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

China in the twentieth century witnessed a series of revolutions that brought about political and economic changes. Traditional cultures also underwent various changes to survive the drastic impacts of these political revolutionary ideologies. This study takes the case of the Qingyin (locally referred to as the Sizhu), a silk and bamboo instrumental ensemble form that has survived these political impacts in China's recent history and is still thriving in the rural community of Nanhui, a district geographically neighbour to the cosmopolitan city Shanghai, with the aim to locate the reasons and ways of its transformation. / Under the influence of various political, economic, and cultural factors, the Qingyin has lived through different musical groups over time. From 1850 to 1949, within the framework of Confucianism, it took the form of non-professional ritual musical bands. From 1949 to 1976, under the socialistic slogan of "art serves political ideologies", the Qingyin survived within the organizations of local opera bands and propaganda units to spread Maoism. From 1977 to 2004, under the government policy that "culture goes hand-in-hand with economy", the Qingyin lived among "art factories" (non-governmental corporations combining art with commercial production) and semi-professional ritual-musical bands. This study discusses how this traditional form of musical ensemble underwent the three stages of ritual-musical culture, popular culture, and consumption culture, with their corresponding changes in music repertory, performance style, and social activities. The author sees those changes as ways to continue cultural traditions employed by musicians to adapt to the alienated cultural ecology, which the author describes as "mechanism of internal reaction" and gives its analysis and interpretation. / 齊琨. / 簡譜記譜. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 314-330). / Jian pu ji pu. / Adviser: Tsao Pou Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2389. / 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. 314-330). / Qi Kun.

馬曼霞. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 218-231. / Ma Manxia. / Chapter 第一章： --- 論文槪述 --- p.1 / Chapter 第一節： --- 論文題目簡介 --- p.1 / Chapter 第二節： --- 硏究動機與目的 --- p.3 / Chapter 第三節： --- 與本論文有關的粤劇音樂硏究 --- p.5 / Chapter 第四節： --- 硏究方法 --- p.8 / Chapter 第五節： --- 硏究範圍 --- p.10 / Chapter 第六節： --- 採訪對象及劇目取例 --- p.11 / Chapter 第二章： --- 粤劇敲擊音樂的發展及結構 --- p.16 / Chapter 第一節： --- 粤劇敲擊樂器溯源 --- p.16 / Chapter 第二節： --- 樂器簡介 --- p.25 / Chapter 第三節： --- 樂器使用的歷時流變 --- p.31 / Chapter 第四節： --- 樂部編制 --- p.39 / Chapter 第五節： --- 鑼鼓點記譜法 --- p.46 / Chapter 第六節： --- 鑼鼓點分類 --- p.68 / Chapter 第七節： --- 鑼鼓點結構 --- p.80 / Chapter 第三章： --- 粤劇敲擊音樂的功能 --- p.87 / Chapter 第一節： --- 開始´ؤ束戲劇 --- p.87 / Chapter 第二節： --- 作爲演出前的「通告」 --- p.99 / Chapter 第三節： --- 爲「例戲」作拍和 --- p.101 / Chapter 第四節： --- 作正本戲的拍和 --- p.105 / Chapter 第四章： --- 敲擊音樂於劇場內外的溝通方式 --- p.143 / Chapter 第一節： --- 「敲擊樂部」內部溝通方式 --- p.144 / Chapter 第二節： --- 與「旋律樂部」的溝通方式 --- p.177 / Chapter 第三節： --- 與演員及觀眾的溝通方式 --- p.192 / Chapter 第五章: --- 總結 --- p.203 / Chapter 第一節： --- 敲擊音樂的溝通條件 --- p.203 / Chapter 第二節： --- 掌板在劇場中擔當的角色 --- p.207 / Chapter 第三節： --- 結語 --- p.216 / 參考資料 --- p.218

李麗虹. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 131-137. / Li Lihong. / Chapter 第一章 --- 前言 --- p.6-12 / Chapter 第一節 --- 硏究地區之選擇 / Chapter 第二節 --- 過去及當前之硏究 / Chapter 第三節 --- 硏究目標 / Chapter 第四節 --- 資料來源 / Chapter 第二章 --- 台灣布袋戲的源流、發展及布袋戲名稱的由來 --- p.13-28 / Chapter 第一節 --- 布袋戲名稱的由來 / Chapter 第二節 --- 台灣布袋戲的源流及發展 / Chapter 第三章 --- 布袋戲班的構成因素及《小西園》布袋戲班的介紹 --- p.29-49 / Chapter 第一節 --- 布袋戲班的構成因素 / Chapter 第二節 --- 小西園布袋戲班建團歷史及內部組織的硏究 / Chapter 第四章 --- 布袋戲音樂在台灣的發展、演變及北管音樂的使用 --- p.50-72 / Chapter 第一節 --- 布袋戲音樂的發展與演變 / Chapter 第二節 --- 北管的範圍與分類 / Chapter 第三節 --- 北管的演出形式 / Chapter 第四節 --- 布袋戲伴奏的樂器 / Chapter 第五章 --- 布袋戲北管聲部音樂的分析 --- p.73-104 / Chapter 第一節 --- 艾倫´Ø洛馬克斯，歌唱測定體系（Alan Lomax Cantometrics)方法的說明 / Chapter 第二節 --- 十首歌曲的分析硏究 / Chapter 第三節 --- 十首歌曲聲響效果的總結 / Chapter 第六章 --- 結論 --- p.105-107 / 附錄一 譜例 --- p.108-119 / 附錄二圖片說明 --- p.120-130 / 參考書目 --- p.131-138

