Chuen Fung Wong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 94-102). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.v / Table of Contents --- p.vi / List of Figures and Tables --- p.viii / Romanization and Translation --- p.ix / Chapter 1. --- Introduction --- p.1 / Beyond Ethnomusicology and Music History --- p.1 / Music Scholarship and Historiography in Modern China --- p.3 / Modern Research on Guqin: Becoming a Chinese Instrument --- p.8 / On Methodology --- p.11 / Chapter 2. --- The Making of Modern Notation: Reformation Models of Guqin Notation in the Twentieth Century --- p.14 / Introduction --- p.14 / Guqin Notation --- p.16 / Traditional Notation/Pre-Modern: An Imagined Tradition --- p.18 / Modern Changes --- p.20 / Notation Model in Oinxue Rumen --- p.21 / Notation Model in Qinjing --- p.23 / Wang Guangqi's Model --- p.25 / Yang Tinliu's Reformation Proposal --- p.28 / Gong Yi´ةs Guqin Yamoufa --- p.31 / Concluding Remarks: The Making of a Modern Notation --- p.35 / Chapter 3. --- Between Creativity and Reconstruction: Dapu and Its Changing Concept --- p.38 / Introduction --- p.38 / Defining Dapu --- p.40 / "Between Ancient and Modern, Historical and Creative" --- p.41 / The Power of Silk String --- p.46 / Dapu in Modern China and Its Practical Uses --- p.48 / Concluding Remarks: Dapu and Modernity in China --- p.51 / "Epilogue: A Brief Report on the Fourth National Dapu Conference,19-26 August 2001, Changshu" --- p.56 / Chapter 4. --- Becoming a Chinese Music history: Guqin and Music Historiography --- p.60 / Introduction --- p.60 / Music Historiography and the Work-Concept in China --- p.63 / Guqin and Musical Works --- p.66 / Situating Guqin Music into History: The Irony of Meihua Sannong --- p.68 / The Tactics of Historicization: The Case of Lisao --- p.72 / Werktreue and Chinese Music Historiography: A Conceptual Imperialism --- p.76 / Chapter 5. --- Conclusion: Guqin and Postcolonial Modernity in China --- p.80 / Introduction --- p.80 / A Postcolonial Reading --- p.82 / The Quest for Modernity --- p.83 / Final Remarks: On Translation and Chinese Music Scholarship --- p.86 / Appendix A Chinese Dynasties and Historical Periods --- p.88 / "Appendix B Map of China, Hong Kong, and Taiwan" --- p.89 / Appendix C General Histories of Chinese Music --- p.90 / Reference Cited --- p.94 / Glossary of Chinese Terms --- p.103

Based on the geographical distribution of the unearthed musical instruments and their archaeo-cultural considerations, I first examine musical cultures of the Shang and Zhou dynasties in the seven-regions of Central Plain, Northwest, North, East, Southwest, South, and Southeast, each of which showed affinity to some particular political unit (state), ethnicity and social organization of the archaeological culture. Through regional and cross-regional analysis of the shape, composite and musical features of the instruments and their contemporary cultural significance, I argue that the Shang and Zhou musical cultures were primarily originated and developed in multiple cultural contexts along the Yellow River and Yangtse River areas. Among the seven regions, the Central Plain region occupied a dominant position. The other regions of musical culture developed independently but maintained close cultural interaction with the Central Plain region. / Lastly, I discuss the ritual-music function of the instruments in the formation of ritual-music system, the condition of the owners and players of the instruments, and the compositive set of ritual bronze vessels and instruments. I conclude that the social function of musical instruments in the Shang and Zhou dynasties had actually gone beyond music performance itself. They had functions of performing music, executing sacrifice, and symbolizing the socio-political status and ranks of individuals. / This dissertation is an archaeo-musicological study on unearthed musical instruments of the Shang (1600 B.C.--1046 B.C.) and Western Zhou (1046 B.C.--771 B.C.) dynasties in China. Using the unearthed musical instruments in conjunction with other related archaeological findings and ancient Chinese documents, I discuss issues relating to the multi-structure and social function of these instruments within their socio-historical contexts. / Using the textual information from oracle bone inscriptions, bronze inscriptions, and Chinese classical texts, I explore the functions of the unearthed musical instruments in terms of sacrificial activities and the Liyue (ritual-music) system. I identify four types of excavation (dwellings, sacrificial pits, hoards, and tombs) to elucidate the relationship between sacrificial activities and musical instruments. I then discuss the metaphor of the instruments' decorations and the use of instruments in the ritual activities such as praying for rain and ancestral cult. / 方建軍. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 277-316). / Adviser: Tsao Poon Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2380. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 277-316). / Fang Jianjun.

