published_or_final_version / Music / Master / Master of Philosophy

published_or_final_version / Music / Master / Master of Philosophy

published_or_final_version / abstract / Music / Master / Master of Philosophy

在香港，若逝世者生前沒有宗教信仰或指定的喪葬儀式，家人通常都會為他舉行道教葬禮。黎志添教授認為道教葬儀在香港已經習俗化。事實上，在一般情況下，進行道教葬儀根本不能反映死者生前信奉的宗教信仰。為何道教葬儀在香港會成為大部份香港人的習俗？我認為，道教葬儀音樂已成為香港人不言而喻的一種身份。 / 港人一般不會關心葬儀，就算舉辦也不會深究儀式內容。但他們卻認為儀式中的音樂代表了他們的身份。在實地考察中，我發現道教葬儀音樂包含了不少廣東音樂的元素，曲牌《一錠金》就是其中的例子；事實上，採用道教儀式是香港人認同本土中國人身份的表現。 / 在實地考察中，我發現研究道教殯儀音樂可有多個視角，其音樂及宗教元素更蘊含多層意義。本文以樂師的活動為切入點，以政治身份角力的角度，研究香港道教殯儀音樂。 / In Hong Kong, a Taoist funeral is usually held for a deceased person by his or her family if the deceased did not have any religious belief or preference. In most cases, a Taoist funeral is a mere convention rather than a reflection of choice or religious affiliation of the deceased. To explore the reason of this ritual popularized in this particular region, I would like to suggest that the music played in a Taoist funeral is part of Hong Kong people’s identities. / Most Hong Kong people, in fact, would avoid the idea of death, not to mention death rituals. When they do, they usually have little knowledge of the Taoist ritual. Most, however, consider the music to be an essential part of the ritual, which reflects to a great extent, their identity. They do, however, consider that the music played represent their identity. / During the fieldwork for this thesis, I identified a number of traditional Cantonese music pieces in the ritual. For example, the Cantonese tune “Yi-ding jin“一錠金has been playing a significant role. Ordinary Chinese people, as a matter of fact, accept that the music in Taoist funeral rituals represent their identity. / I have come to understand that there are many layers in a Taoist funeral. The musicians, the ritual, and the Taoist philosophy are part and parcel of the funeral other than the music. Through extensive fieldwork and interviews, I attempt to draw a clear picture of Taoist funeral music activities in the Hong Kong community and explore the entwined relationship between politics and identity dynamics within Hong Kong Taoist funeral music. For a long time, perhaps even today, the identity of the Hong Kong people has remained a controversial issue, given that Hong Kong was a British colony before the return of its sovereignty to China. My research, however, shows that the Hong Kong people are keen to adopt a death ritual that demonstrates their Chinese identity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Chi Chun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 101-108). / Abstracts also in Chinese. / Acknowledgements --- p.v / Table of Contents --- p.ix / List of Figures --- p.x / Romanization and Translation --- p.xi / A Note on Photography --- p.xii / Chapter Chapter 1 --- : Introduction / Introduction and Background --- p.1 / Literature Review --- p.5 / Methodology and Approaches --- p.8 / Organization of the thesis --- p.13 / Chapter Chapter 2 --- : Funeral Music in Hong Kong / An Introduction to Funeral Parlours in Hong Kong --- p.15 / The Quanzhen School and the Zhengyi School in Hong Kong Funeral Parlours --- p.26 / Funeral Music in Hong Kong Society --- p.30 / Chapter Chapter 3 --- : Musical Practice of the Zhengyi School / Introduction --- p.38 / Musical Instruments in the Zhengyi school --- p.38 / Transmission --- p.49 / Changes? The Debate Between the Local Jiaoshi and the Non-local Jiaosh --- p.51 / Chapter Chapter 4 --- : Identity beyond the “Dead“ and the Hybridity of the Ritual / Introduction --- p.67 / Influence of Commercialization --- p.67 / Hybridity of Different Elements in Funeral Rituals --- p.75 / Chinese Identity of the Relatives and the Diseased --- p.78 / Chapter Chapter 5 --- : Conclusions --- p.83 / Appendices --- p.92 / Appendices A --- p.92 / Appendices B --- p.98 / Appendices C --- p.99 / Appendices D --- p.100 / References --- p.101

