published_or_final_version / Music / Master / Master of Philosophy

Yeung, Hiu Yan Dorcas. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 166-173). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iv / Table of Contents --- p.v / Tables and Figures --- p.vii / Chapter Chapter 1. --- Introduction / Chapter 1.1. --- Background --- p.1 / Chapter 1.2. --- Objectives and research questions --- p.8 / Chapter 1.3. --- Significance --- p.11 / Chapter 1.4. --- Chapters overview --- p.12 / Chapter Chapter 2. --- The Scene of Classical Music and Cultural Policy in Hong Kong / Chapter 2.1. --- Defining classical music and beyond --- p.16 / Chapter 2.2. --- Development of orchestras and classical music in Hong Kong --- p.17 / Chapter 2.3. --- Models of cultural policy and policy in Hong Kong --- p.21 / Chapter 2.4. --- Supporting arts groups --- p.29 / Chapter 2.5. --- Current funding policy --- p.31 / Chapter Chapter 3. --- Literature Review / Chapter 3.1. --- Introduction --- p.38 / Chapter 3.2. --- Theorizing state and arts - the field of cultural production --- p.38 / Chapter 3.3. --- Arts administration --- p.47 / Chapter 3.4. --- Amateur --- p.51 / Chapter 3.5. --- "Chapter summary: Amateur arts group, administration and the field" --- p.58 / Chapter Chapter 4. --- Methodology / Chapter 4.1. --- In-depth interviews --- p.60 / Chapter 4.2. --- Documentation --- p.63 / Chapter 4.3. --- Limitations --- p.63 / Chapter Chapter 5. --- Being (and Surviving as) an Amateur: Case Studies of Music Groups / Chapter 5.1. --- Introduction --- p.65 / Chapter 5.2. --- Estimating number of amateur music groups --- p.65 / Chapter 5.3. --- The spectrum from professional to hobbyist --- p.67 / Chapter 5.4. --- The need for resources --- p.76 / Chapter 5.5. --- From beliefs to action --- p.89 / Chapter 5.6. --- Models of operation --- p.96 / Chapter 5.7. --- Chapter summary --- p.105 / Chapter Chapter 6. --- Between What We Want and How They Do: Matching with the Administrative Habitus / Chapter 6.1. --- Introduction --- p.107 / Chapter 6.2. --- The significance of arts administration --- p.107 / Chapter 6.3. --- The mechanism --- p.110 / Chapter 6.4. --- Getting around the system --- p.124 / Chapter 6.5. --- Arts administration as a field --- p.131 / Chapter 6.6. --- Negotiating with the administration --- p.140 / Chapter 6.7. --- Chapter summary: Mapping the field --- p.144 / Chapter Chapter 7. --- Conclusion / Chapter 7.1. --- Conclusion --- p.149 / Chapter 7.2. --- Implications on cultural policy --- p.154 / Chapter 7.3. --- Implications on amateur and amateur activities --- p.158 / Chapter 7.4. --- Limitations and future direction --- p.159 / Appendixes --- p.163 / References --- p.166