Tse, Chun Yan Victor. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 204-226). / Photocopy. Ann Arbor, Mich. : ProQuest LLC, 2011. xi, 226 p. : music ; 29 cm. / Abstract also in Chinese; includes Chinese characters. / Abstract --- p.i / Abstract in Chinese --- p.iii / Acknowledgments --- p.iv / List of tables --- p.viii / List of graphs --- p.ix / List of appendices at the end of individual chapters --- p.ix / List of abbreviations of qin handbooks --- p.X / Chapter Chapter 1 --- Background of the research --- p.1 / Chapter Chapter 2 --- Overview of the research methodology --- p.23 / Chapter Chapter 3 --- An illustrated methodology in reconstructing qin music from past scores guyuan 古怨 of the Southern Song Dynasty --- p.36 / Chapter Chapter 4 --- Chromaticism in Ming Dynasty scores -baixue 白雪 in Shenqi mipu 神奇秘譜 --- p.67 / Chapter Chapter 5 --- From chromaticism to pentatonism - baixue 白雪 in other Ming and Qing Dynasty handbooks --- p.91 / Chapter Chapter 6 --- Non-circle-of-fifths intonations in Qing Dynasty scores --- p.119 / Chapter Chapter 7 --- Varying 4th and 7th degrees - dongting qiusi 洞庭秋思 in Ming and Qing Dynasty handbooks --- p.143 / Chapter Chapter 8 --- Convergence of ideology and practice --- p.168 / Chapter Chapter 9 --- Conclusion ´ؤ looking back and looking forward --- p.199 / References --- p.204

China's role in Western music is ever-expanding. Echoing the growth of classical music in China is the importance of Chinese musicians in the global music world. However, it is easy to forget that Western classical music is a foreign import to China, one that has been resisted for most of its history. The intent of this study is to evaluate the role of Chinese music in the Western classical world. This includes Western education, Western repertoire, and also a historical exploration into the mutual influence of the two styles. One Chinese composition in particular, Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57, is selected to analyze the Western and Chinese elements present in the work. This analysis will shed light on the relationship of the two styles and how they amalgamate in modern Chinese music. Although Western classical music today has a strong foothold in China, Chinese contributions to piano literature are largely unknown to the West. China possesses one of the richest musical histories in the world, one which until the twentieth century has largely remained unaffected by Western elements. Its musical heritage extends over thousands of years, deeply rooted in tradition and nationalism. Over the last century, Chinese composition began to incorporate Western musical ideas while still holding on to its own heritage and traditions. This synthesis of Western and Chinese musical elements created a new compositional sound founded on Chinese roots. Huang An-lun, one of China's most prominent living composers, embodies this style in his compositions. Chinese composition is no longer something that is exotic or alien to Western music. Instead, it integrates many Western ideas while still being founded in Chinese heritage, creating a new style that has much to offer the Western classical world.

