Guo, Xinxin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 73-78). / Abstract also in Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgments --- p.iv / Table of Contents --- p.vi / List of Figures --- p.viii / Romanization and Translation --- p.ix / Limitation of this Thesis --- p.x / Chapter 1. --- Introduction --- p.1 / Approaching the Dolans and their Music --- p.1 / Pre-existing Research --- p.4 / Methodology and Fieldwork --- p.13 / Chapter 2. --- Becoming an “Intangible Cultural Heritage´ح：Cultural Policies of UNESCO and the Chinese Government --- p.21 / UNESCO and its Convention for the Safeguarding of the ICH --- p.22 / Cultural Policies of the Chinese Government and their Implementation --- p.28 / The Central Government´ةs Call for Preserving the Culture of Ethnic Minorities --- p.31 / Transcribing Dolan Muqam --- p.37 / The Local Government´ةs Implementation of Cultural Policies --- p.42 / The Music Videos of Dolan Muqam --- p.46 / Summary --- p.49 / Chapter 3. --- Ketmen vs. Rawap: Transmission of Dolan Muqam in New Contexts --- p.50 / Performance and Farming: Changes in Life of the Older Generation --- p.51 / Learning Muqam: Career Potentials for the Younger Generations --- p.55 / Dolan Muqam Training Classes in Mekit County --- p.57 / The 13th National Young Singers TV Competition on CCTV --- p.60 / Summary --- p.68 / Chapter 4. --- Conclusion --- p.69 / Political Implications of Safeguarding the ICH --- p.69 / Old Tradition and New Transmission --- p.71 / References Cited --- p.73

Ng, Ka Chai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 199-216). / Abstracts in English and Chinese. / Abstract --- p.i-iii / Acknowledgements --- p.iv-v / List of Plates --- p.vii / List of Examples --- p.viii-x / List of Tables --- p.xi / List of Abbreviations --- p.xii-xvi / Chapter Chapter One --- "Introduction: Mission, Liturgy, Music, and the Study of Catholic Church in China" --- p.1-14 / Chapter Chapter Two --- Overview of the History of Chinese Catholic Church: Evangelization and Indigenization --- p.15-28 / Chapter Chapter Three --- Catholic Liturgy and Music in China: Between Orthodoxy and Participation --- p.29-57 / Chapter Chapter Four --- "Vincent Lebbe's Experiences, and the Formation of his Ideas towards Liturgy, Music and Monasticism" --- p.58-75 / Chapter Chapter Five --- "The Chant Books of Lebbe: Sources, Structures and Liturgical Practices" --- p.76-110 / Chapter Chapter Six --- Stylistic Features of Lebbe's Arrangements of Gregorian Chant for Chinese Language --- p.111-154 / Chapter Chapter Seven --- Conclusion: Receptions and Cultural Representation of Vincent Lebbe's Chinese Gregorian Chant --- p.155-170 / Appendices / Notes to the Appendices --- p.171 / Appendix A - Contents of Lebbe's Chant Book for the Divine Office --- p.172-192 / Appendix B - Contents of Lebbe's Chant Book for Benediction --- p.193-195 / Appendix C - Contents of Lebbe's Chant Book for the Mass --- p.196-198 / Bibliography --- p.199-216

