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

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

This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify and Indianise Indian South Africans, preparing them for their role as a middle-class racially defined group, a homelands group without a homeland. South Africanised popular music, and Indian South African Western semi-classical, popular music, or jazz performance was rejected by the SABC. Ambiguous nationalisms shaped Indian South African aesthetics. Global monopoly controlled the music industry. Similarly, disruptions in the global market enabled local musicians and small business groups to challenge the majors. In the late forties and fifties, this resulted in a number of locally manufactured records featuring local and visiting musicians, and special distribution rights under royalty to an independent South Asian company. The local South African records were largely characterised by their syncretic nature, and generated a South African modernism which had the capacity both to draw and repel audiences and officials alike. A glossary of non-English terms and a discography of Indian South African music have been included. / Thesis (Ph.D.)-University of Natal, Durban, 1999.

Examines the use of vernacular, country guitar styles in an electro-acoustic environment. Special attention is given to performance practices and explanation of techniques. Electro-acoustic techniques-including sound design and spatialization-are given with sonogram analyses and excerpts from the score. Compositional considerations are contrasted with those of Mario Davidovsky and Jean-Claude Risset with special emphasis on electro-acoustic approaches. Contextualization of the piece in reference to other contemporary, electric guitar music is shown with reference to George Crumb and Chiel Meijering.

Clarinet works by Taiwanese female composers are not well researched or catalogued, and to date, and no comprehensive research codifies this subcategory in Taiwan or elsewhere. A comprehensive research and bibliography is necessary to the international community. It is hoped that through this annotated bibliography, readers will gain a deeper understanding of this genre. This study contains a brief history of Taiwan's Western music history, the female composers' history in Taiwan, and literature review. A total of twenty compositions by eighteen different Taiwanese female composers are discussed in the annotated bibliography, including thirteen for unaccompanied clarinet and seven for clarinet and piano. Information includes a brief biography of the composer, the date of composition, duration, premiere, dedication, commission, location of the score, difficulty and commentary on the piece.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Die Oranjeklub was the first Afrikaans culture organisation in Cape Town. Active since 1915, it strove to shape Afrikaner identity and advance Afrikaner art and culture. The main aim of the club was to inspire national sentiment, especially among young Afrikaners, and to help cultivate a love in this constituency for their language and history. This national sentiment was nourished by meetings of social and cultural significance. In this respect, Die Oranjeklub played an integral role in early twentieth-century Cape Town to oppose a perceived English political and cultural supremacy, acting as a buffer against the so-called ‘ver-Engelsing’ or Anglicization that was seen to threaten the identity of especially urban Afrikaners. Programmes during meetings usually comprised of a speech, supplemented by music and recital items that were generally contributed by Afrikaans club members. Meetings that deviated from this norm were mainly evenings where plays were performed or festivaloccasions of national importance in which the club was actively involved. The club’s management comprised two levels: an honorary committee and an executive committee. Many historically important figures served on the honorary-committee. The list includes names like D.F. Malan, J.B.M. Hertzog, C.J. Langenhoven and J.C. Smuts, amongst others. The executive committee had equally noteworthy chairmen, like the writer I.D. du Plessis and the critic C.H. Weich. The names of many important musicians can be found on club programmes, including Arnold van Wyk, Blanche Gerstman and Stefans Grové. Important actors and role players in theatre also participated in club events, amongst others Anna Neethling-Pohl, N.P. van Wyk Louw and Sarah Goldblatt. Speakers included personalities like D. Craven, C. Barnard and P.W. Botha. In 1976, after many decades trying to advance culture among white Afrikaners in Cape Town, the club was disbanded. This thesis documents, for the first time, the history of Die Oranjeklub. It also considers the meaning of the club’s cultural activities, especially its efforts to advance music among its members.

Anyone concerned with the harp in this century knows of the genius of Carlos Salzedo. His pedagogical, compositional and professional activities have had a tremendous impact on the harp world. With this in mind, the present study considers his transcriptions for harp from other works and his editings of other composers' harp compositions. It is the purpose of this study to find in what ways his work in this area has been helpful to harpists.

The purpose of this study is to set forth certain principals or rules, Which, if adhered to, will be a beginning in the training of the young musician who would make the playing of dance music his profession. Be it understood that this is only an embryonic work and as such it should not be considered a final and irrevocable treatise on this topic. Actual work and development in this field will probably see many of the practices recommended herein relegated to a less important stage while items not mentioned, or perhaps mentioned and treated without undue stress, may come to the foreground of importance. It is hoped that this work will help in paving the way for a sincere and unprejudiced program of training for the young dance musician. However, before venturing into any discussion concerning dance music, it is necessary to have a clear understanding as to what fields of music are included in the term dance music.

A sample of the top fifty songs of 1973 in Soul, Country-Western, and Easy Listening music is content-analyzed to determine dominant theme and type of love relationship presented. Most of the songs are about women and are sung by men. Hence, male artists continue to dominate the record industry. Criteria for evaluating direction of presentation are applied to lyrics to determine how men present women and women present men. Songs with the heterosexual theme are analyzed to determine conformity to six male and six female stereotypical traits. Males conform to the male stereotype in larger percentages than females conform to the female stereotype. Differences in female role expectations vary among the three genres.

The purpose of this thesis is to discuss and give a descriptive analysis of twelve of the twenty-four preludes written by Claude Debussy. This paper also includes a brief history of preludes as well as possible influences upon Debussy and his compositions.