Cheng Ling Yan. / Thesis submitted in: June 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 86-90). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgement --- p.iii / Table of Contents --- p.iv / List of Figures --- p.vi / Romanization and Translation --- p.vii / Introduction --- p.1 / Chapter Chapter One --- Original Scoring 原創音樂： Compositional Practice in the Present-Day Hong Kong Film Music Industry --- p.6 / "How Original is “Original Scoring"" ？" --- p.8 / Originality in Previous Practice? --- p.9 / ~Film Music from the 1960s to the 1990s --- p.9 / ~“Chinese´ح Music in the Huang Mei Diao Film --- p.9 / ~Canned Music in the 1960s and 1970s --- p.11 / ~The Composer in 1970s Film Music --- p.12 / Film Music of the 2000s --- p.12 / Time Limitations --- p.13 / Budget --- p.15 / Technology in Use --- p.18 / "Close Relationships between the Director, Composer, and Mixer" --- p.21 / Chapter Chapter Two --- Film Music Functions and Formulaic Uses of Instruments --- p.24 / Function of Film Music --- p.25 / Formulaic Uses of Instruments --- p.26 / Re-Occurrence of Music in a Film --- p.30 / Chapter Chapter Three --- Imagined Scoring of Chinese Music --- p.33 / Chinese Instruments --- p.34 / Authenticity In Scene and Out of Scene --- p.35 / Imagined Scoring -- Creative Listening Experience --- p.36 / Cultural Correctness --- p.38 / Listening Experiences Formed in Daily Life --- p.39 / Music for the Elders in Hong Kong --- p.41 / Conclusion --- p.41 / Chapter Chapter Four --- Crossover of Pop Singers Into Films --- p.43 / Hong Kong Pop Singers as Film Actor/Actress or Vice Versa --- p.44 / Diegetic and Non-Diegetic Music --- p.50 / Popular Song In Film and Film Theme Song --- p.53 / The Crossover of Popular Music Composers Into Film Music --- p.54 / Pop Songs and Listening Experience --- p.56 / Change in the Practice - Problems of Overlapping Identities --- p.59 / Chapter Chapter Five --- Conclusion: Musically Illiterate in Pop but Fluent in Chinese? --- p.62 / The Hong Konger is Musically Not Chinese --- p.63 / The Hong Konger is Musically Fluent in Pop --- p.64 / Questions for Further Study --- p.64 / Appendix 1 (Wong Fook Ling ) --- p.66 / Appendix 2 ( Frankie Chan ) --- p.71 / "Appendix 3 (List of United States, Taiwan and Hong Kong Film Music Awards)" --- p.80 / Appendix 4 ( Film Titles ) --- p.81 / "Appendix 5 (Directors, Composers, Lyricists, Actors/Actresses and Singers )" --- p.84 / References Cited --- p.86 / Glossary --- p.92

published_or_final_version / abstract / toc / English Studies / Master / Master of Arts

published_or_final_version / Music / Master / Master of Philosophy

published_or_final_version / Chinese Historical Studies / Master / Master of Arts

by Wong Siu Ling, Gabriella. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves 64-69). / Chapter CHAPTER ONE --- INTRODUCTION --- p.1 / Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6 / Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15 / Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23 / Chapter CHAPTER FIVE --- METHODOLOGY --- p.37 / Chapter CHAPTER SIX --- FINDINGS --- p.44 / Chapter CHAPTER SEVEN --- DISCUSSION --- p.52 / BIBLIOGRAPHY --- p.64 / Chapter APPENDIX 1 --- List of Big Corporations and Independents --- p.70 / Chapter APPENDIX 2 --- Production cost of a Standard L.P. record --- p.74 / Chapter APPENDIX 3 --- Categories of song types --- p.75 / Chapter APPENDIX 4 --- Comparison of songs from Big Corporations and the Indies by year --- p.78 / Chapter APPENDIX 5 --- Comparison of songs from Big Corporations and the Indies from 1980- 1985 (51) 1986 -1991 (52) --- p.91