迎親燈籠、裝點精緻的花轎、幾十人的迎親隊伍和傳統的吹打樂隊，勾勒出一幅上世紀初紹興傳統的婚禮畫面。無論排場大小，吹打樂在當時紹興婚慶中一直是不可缺少的。直到20世紀20年代，一支名為「新聲」的銅管樂隊為紹興帶來了不同以往的音響和表演形式，並很快開始在當地上層階級的婚禮中流行。從第一支樂隊創立至今，紹興已有多達百余支銅管樂隊，兩千多名樂手。但我在一年多的田野調查中卻發現一直被冠以「洋氣」、「時髦」的銅管樂隊仍延續著很強的紹興當地的傳統文化特徵。 / 這其中有很多有趣且值得思考的問題：現用的銅管樂緣何被帶入紹興並成為婚慶音樂？在演奏和傳承過程中，它是如何適應當地的禮俗以及當地人的觀念？西方樂器與紹興當地文化之間的結合又揭示了什麼？帶著這些問題，本文的論述內容主要分為三個部分：1、追溯銅管樂隊在紹興產生和發展的歷史，瞭解不同時代背景下，銅管樂隊如何適應傳統婚慶儀式；2、通過記述近期紹興婚禮儀式的描述及口述歷史中的紹興婚慶習俗，探究它們之間的關係，以及樂隊和音樂在當地婚禮中的角色；3、探討文化、社會環境和政治因素對婚禮音樂的影響，以及紹興婚禮「傳統」在不斷延續和變化中，當地人對銅管樂隊、樂手和音樂的理解和看法。 / 本文認為儘管紹興婚慶的儀式、樂手、樂器、音樂都在改變，傳統文化的影響和人們的音樂觀念仍然在看似「洋化」了的銅管樂中延續，而被改變了的銅管樂也正締造著新的傳統。 / Red lanterns, elaborate bridal sedan, traditional Chinese wind and percussion (chuida 吹打) ensembles, once characterized conventional Shaoxing weddings in the early 20th century. No matter how simple the wedding was, chuida music was a very essential part, which decorated an atmosphere of lively joyance. Since the late 1920s, a newly established western brass band named Xinsheng (New Sound) brought into this county a strikingly different sound, as well as musical practices. In smart military uniform, this band of six, performing a mixed repertoire of Western and Chinese pieces, soon became popular in the weddings of the more affluent class. / As a convenient symbol of Western taste and fashion, this new band positioned itself well by its name "New Sound," an image its members initially wanted to project. However, almost ninety years after its establishment, I have found in my fieldwork that traditional Chinese concepts and practices remalll strong in the brass band's performances and activities. These unique features of border and genre crossing are also the reason why, over the course of a century, the number of brass bands in Shaoxing has increased significantly, and has become an indispensable component of present day weddings. / However, there are some interesting and important questions I want to ask in this thesis: why was the brass band brought into Shaoxing and chosen for the wedding ceremony? How did the band and its repertoire adapt to the Chinese traditional ritual context and appeal to local tastes and aesthetics? What does the brass band's negotiation between Western practices and local culture reveal? In order to answer these questions, this thesis first tracks the