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Flamenco is a passionate style of song and dance accompanied by guitar. Its origin may be traced to the Moorish occupation of Spain, which began in the eighth century, and it continues to flourish in the southern Spanish region of Andalucia. This treatise will explore the structure and character of Flamenco and show how it influenced the twentieth-century Spanish classical composer Joaquin Turina in his five guitar works:(UNFORMATTED TABLE FOLLOWS): Fantasía Sevillana, Op. 23 (1923). Fandanguillo, Op. 36 (1926). Ráfaga, Op. 53 (1930). Sonata, Op. 61 (1931): Allegro, Andante, Allegro vivo. Homenaje a Tárrega, Op. 69 (1932): Garrotin, Soleares. (TABLE ENDS)

It is the purpose of this thesis to present a study of the development of writing for the clarinet in chamber music during the period from Mozart (1756-1791) through Brahms (1833-1897). The first part is a brief history of the clarinet showing the stages of development of the instrument from its beginning to its present form and also surveys the field of chamber music in general, with special attention to the chamber music for the clarinet, and to the performers for whom many of these works were written.

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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

楊春薇. / 論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 1-12 (2nd group)). / 中英文摘要. / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Yang Chunwei. / Zhong Ying wen zhai yao. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 1-12 (2nd group)).

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published_or_final_version / Music / Master / Master of Philosophy

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