What is the relationship of music and language? Analogies and comparisons of music and language are plentiful in various types of literature. For researchers in the cognitive sciences, the importance of organization, patterning, and structuring of sounds is a common theme in analyzing both language and music. With the success of generative grammars for languages, a number of researchers have used similar kinds of grammars to describe or model particular aspects of music. In addition, researchers are interested in possible universals in musical grammars. However, while grammars of non-Western musics have been written, most of the work has been based on Western tonal systems. The purpose of this research is to analyze, in an information processing, linguistic framework, a non-Western musical system for which there is currently no formal grammar in the literature, and to describe an aspect of it in the form of a grammar. Kotekan, the system of interlocking parts in Balinese game/an music, is examined in this study. This study is based on library research, scores, tapes, and communication with experts in Balinese music. A number of previously written grammars for musical systems are examined, as well as literature concerning various types of formal grammars. Balinese kotekan data is collected, in the form of literature, scores, and tapes. Portions of the data are described in the form of a grammar. The rules are then tested on new data, that is, portions of other Balinese pieces. The natures of and the relationship between music and language can be examined more closely through the use of an information processing, linguistic framework. Grammars are a precise and formal way of describing structure and regularities in linguistic and musical systems, and of describing aspects of competence. Linguistic and musical grammars share some features and differ in others. The grammar for Balinese kotekan presented in this study exhibits features that are similar to other musical grammars. The system can be described as a hierarchy of constraints from global tendencies to specific rules for various types of kotekan. In addition, there are deep and surface structures, variation related to structure, ranked or preference rules, spatio-motor considerations, and the need for context-sensitive rules. The structure of po/os and sangsih (the interlocking parts of kotekan) as individual lines is described by context-free phrase structure rules. The relationship between pol os and sangsih is described by transformations. The grammar presented is a starting point for a complete grammar of Balinese kotekan.

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This thesis explores the interplay between hip hop culture, music and the state and commercial entities in New Zealand. Hip hop is a culture which is diverse and unique in that it can be viewed as both a form of expression and a form of empowerment for various cultures. It can also be used to make a profit for commercial organisations such as the recording and broadcasting industries. This study therefore seeks to approach the study of New Zealand hip hop in an innovative manner, and to provide a fresh perspective.There is also the need to provide a plausible definition which captures the complexities of hip hop culture. An assessment of both the American and New Zealand scene will provide a contrast in order to demonstrate that in both scenarios hip hop has the ability for empowerment and to create a new space for communities. Commercial exploitation has transformed hip hop in America, has severely reduced its ability to be seen as a source of public good and has reduced key aspects of the culture. New Zealand has managed to retain many elements of the sense of community and space of community inherent in hip hop culture and music. However commercial entities are gaining prominence in the exploitation of this culture. Hip hop locally has not made the transition to a purely commercial model, but is currently under threat.The means by which commercial organisations are gaining prominence is the unique aspect which shapes New Zealand hip hop and will be a focus of this study. State funding via New Zealand on Air (NZOA) is assisting in the transformation of hip hop from a source of public good to a music form capable of generating profit for organisations such as the recording industry. This study therefore will analyse the relationship between those who embrace hip hop as a culture capable of creating a sense of public good, organisations which are commercially exploiting this culture as a musical form, and the role of the state in assisting with the transition between public good and private consumption.

It is the aim of this thesis to trace the short history of rock journalism, to examine the factors that led to its development, and to evaluate Rolling stone, the most successful rock magazine and the only one to attract a general-interest audience. Emphasis was placed on the factual development of the publications. Personalities were not developed and a statistical content analysis was avoided in favor of an interpretation of trends. Rock journalism has not yet received an objective evaluation. Its treatment in the several books on the underground press has been superficial and couched in political or even moral terms. By every indication, the rock magazines have exerted more influence than have the underground newspapers and should be accorded proper study. / text