楊偉傑. / "2008年12月". / "2008 nian 12 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 94-103). / Abstracts in Chinese and English. / Yang Weijie. / 論文評審委員會 --- p.ii / 論文摘要 --- p.iii / 論文摘要（英文） --- p.iv / 鳴謝 --- p.vi / 圖表目錄 --- p.x / Chapter 第一章： --- 論文概述 / Chapter 第一節： --- 歷史背景與研究動機 --- p.1 / Chapter 第二節： --- 研究目標 --- p.7 / Chapter 第三節： --- 與研究題目相關的研究和理論 --- p.8 / Chapter 第四節： --- 論文題目界定 --- p.13 / Chapter 第五節： --- 研究理論 --- p.13 / Chapter 第六節： --- 研究方法和局限 --- p.16 / Chapter 第七節： --- 論文章節概覽 --- p.19 / Chapter 第二章： --- 香港的「愛國學校教育」 / Chapter 第一節： --- 「愛國學校」釋義 --- p.21 / Chapter 第二節： --- 歷史背景 --- p.22 / Chapter 第三節： --- 香港的「愛國學校」 --- p.24 / Chapter 第四節： --- 「愛國學校」裏的「愛國教育」 --- p.25 / Chapter 第五節： --- 「愛國學校」裏的中國音樂 --- p.27 / Chapter 第六節： --- 香島中學簡史 --- p.33 / Chapter 第七節： --- 小結 --- p.35 / Chapter 第三章： --- 一九五零年代至七零年代香港的中國音樂概況 / Chapter 第一節： --- 香港的「主流」與「非主流」音樂文化 --- p.37 / Chapter 第二節： --- 從「國樂」到「民樂」：五十至七十年代香港現代中國器樂合奏之演變 --- p.38 / Chapter 第三節： --- 五十至七十年代香港的現代中國器樂合奏團 --- p.41 / Chapter 第四節： --- 「文革」前香港的現代中國器樂合奏團（一九五七至六五） --- p.43 / Chapter 第五節： --- 「文革」期間香港的現代中國器樂合奏團（一九六六至七六） --- p.45 / Chapter 第六節： --- 「文革」後香港的現代中國器樂合奏團（一九七七至七九） --- p.48 / Chapter 第七節： --- 小結 --- p.50 / Chapter 第四章： --- 香島中學與中國音樂 / Chapter 第一節： --- 香島中學的中國器樂活動 --- p.52 / Chapter 第二節： --- 香島中學的中國器樂人物 --- p.56 / Chapter 第三節： --- 香島中學校友的中國器樂活動與組織能力：以陳敏莊、邱岩生、黎漢明為例 --- p.65 / Chapter 第四節： --- 香島中學的中國器樂活動與香港中國器樂發展的關係 --- p.69 / Chapter 第五章： --- 結論 --- p.75 / 附錄一：香港中國器樂界的香島校友介紹 --- p.83 / 附錄二 ：〈大寨紅花遍地開〉總譜（節錄） --- p.90 / 參考資料 --- p.94

Apart from politics and market, ideology was a significant factor in the realm of rock music. Upholding an ideology that focused on individuality and autonomy, and epousing a set of aesthetic value that placed emphases on live performance: how to maintain a balance between autonomy from politics and adaptation to market tastes became a question for both rock artists and the culture industry, a topic of which will be examined in the dissertation. / At the same time, this paper examined the struggle of rock artists against the official constraints and prohibitive coding via rock lyrics, the visual, the music, the body as well as the theatrical performance. / Finally, this paper explores how rock artists and the rock industry turned to alternative spaces for projecting their causes: the Internet, the underground music network and the realm of piracy, spaces where interferences from both the state and the market were minimum. / It also took as its study why rock music was a noise in the market and how rock labels contested for a space in the market which had been plagued by piracy and lack of protection for intellectual property rights. It at the same time explored the ways rock companies attempted to make the books balanced in operating the rock music business in a market where rock fans only constituted a marginal audience. / It looked at how the government imposed control and prohibition on the publishing, performance and dissemination of rock music which it perceived as an alien noise. For this, interviews had been held with personnel from the official apparatuses, the culture industry, the mass media as well as the rock artists and musicians, in a way to understand why rock was rarely heard on the radio or performed on television; why rock music became a term rarely appeared in the official press; and why rock was not allowed to mingle with official discourse like party songs or national anthem; and in what ways the contents of songs as well as the visuals on album covers were censored; and how the government controlled the speech, acts and dress of rock artists on stage. / This paper concludes with the view that despite the many constraints encountered by rock music in the realm of both the state and the market, rock music as a cultural space did not totally lose its freedom, autonomy or integrity. It adopted a mode of communication which is hinged on the non-verbal, the second-order signification, the hidden and the symbolic. It utilised a strategy which avoids direct antagonism with the political regime, and sought outlets for its own messages and meanings. / This paper started by examining how rock music had been transformed into a genre distinguished with its ideology and aesthetics in a socialist country where politics and economy weighed equally significant. / This study took rock music as a cultural space that reflected a larger political and economic environment in China, where it had been marginalized and segregated as a noise by both the state and the market. / Wong Yan Chau Christina. / "September 2006." / Adviser: Joseph Man Chan. / Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0783. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references. / 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 in English and Chinese. / School code: 1307.