This study aims to show all known knowledge of singing in the earliest days of the biblical New Testament. The practices of the early Christian church in respect to singing are traced during the period directly following that covered by the New Testament and carried forward to around the year 500 A.D. The study aims to learn, insofar as available sources permit, all that we may know today of singing in the earliest days of the New Testament Church. Both Old and New Testaments will be searched for all references to song, and particular attention will be directed to the meaning of St. Paul's reference to "psalms, hymns, and spiritual songs" in an effort to determine the meaning of these three items.

The purpose of this study is to show interrelationships between the thematic contents of those piano works by Alkan that are considered to be representative of his general style and the more commonly used melodic phrases taken from the Jewish Synagogue, mainly prayer chants and accents. An attempt will be made to point out the reason behind consequent unacceptable of Alkan's piano works, despite the efforts of Busoni, d'Albert, and Lewenthal to bring them to public attention. The results of this investigation are presented in a systematic analysis and discussion of Jewish prayer-chants and their structure traceable within Alkan's music and in a presentation in table form of the Jewish accents found among Alkan's melodies. After consideration of the outcome of analysis, elements which are known to be European are also presented. These are mainly keyboard virtuousity and harmony and secondarily, form and rhythm. In this section, Robert Schumann's opinions of Alkan's music are quoted and discussed. Because Schumann's ideas carried into the twentieth century, this gave opportunity for a re-evaluation of the lack of musical beauty inherent in Alkan's music.

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.

No description available.

French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

by Law Bing Kuen Anthony. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 100-105). / Discography: p. 107. / Abstracts in English and Chinese. / List of Tables --- p.iii / Abbreviations --- p.iv / Introduction --- p.1 / Concepts --- p.5 / Previous Studies on Xianshiyue --- p.6 / Fieldwork --- p.10 / PART ONE: CULTURAL AND SOCIAL BACKGROUND --- p.19 / Chapter Chapter One: --- Hong Kong --- p.20 / The Rise of Modern Hong Kong: Hong Kong in the Nineteenth Century --- p.21 / Formation of Norms and Values --- p.27 / Chapter Chapter Two: --- The Chaozhou Community of Hong Kong --- p.30 / The Name --- p.30 / The Area --- p.31 / The People and Culture --- p.32 / Migration of Chaozhou People to Hong Kong --- p.35 / Social Organization of the Chaozhou Community --- p.41 / The Chiu Chow Merchants Mutual Assistance Society --- p.43 / PART TWO: XIANSHIYUE --- p.48 / Chapter Chapter Three: --- Xianshiyue in Hong Kong --- p.49 / "The Music Division of the Hong Kong Chiu Chow Merchants Mutual Assistance Society (the ""MD"")" --- p.51 / From Waijiang Traditions to Chaozhou Traditions --- p.56 / Performances in the Music Club Context --- p.61 / Performances in the Concert Hall Context --- p.72 / Performances in the Chaoju Context --- p.76 / Performances in the Gatherings of the Parent Organization --- p.80 / Summary of the Performance Contexts of Xianshiyue in Hong Kong --- p.82 / Chapter Chapter Four: --- The Music of Xianshiyue --- p.84 / Setting Up the Temperament --- p.86 / Tuning Process as Social Process --- p.90 / Conclusion --- p.93 / Glossary of Chinese Characters --- p.96 / Bibliography --- p.100 / Appendix A: An Inquiry on the Place of Origin of Hong Kong Chinese People --- p.109 / Appendix B: Newspaper cutting Showing Ethnic Stereotypes --- p.110

吳瑞珠. / "2002年7月". / 論文(哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 152-156). / 附中英文摘要. / "2002 nian 7 yue". / Wu Ruizhu. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 152-156). / Fu Zhong Ying wen zhai yao. / 致謝 --- p.iv / 摘要（中文） --- p.v / 摘要（英文） --- p.vi / Chapter 第一章 --- 導論 --- p.1 / 人類學與民族音樂學 --- p.6 / 音樂傳統與文化認同 --- p.12 / 研究問題與理論架構 --- p.18 / 研究地點和研究方法 --- p.22 / 本文章節安排 --- p.25 / Chapter 第二章 --- 福建泉州南音 --- p.27 / 何謂南音? --- p.27 / 歷史沿革 --- p.30 / 曲譜類別、樂器及音樂特色 --- p.39 / 南音和閩南風俗及其音樂功能 / 從名稱上看南音的發展 --- p.46 / 南音裡的男女現象 --- p.48 / 南音面對的困難 --- p.49 / Chapter 第三章 --- 地方組織與表演 --- p.53 / 泉州市工人文化宮南樂社 --- p.54 / 泉州南音樂團 --- p.61 / 浮橋仙景南音學校 --- p.67 / 南音表演裡的男女角色 --- p.74 / 地方組織和南音的保存 --- p.75 / Chapter 第四章 --- 傳統與改革 --- p.81 / 南音的演變 --- p.82 / 傳統南音的局限和新南曲的特點 --- p.88 / 動態的傳統 --- p.91 / 新南音的弱點 --- p.95 / 傳統文化與文化認同 --- p.101 / Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106 / 閩南移民和跨國網絡的建立 --- p.106 / 境外華人和泉州的南音組織 --- p.110 / 境內外南音團體的聯繫 --- p.111 / 傳統的被利用 --- p.114 / 音樂傳統和懷舊情懷、文化認同 --- p.122 / Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127 / 國際組織和世界文化遺產的保護 --- p.128 / 泉州南音申報世遺的背景 --- p.129 / 各界的表現 --- p.132 / 世遺的價值 --- p.137 / 世遺和文化認同 --- p.139 / Chapter 第七章 --- 結語 --- p.144 / 附錄（新南曲唱詞） --- p.149 / 參考書目 --- p.152

The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with various subthemes. The focus of this study is to explore the evolution of Black music and examine the role women have played in both the development and advancement of the blues genre. Additionally, the study will explore various concepts of cultural identity development in order to establish the process of how identity is constructed and negotiated in African Americans specifically African American women.

This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.

PhD (African Studies) / Department of African Studies / In the 1980s South Africa was subjected to cultural embargo. However, at the height of the embargo, Paul Simon went against the political climate of the day and mounted a cross-cultural, multinational music project called Graceland. Although South African popular music can facilitate the prosperity of musicians, only few musicians have succeeded in fostering this aspect. Using popular music and pop culture Afrocentrism as frameworks, this study analyses the Graceland project in the context of the South African popular music of the 1980s. The empirical research approach leaning towards the qualitative method was used. Interviews and literature review were the main modes of data gathering. Owing to the sensitivity of the subject, ethical considerations were adhered to. The cultural embargo, as well as other political interventions aiming at pressurising the South African government to abandon its apartheid policies, were well-meaning, but at the same time, the cultural embargo had a negative impact in that the popular culture of the country went unrecognised by global players. It was envisaged that this study would help in understanding the motivations and intentions of the planners of the Graceland project, and how these were to benefit the South African music sector. / NRF