李潔嫦. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998. / 參考文獻: leaves 99-106. / Li Jiechang. / 撮要 --- p.iii / Chapter 第一章 --- 地水南音源流槪說 / Chapter 一´Ø --- 引言 --- p.一 / Chapter 二´Ø --- 南音的起源和發展 --- p.二 / Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四 / Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代） / Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八 / Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九 / Chapter 三´Ø --- 七十年代 --- p.二五 / Chapter 四´Ø --- 八十年代至今 --- p.二八 / Chapter 第三章 --- 地水南音的音樂風格 / Chapter 一´Ø --- 引言 --- p.四三 / Chapter 二´Ø --- 唱詞結構 --- p.四四 / Chapter 三´Ø --- 板面及過序的處理 --- p.四八 / Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四 / Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八 / Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣 / Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八 / Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三 / Chapter 三´Ø --- 結論 --- p.九十 / Chapter 第五章 --- 結論 --- p.九四 / 參考書目 --- p.九九 / 附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七 / 附錄二 《霸王別姬》的唱腔分析 --- p.一一七 / 附錄三《客途秋恨》的唱腔分析 --- p.一三一 / 表目 / 表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五 / 表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七 / 表2-3 八十至九十年代南音演出和講座資料 --- p.三九 / 表3-1 --- p.五五 / 表3-2 --- p.五七 / 表3-3 --- p.六五 / 表3-4 --- p.六九 / 表3-5 --- p.七二 / 表4-1杜煥生平年表 --- p.八二 / 表4-2唐健垣生平年表 --- p.八八

Wong King-chung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 66-78). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgement --- p.iii / Table of Contents --- p.v / List of Figures and Tables --- p.vii / Chapter Chapter 1´ؤ --- Introduction / A New Age of Sound --- p.1 / Academic Background and Related Studies --- p.2 / Chinese Music and the Media --- p.4 / The Present Study and Methodology --- p.5 / Chapter Chapter 2´ؤ --- SoundScape of China: The Influence of Ethnomusicology in China in the 1980´ةs / Introduction --- p.8 / From Comparative to Cultural: Chinese Music Scholarship in the Twentieth Century Mainland China --- p.10 / Revealing a Soundscape of Chinese Music´ؤDevelopment of Musical Genre Study --- p.13 / Concluding Remarks --- p.18 / Chapter Chapter 3´ؤ --- Mapping a Soundscape: Analyzing the HUGO CD Catalogue(s) / Introduction --- p.20 / "Classification, Category and Catalogue" --- p.20 / Recording Industry in Hong Kong --- p.22 / Aik Yeh-goh and HUGO Production (HK) Ltd --- p.28 / HUGO'S Label Division --- p.29 / Statistical Analysis of HUGO CD Catalogues --- p.31 / An Aural Map´ؤSoundscape of China --- p.38 / Concluding Remarks --- p.42 / Chapter Chapter 4´ؤ --- Whose Music? The Role of the HUGO CD Catalogue in Chinese Cultural Memory / Introduction --- p.44 / Communication Theory in Studying Recording Industry --- p.46 / Lasswell's 5-W Formula as a System --- p.46 / Lewin's Gatekeeping Theory --- p.50 / The Role of HUGO CD: Imagination of Chinese Music outside Mainland China --- p.52 / Concluding Remarks --- p.54 / Appendix A: Name List of Record Companies in Hong Kong before the 1990's --- p.56 / Appendix B: The Catalogue of the HUGO CDs --- p.58 / Selected Bibliography --- p.66

The Sound of the Prairie Land (Caoyuan Zhige) for viola and piano by the Chinese composer Qingwu Guan (b. 1938) has become one of the most popular works in the growing Chinese repertoire for viola. It also exists in another version for viola and viola ensemble, arranged by the Chinese violist Wing Ho, who also expanded the viola part with the composer's approval. The pentatonic work was highly influenced by the landscape and music of Inner Mongolia, a province of China next to the Mongolian border, and incorporates the music of an ode by the Inner Mongolian composer Alatengaole (1942–2011) called Sincere Wishes for a Long Life to Chairman Mao. Guan remains a strong supporter of Mao, the first chairman of the Chinese Communist Party. The work makes use of some performance techniques of the Inner Mongolian two-stringed fiddle called morin khuur, which has a similar tone to the viola: three kinds of slides, grace notes, imitations of a horse's neigh, and the representation of horses galloping across the prairie. The background of the work, understanding of the musical structure, and information about morin khuur techniques presented in this dissertation should aid performers in interpreting the work more authentically.