band's history and transmission. Then after a chapter of wedding ethnography and a chapter of oral history on traditional wedding, it looks into the function of brass bands and their musIc at weddings, and explores the cultural, historical and political meanings behind them. This paper examines the ways in which musical concepts of local people influence the Western brass bands, performers and the brass music itself. / The paper holds that although the rituals, performers, musical instruments and musical language continued to change throughout during years, the local cultural traditions and people's concepts are still maintained III the Western musical practices. The brass bands chosen by history are also creating and reconstructing the history and tradition. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 鄭思. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 80-85). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zheng Si. / 目錄 --- p.i / Abstract --- p.ii / 中文摘要 --- p.iv / Chapter 第一章、 --- 研究背景介紹 --- p.1 / Chapter 一、 --- 紹興及其婚慶禮俗 --- p.2 / Chapter 二、 --- 文獻回顧 --- p.6 / Chapter 三、 --- 研究方法 --- p.11 / Chapter 第二章、 --- 口述歷史中的紹興婚禮儀式和樂隊 --- p.16 / Chapter 一、 --- 紹興三埭街的「墮民」 --- p.15 / Chapter 二、 --- 「墮民」樂手陳順泰 --- p.18 / Chapter 三、 --- 紹興婚禮的口述歷史 --- p.19 / Chapter 第三章、 --- 紹興婚慶儀式中的銅管樂隊 --- p.26 / Chapter 一、 --- 「新聲」的新生 --- p.26 / Chapter 二、 --- 銅管樂的學習和傳承 --- p.31 / Chapter 三、 --- 銅管樂隊在歷史中的轉變和發展 --- p.31 / Chapter 1、 --- 「新聲」在轉變中適應 --- p.32 / Chapter 2、 --- 從業人員 --- p.34 / Chapter 3、 --- 收益 --- p.35 / Chapter 4、 --- 銅管樂的現在：「紹興人只要結婚，都請、銅管樂 的現在：「紹興人只要結婚，都請隊」 --- p.36 / Chapter 第四章、 --- 銅管樂隊伴奏中的紹興婚慶儀式 --- p.38 / Chapter 一、 --- 紹興婚禮田野志 --- p.38 / Chapter 二、 --- 銅管樂隊演出的節氣、吉日、時辰 --- p.51 / Chapter 三、 --- 銅管樂隊的與鬧 銅管樂隊的與鬧 --- p.55 / Chapter 1、 --- 〈老八套〉 --- p.55 / Chapter 2、 --- 媒體影響下的流行音樂 --- p.61 / Chapter 第五章、 --- 結論 --- p.63 / 參考文獻 --- p.80

劉紅. / 論文(博士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 248-251. / Liu Hong. / 前言 / 簡 述 / Chapter 第一節 --- 本選題之背景 --- p.1 / Chapter 第二節 --- 與本選題有關研究之簡略評述 --- p.1 / Chapter 一、 --- 道教音樂研究之概况 --- p.1 / Chapter 二、 --- 與本選題有關研究之評述 --- p.2 / Chapter 第三節 --- 本選題之意義 --- p.3 / Chapter 第四節 --- 本選題之研究方法上的考慮 --- p.4 / Chapter 一、 --- 田野工作 --- p.4 / Chapter 二、 --- 本人經歷 --- p.5 / Chapter 三、 --- 研究的角度和方法 --- p.5 / Chapter 第一章 --- 概述 --- p.8 / Chapter 第一節 --- 蘇州道教概况 --- p.8 / Chapter 第二節 --- 蘇州道教音樂述略 --- p.13 / Chapter 一、 --- 蘇州道樂的歷史 --- p.13 / Chapter 二、 --- 蘇州道樂的特點 --- p.19 / Chapter 第二章 --- 蘇州道教科儀 --- p.25 / Chapter 第一節 --- 正一道科儀簡述 --- p.25 / Chapter 第二節 --- 蘇州道教科儀之沿革及現狀 --- p.27 / Chapter 第三章 --- 「天功」科儀及其音樂 --- p.32 / Chapter 第一節 --- 「天功」科儀的版本 --- p.32 / Chapter 第二節 --- 「天功」科儀簡介 --- p.34 / Chapter 第三節 --- 「天功」科儀的結構 --- p.40 / Chapter 一、 --- 儀式空間結構 --- p.41 / Chapter 二、 --- 儀式參與人員結構 --- p.44 / Chapter 第四節 --- 「天功」科儀及其音樂之程序 --- p.46 / Chapter 第五節 --- 「天功」科儀的即興性因素 --- p.144 / Chapter 第六節 --- 「天功」科儀音樂之類别劃分 --- p.147 / Chapter 一、 --- 音樂形式分類 --- p.148 / Chapter 二、 --- 音樂功能分類 --- p.150 / Chapter 第七節 --- 「天功」科儀音樂之表現形式 --- p.151 / Chapter 一、 --- 經韵唱誦形式 --- p.151 / Chapter 二、 --- 樂器及法器種類 --- p.152 / Chapter 三、 --- 樂器與法器的組合及運用形式 --- p.153 / Chapter 第四章 --- 「天功」科儀音樂之形態分析 --- p.162 / Chapter 第一節 --- 關于記譜的¨®Ơ明 --- p.162 / Chapter 第二節 --- 「天功」科儀音樂諸要素描述 --- p.163 / Chapter 一、 --- 調ˇ±ة調式與調性 --- p.163 / Chapter 二、 --- 音階音列與音域 --- p.166 / Chapter 三、 --- 節拍與速度 --- p.167 / Chapter 第三節 --- 旋律形態 --- p.170 / Chapter 一、 --- 典型旋律型 --- p.170 / Chapter 二、 --- 典型旋律型變體 --- p.176 / Chapter 三、 --- 旋律發展手法 --- p.179 / Chapter 第四節 --- 節奏形態 --- p.182 / Chapter 一、 --- 宏觀節奏形態 --- p.182 / Chapter 二、 --- 微觀節奏形態 --- p.184 / Chapter 三、 --- 節奏與功能 --- p.184 / Chapter 第五節 --- 結構形態 --- p.185 / Chapter 一、 --- 整體結構 --- p.185 / Chapter 二、 --- 韵體結構 --- p.185 / Chapter 三、 --- 句式結構 --- p.186 / Chapter 四、 --- 腔詞結構 --- p.188 / Chapter 五、 --- 固定尾句結構 --- p.193 / Chapter 第五章 --- 蘇州道教科儀音樂與地方民間音樂之比較 --- p.196 / Chapter 第一節 --- 蘇州道樂與蘇州民間俗樂之關系 --- p.196 / Chapter 一、 --- 與蘇州民歌的關系 --- p.196 / Chapter 二、 --- 與蘇州彈詞的關系 --- p.199 / Chapter 三、 --- 與蘇南吹打的關系 --- p.203 / Chapter 四、 --- 與昆曲的關系 --- p.210 / Chapter 第二節 --- 蘇州道樂舆蘇州民間俗樂之關系的 社會文化背景 --- p.214 / Chapter 一、 --- 地理環境因素 --- p.214 / Chapter 二、 --- 民俗習慣因素 --- p.218 / Chapter 第六章 --- 蘇州道教科儀音樂之文化環境分析 --- p.223 / Chapter 第一節 --- 音樂概念與音樂價值觀念 --- p.223 / Chapter 一、 --- 音樂的概念 --- p.223 / Chapter 二、 --- 音樂的價值觀念 --- p.226 / Chapter 第二節 --- 音樂的宇宙意識 --- p.229 / Chapter 一、 --- 道教生命觀念中的宇宙意識 --- p.229 / Chapter 二、 --- 道教儀式環境中的宇宙意識 --- p.229 / Chapter 三、 --- 蘇州道樂中的宇宙意識 --- p.232 / Chapter 第三節 --- 儀式行為人的訓練和經歷與音樂風格 形成之關系 --- p.235 / Chapter 第四節 --- 宮觀管理制度與音樂風格形成之關系 --- p.239 / 餘論蘇州道教音樂之發展問題 ´ؤ´ؤ傳統與現實的挑戰 --- p.244 / 總 結 --- p.247 / 參考書目 --- p.248

by Tsai Yee-Ah, Eva. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1997. / Incldues bibliographical references (leaves 108-112). / ABSTRACT --- p.iii / ACKNOWLEDGEMENTS --- p.vi / TABLE OF CONTENTS --- p.vii / LIST OF TABLES --- p.ix / LIST OF FIGURES --- p.x / CHAPTER / Chapter I. --- INTRODUCTION --- p.1 / Objectives --- p.2 / Chapter II. --- MARKET ANALYSIS --- p.4 / Overview of the Music Industry in Hong Kong --- p.4 / Hong Kong Classical Music Market and the Trends --- p.6 / Definition of Classical Music --- p.6 / Classical Music Becomes More Popular --- p.8 / More Record Stores in Hong Kong Selling Classical CDs --- p.10 / New Ways of Promoting