黎美倫. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1995. / 參考文獻: leaves 139-142. / Li Meilun. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 佛敎在中國之發展槪況 --- p.5 / Chapter 第一節 --- 佛敎之傳入 --- p.5 / Chapter 第二節 --- 佛敎在各朝代之發展槪況 --- p.6 / Chapter 1. --- 漢代佛敎 --- p.6 / Chapter 2. --- 魏晉佛敎 --- p.7 / Chapter 3. --- 南北朝佛敎 --- p.8 / Chapter 4. --- 隋唐佛敎 --- p.9 / Chapter 5. --- 宋明佛敎 --- p.13 / Chapter 6. --- 晚淸及民國年間之佛敎 --- p.14 / Chapter 第三章 --- 佛敎在香港之發展槪況 --- p.17 / Chapter 第一節 --- 發展歷史 --- p.17 / Chapter 第二節 --- 香港佛敎寺院分佈及分類 --- p.21 / Chapter 第四章 --- 佛敎儀式之介紹 --- p.23 / Chapter 第一節 --- 佛敎儀典 --- p.23 / Chapter 第二節 --- 道場懺法 --- p.26 / Chapter 第三節 --- 朝暮課誦 --- p.27 / Chapter 1. --- 早晚課的意義 --- p.27 / Chapter 2. --- 早晚課常用的經文 --- p.27 / Chapter 3. --- 早晚課進行的程序 --- p.47 / Chapter 4. --- 早晚課中使用之法器 --- p.48 / Chapter 5. --- 早晚課誦的記譜法 --- p.49 / Chapter 第五章 --- 實地考察：志蓮淨苑之朝暮課誦 --- p.52 / Chapter 第一節 --- 志蓮淨苑簡介 --- p.52 / Chapter 1. --- 位置 --- p.52 / Chapter 2. --- 歷史 --- p.52 / Chapter 3. --- 寺內位置分佈 --- p.54 / Chapter 4. --- 寺內佛事活動 --- p.56 / Chapter 5. --- 寺內僧人活動 --- p.59 / Chapter 6. --- 寺內所採用之法器 --- p.60 / Chapter 第二節 --- 志蓮淨苑的早課程序 --- p.65 / Chapter 1. --- 儀式目的 --- p.65 / Chapter 2. --- 儀式進行日期 --- p.65 / Chapter 3. --- 儀式進行時間 --- p.65 / Chapter 4. --- 儀式進行地點 --- p.65 / Chapter 5. --- 儀式參予人數 --- p.66 / Chapter 6. --- 儀式中採用語言及聲音 --- p.66 / Chapter 7. --- 儀式中使用物件 --- p.67 / Chapter 8. --- 儀式中參予者的動作 --- p.67 / Chapter 第三節 --- 志蓮淨苑的晚課程序 --- p.72 / Chapter 1. --- 儀式目的 --- p.72 / Chapter 2. --- 儀式進行日期 --- p.72 / Chapter 3. --- 儀式進行時間 --- p.12 / Chapter 4. --- 儀式進行地點 --- p.72 / Chapter 5. --- 儀式參予人數 --- p.72 / Chapter 6. --- 儀式中採用語言及聲音 --- p.72 / Chapter 7. --- 儀式中使用物件 --- p.73 / Chapter 8. --- 儀式中參予者的動作 --- p.73 / Chapter 第六章 --- 朝暮課誦之音樂分析 --- p.79 / Chapter 第一節 --- 梵唄的定義及功能 --- p.79 / Chapter 第二節 --- 早課的曲目分析 --- p.80 / Chapter 1. --- 《爐香讚》的音樂分析 --- p.86 / Chapter 2. --- 《佛號》的音樂分析 --- p.89 / Chapter 3. --- 《回向偈》的音樂分析 --- p.92 / Chapter 4. --- 《彌陀偈》的音樂分析 --- p.96 / Chapter 5. --- 《繞佛》的音樂分析 --- p.100 / Chapter 6. --- 《念聖號》的音樂分析 --- p.103 / Chapter 7. --- 《三皈依》的音樂分析 --- p.107 / Chapter 8. --- 《彌陀讚》的音樂分析 --- p.112 / Chapter 第三節 --- 晚課的曲目分析 --- p.115 / Chapter 1. --- 《四生登於寶地》的音樂分析 --- p.117 / Chapter 2. --- 《普賢警眾偈》的音樂分析 --- p.120 / Chapter 3. --- 《伽藍讚》的音樂分析 --- p.125 / Chapter 第四節 --- 早晚課音樂的分析結果 --- p.128 / Chapter 1. --- 調式方面 --- p.128 / Chapter 2. --- 音域方面 --- p.130 / Chapter 3. --- 旋律方面 --- p.130 / Chapter 4. --- 曲式結構方面 --- p.132 / Chapter 5. --- 節奏方面 --- p.132 / Chapter 6. --- 唱法方面 --- p.133 / Chapter 7. --- 表情方面 --- p.133 / Chapter 8. --- 異音性和聲方面 --- p.134 / Chapter 9. --- 演唱方式方面 --- p.134 / Chapter 10. --- 法器伴奏方面 --- p.135 / Chapter 第五節 --- 音樂在早晚課儀式中之運用及功能 --- p.136 / Chapter 1. --- 音樂與信仰的關係 --- p.136 / Chapter 2. --- 音樂與訊息的關係 --- p.136 / Chapter 3. --- 音樂與調節氣氛的關係 --- p.136 / Chapter 第七章 --- 結語 --- p.138 / 參考書目 --- p.139 -142 / 附錄一.香港佛敎聯合會´ؤ九九二年度法事表 --- p.143 / Chapter 二. --- 香港佛光協會一九九三年法事表 --- p.144 / Chapter 三. --- 香港的佛學講座時間表 --- p.145