analyzing elements of Western and Chinese music. After a survey of the formal structure of the concerto, this study has discussed Chinese modality and Western harmony--the two most important factors in the conception of Huang's concerto. A comparative study between Chinese folk songs and the thematic materials in Huang's concerto is followed by a discussion on "imitations" of Chinese instruments. The study has also examined Western compositional techniques incorporated into this concerto, such as thematic transformation, contrapuntal writing, cyclic procedure, as well as atonal and serial techniques. Through a detailed analysis, this study attempts to demonstrate how Huang has blended Western and Chinese musical syntaxes to create an artistic work that is also uniquely Chinese.

蔡懿嫻. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 246-256). / 附中英文摘要. / Cai Yixian. / Lun wen (zhe xue shuo shi) -- Xianggang zhong wen da xue, 1999. / Can kao wen xian (leaves 246-256). / Fu Zhong Ying wen zhai yao. / 緒論 --- p.1 / Chapter (一) --- 硏究源起 --- p.1 / Chapter (二) --- 中國佛教音樂的硏究現況 --- p.1 / Chapter (三) --- 本選題的意義及硏究目的 --- p.5 / Chapter (四) --- 本論文採用之硏究方法 --- p.6 / Chapter 第一章 --- 佛教及其音樂在中國之發展槪況 --- p.8 / Chapter 第一節 --- 佛教之傳入 --- p.8 / Chapter 第二節 --- 佛教音樂在中國的發展槪況 --- p.10 / Chapter (一) --- 漢代至東晉的初弘階段 --- p.10 / Chapter (二) --- 南北朝的建立階段 --- p.12 / Chapter (三) --- 唐代的繁盛及定型化階段 --- p.13 / Chapter (四) --- 宋元至近代的衰微階段 --- p.15 / Chapter 第二章 --- 佛教在香港的發展槪況 --- p.18 / Chapter 第一節 --- 香港的三大古刹與佛教在香港的歷史槪況 --- p.18 / Chapter 第二節 --- 1900年至1940年佛教在香港的發展槪況 --- p.20 / Chapter 第三節 --- 戰後佛教在香港的發展 --- p.22 / Chapter 第三章 --- 香港的佛教儀式及法事音樂 --- p.24 / Chapter 第一節 --- 香港的佛教儀式 --- p.24 / Chapter (一) --- 《朝暮課誦》及《二時臨齋儀》 --- p.24 / Chapter (二) --- 佛教定期舉行的法事 --- p.25 / Chapter (三) --- 佛教不定期舉行的重要法事 --- p.26 / Chapter 第二節 --- 香港佛教法事音樂 --- p.28 / Chapter 第三節 --- 香港佛教法事音樂的傳授 --- p.29 / Chapter 第四章 --- 《焰口》佛事及其音樂 --- p.34 / Chapter 第一節 --- 《焰口》佛事簡介 --- p.34 / Chapter (一) --- 《焰口》佛事之起源 --- p.34 / Chapter (二) --- 《焰口》佛事之經文版本 --- p.34 / Chapter (三) --- 《焰口》佛事之舉行時間及地點 --- p.36 / Chapter (四) --- 《焰口》佛事之目的 --- p.36 / Chapter 第二節 --- 佛教天童精舍之法會 --- p.37 / Chapter (一) --- 佛教天童精舍之簡介 --- p.37 / Chapter (二) --- 天童精舍之《焰口》佛事 --- p.39 / Chapter (三) --- 《焰口》佛事之參與人員 --- p.41 / Chapter (四) --- 實地考查佛教天童精舍之《焰口》佛事 --- p.41 / Chapter (五) --- 《焰口》佛事之程序 --- p.42 / Chapter (六) --- 《焰口》佛事之音樂記譜 --- p.73 / Chapter 第五章 --- 《焰口》佛事音樂之形態分析 --- p.185 / Chapter 第一節 --- 《焰口》佛事的唱誦形式及經文分類 --- p.185 / Chapter (一) --- 《焰口》佛事的唱誦形式 --- p.185 / Chapter (二) --- 《焰口》佛事的經文分類 --- p.187 / Chapter 第二節 --- 《焰口》佛事梵唄的調式與音階 --- p.193 / Chapter (一) --- 調式 --- p.193 / Chapter (二) --- 調性的轉移 --- p.193 / Chapter (三) --- 音階與音域 --- p.194 / Chapter 第三節 --- 梵唄速度特點 --- p.198 / Chapter (一) --- 散一緊一快一慢 --- p.198 / Chapter (二) --- 散板 --- p.199 / Chapter (三) --- 固定節拍 --- p.199 / Chapter 第四節 --- 旋律的發展手法 --- p.199 / Chapter (一) --- 典型旋律型的運用 --- p.199 / Chapter (二) --- 典型旋律型的變化 --- p.203 / Chapter 第五節 --- 梵唄的結構型態 --- p.205 / Chapter (一) --- 單句反覆變奏體 --- p.205 / Chapter (二) --- 上下句反覆變奏體 --- p.205 / Chapter 第六節 --- 曲調運用手法 --- p.211 / Chapter (一) --- 一曲一詞 --- p.211 / Chapter (二) --- 一曲多用 --- p.211 / Chapter (三) --- 一詞多調 --- p.216 / Chapter (四) --- 套曲 --- p.227 / Chapter 第七節 --- 《焰口》佛事打擊法器的運用 --- p.229 / Chapter (一) --- 《焰口》佛事的打擊法器 --- p.229 / Chapter (二) --- 《焰口》佛事打擊法器的伴奏方式 --- p.232 / Chapter 第八節 --- 儀式音樂在佛教儀式中的意義 --- p.234 / Chapter 第九節 --- 《焰口》佛事與外圍文化的關係 --- p.235 / 總結 --- p.243 / 參考書目 --- p.246