Classical Music --- p.13 / New Classical Music Repertoires and the Trends --- p.15 / More Young Classical Performers --- p.16 / Major Classical Companies in Hong Kong --- p.17 / Bertelsmann Group --- p.17 / EMI --- p.19 / HNH Internationa] Ltd --- p.22 / PolyGram --- p.25 / Sony --- p.28 / Warner --- p.32 / Chapter III. --- RESEARCH METHODOLOGY --- p.37 / Secondary Data --- p.37 / Primary Data --- p.38 / Experience Survey --- p.38 / Sample Survey --- p.38 / Limitations of the Research --- p.42 / Research Design --- p.42 / Data Collection --- p.43 / Data Analysis --- p.44 / Chapter IV. --- RESEARCH FINDINGS AND DATA ANALYSIS --- p.48 / Response Rate --- p.48 / Outcome of Self-Administered Questionnaire Survey --- p.48 / Data Analysis --- p.49 / Editing --- p.49 / Coding --- p.50 / RESEARCH FINDINGS --- p.50 / Demographic Information of 200 Successful Respondents --- p.50 / Respondents' Opinions of HMV --- p.53 / Respondents' Usage Patterns of Classical CDs --- p.55 / Brand Name of the Record Company --- p.55 / Price --- p.60 / Selection Criteria in Buying Classical CDs --- p.61 / places for Buying Classical CDs --- p.72 / Reasons for Buying Classical CDs --- p.74 / Opinions of Sony's Classical CDs --- p.77 / Preferred Promotional Methods --- p.81 / Information Channels in Receiving Information about Classical CDs --- p.84 / Maximum Price Willing to Pay --- p.88 / Preferred Tangible Changes or Improvements --- p.89 / Conclusion --- p.91 / Competitive Profile --- p.91 / Market Profile --- p.92 / Customer Profile --- p.93 / Product Profile --- p.94 / Company Profile --- p.95 / Chapter V. --- "MARKETING PLAN FOR SONY'S CLASSICAL DIVISION, 1997-1998" --- p.97 / Target Markets --- p.97 / Marketing Objectives --- p.98 / Product Objectives --- p.98 / Pricing Objectives --- p.99 / Communication Objectives --- p.100 / Distribution Objectives --- p.105 / Monitoring System --- p.107 / Conclusion --- p.108 / APPENDIX --- p.110 / BIBLIOGRAPHY --- p.133

徐焯賢. / 論文(哲學碩士) -- 香港中文大學人類學部, 1997. / 參考文獻: leaves 73-76. / Xu Zhuoxian. / Chapter 第一章 --- 總論 --- p.1 / Chapter 甲. --- 硏究課題 / Chapter 乙. --- 文獻回顧 / Chapter 丙. --- 硏究方法 / Chapter 第二章 --- 香港粤曲曲藝社的槪況一一以觀華遊樂社爲例 --- p.14 / Chapter 甲. --- 觀華遊樂社的背景資料 / Chapter I. --- 名稱由來 / Chapter II. --- 成立經過和歷史 / Chapter III. --- 會員人數 / Chapter IV. --- 日常活動 / Chapter V. --- 宗旨 / Chapter VI. --- 組織架構 / Chapter 乙. --- 活動描述 / Chapter I. --- 操曲 / Chapter II. --- 敎授老人中心 / Chapter III. --- 公開演出 / Chapter 丙. --- 小結 / Chapter 第三章 --- 觀華遊樂社與香港社會的關係 --- p.34 / Chapter 甲. --- 觀塘社區發展 / Chapter 乙. --- 整體粤曲粤劇發展 / Chapter 丙. --- 九七回歸帶動的身份認同 / Chapter 丁. --- 小結 / Chapter 第四章 --- 觀華遊樂社與個人社會空間的關係 --- p.50 / Chapter 甲. --- 前言 / Chapter 乙. --- 個人資料 / Chapter 丙. --- 參加觀華的重要性 / Chapter I. --- 觀華成員身份的確立 / Chapter II. --- 社區身份 / Chapter III. --- 中國文化身份 / Chapter 丁. --- 小結 / Chapter 第五章 --- 總結一一個人、社會與曲藝社 --- p.69 / 參考書目 --- p.73

李環. / "2009年9月". / "2009 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 125-136). / Abstracts in Chinese and English. / Li Huan. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 研究對象簡介 --- p.1 / Chapter 第二節 --- 研究動機、範圍及局限 --- p.8 / Chapter 第三節 --- 文獻回顧、研究方法 --- p.11 / Chapter 第四節 --- 理論探討以及章節安排 --- p.16 / Chapter 第五節 --- 實地考察 --- p.17 / Chapter 第二章 --- 新中國初期的湖南花鼓戲 --- p.22 / Chapter 第一節 --- 湖南花鼓戲的解禁 --- p.22 / Chapter 第二節 --- 民間劇團與國有劇團的聯繫 --- p.29 / 小結 --- p.36 / Chapter 第三章 --- “省花路子´ح：當代國有劇團的花鼓戲改革 --- p.38 / Chapter 第一節 --- 學校教育的傳承方式 --- p.38 / Chapter 第二節 --- 文化事業單位 --- p.41 / Chapter 第三節 --- 改革中的花鼓戲 --- p.50 / Chapter 第四節 --- 現代戲的尷尬 --- p.60 / 小結 --- p.72 / Chapter 第四章 --- “老腔老調´ح：當代民間花鼓戲劇團 --- p.75 / Chapter 第一節 --- 師徒相承的傳承方式 --- p.75 / Chapter 第二節 --- 表演形式與表演劇目 --- p.78 / Chapter 第三節 --- 經營方式 --- p.81 / Chapter 第四節 --- “老腔老調´ح --- p.86 / Chapter 第五節 --- 大眾媒體與民間花鼓戲 --- p.93 / 小結 --- p.100 / Chapter 第五章 --- 文化政策與花鼓戲發展 --- p.104 / Chapter 第一節 --- “專業´ح與“業餘´ح --- p.104 / Chapter 第二節 --- “禁´ح與“扶持´ح --- p.111 / Chapter 第六章 --- 結論 --- p.115 / 參考文獻 --- p.126

陳韋燕. / "2007年12月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 266-272). / "2007 nian 12 yue". / Abstracts in Chinese and English. / Chen Weiyan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 266-272). / Chapter 第一章： --- 緒論 --- p.1 / Chapter 第二章： --- 佛樂在中國的變遷 --- p.10 / Chapter 第一節： --- 佛教音樂 --- p.11 / Chapter 第二節： --- 佛教音樂在中國 --- p.12 / Chapter 第三節： --- 香港佛教 --- p.16 / Chapter 第三章： --- 瑜伽燄口佛事 --- p.20 / Chapter 第一節： --- 「燄口佛事」 --- p.20 / Chapter 第二節： --- 「廣東燄口」 --- p.24 / Chapter 第四章： --- 寶蓮禪寺廣東燄口佛事個案記錄 --- p.48 / Chapter 第一節： --- 寶蓮禪寺 --- p.48 / Chapter 第二節： --- 儀式的空間 --- p.54 / Chapter 第三節： --- 儀式參與者 --- p.57 / Chapter 第四節： --- 儀軌、音聲與動作 --- p.61 / Chapter 第五節： --- 儀式的全程 --- p.63 / Chapter 第六節： --- 儀式的紀錄 --- p.74 / Chapter 第五章： --- 寶蓮禪寺廣東燄口佛事個案音樂分析 --- p.191 / Chapter 第一節： --- 器樂方面 --- p.191 / Chapter 第二節： --- 聲樂方面 --- p.196 / Chapter 第三節： --- 唱曲運用特點 --- p.230 / Chapter 第四節： --- 法器及樂器的運用 --- p.237 / Chapter 第六章： --- 儀式音樂的神性與世俗 --- p.239 / Chapter 第一節： --- 儀式音樂的硏究 --- p.239 / Chapter 第二節： --- 燄口佛事中音樂的運用 --- p.241 / Chapter 第三節： --- 廣東燄口佛事音樂的地域性和跨地域性特點 --- p.244 / Chapter 第四節： --- 儀式音聲的神性與世俗：音樂的多層次核心與非核心關係 --- p.256 / Chapter 第七章： --- 總結 --- p.263 / 參考書目 --- p.266

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.

published_or_final_version / abstract / toc / Music / Master / Master of Philosophy