published_or_final_version / abstract / toc / Music / Master / Master of Philosophy

published_or_final_version / Sociology / Master / Master of Philosophy

The subject of this study is the historical development of a vehicle for a form of western art (the orchestra) in China from 1840 to the present. The writer was primarily concerned with how the orchestra developed in broad socio-economical, political-cultural, and historical contexts with an emphasis on elaborating certain conditions responsible for the specific features of this development. The following major aspects of the development of the orchestra in China are discussed:1)The uniqueness of China's culture before accepting western culture;2)Reason and procedures by which China accepted western music and its orchestra;3)The social change in the 1950s which affected the function of the orchestra in China;4)The influence of political movements and individual roles on the development of the orchestras in China;5)The emergence of the orchestra as a cultural symbol during China's modernization;6)The fact in which the orchestra become a cultural symbol during China's modernization;7)Roles and functions of the orchestra during the cultural merging of China and the West;8)The future of the orchestra in China.The purpose of this study is to confirm the cultural assimilation of the western orchestra as a world-wide trend, one in which East and West enrich one another. / School of Music

published_or_final_version / abstract / toc / Sociology / Master / Master of Philosophy

published_or_final_version / Music / Master / Master of Philosophy

Lung Man Wai. / Thesis submitted in: December 2005. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references. / Abstracts in English and Chinese. / Abstract --- p.ii / Acknowledgements --- p.v / "Figures, Tables, and Examples" --- p.viii / Romanization --- p.ix / Abbreviations --- p.x / Chapter Chapter I --- Introduction --- p.1 / Chapter a. --- Related Studies --- p.10 / Chapter b. --- The Model --- p.17 / Chapter c. --- Methodology --- p.19 / Chapter d. --- Chapter Summary for the Thesis --- p.20 / Chapter Chapter II --- "Musicians, Service Seekers and Agents" --- p.23 / Chapter a. --- Training Backgrounds of Musicians --- p.25 / Chapter b. --- "The Network of Musicians and the ""Key Musicians""" --- p.33 / Chapter c. --- Discipline --- p.39 / Chapter d. --- Summary: How Can Musicians Obtain More Gaidong Performing Opportunities? --- p.45 / Chapter e. --- "Money vs. Dignity, Professional Ethics, and Competitions" --- p.46 / Chapter f. --- Service Seekers and Agents --- p.49 / Chapter Chapter III --- The Music of Gaidong --- p.56 / Chapter a. --- Repertoire --- p.57 / Chapter b. --- "Collections of Pieces - The Gaidong ""Fake Books""" --- p.67 / Chapter c. --- Choices of Music --- p.78 / Chapter d. --- Combinations of Instruments --- p.89 / Chapter e. --- Performance Practice and Improvisation --- p.92 / Chapter Chapter IV --- "Venue, Occasion and Audience" --- p.105 / Chapter a. --- Venue: Outdoors vs. Indoors --- p.107 / Chapter b. --- Occasion: Center of Attention vs. Background Music --- p.109 / Chapter c. --- The Role of the Host --- p.111 / Chapter d. --- The Audiences --- p.115 / Chapter e. --- Requests for Songs by Audience Members --- p.117 / Chapter Chapter V --- Influence from the Environment -Two Case Studies and the Impact of the Twelve Girls Band --- p.124 / Chapter a. --- "Case Study One: Chinese New Year Celebration at Hong Kong International Airport,2004" --- p.125 / Chapter b. --- Case Study Two: The Standard Chartered Bank Board Visit Staff Dinner --- p.129 / Chapter c. --- Other Examples of Gaidong Affected by the Twelve Girls Band --- p.139 / Chapter d. --- The Twelve Girls Band --- p.144 / Chapter e. --- Other Environmental Factors --- p.149 / Chapter Chapter VI --- The Model: The Ecology of Gaidong --- p.155 / Chapter a. --- Mutualism and Competition --- p.160 / Chapter b. --- The Extended Model --- p.161 / Chapter Chapter VII --- Conclusion --- p.164 / Appendix 1 List of Gaidong Performances in which the Author Participated --- p.170 / Appendix 2 Contents of the Gaidong Po --- p.175 / Appendix 3 Contents of the Blue Score --- p.181 / Appendix 4 Contents of the MLCO Gaidong Score Album --- p.183 / Appendix 5 Music Pieces Used in Gaidong: The Combination of Contents of Three Gaidong Scores --- p.184 / Appendix 6 Selected Scores from the MLCO Gaidong Score Album --- p.192 / Appendix 7 Agenda for Standard Chartered Bank Staff Dinner gaidong (Case Study2) --- p.196 / Appendix 8 Selected Scores Used in the Standard Chartered Bank Staff Dinner gaidong (Case Study2) --- p.198 / Appendix 9 A Copy of the Audience Members' Handwritten Requests for Gaidong No.84 --- p.200 / Character List and Glossary --- p.201 / References Cited --- p.205 / Websites --- p.210 / Supplementary Materials: / Chapter a. --- The Blue Book Scores / Chapter b. --- The Gaidong po Scores

Based on the geographical distribution of the unearthed musical instruments and their archaeo-cultural considerations, I first examine musical cultures of the Shang and Zhou dynasties in the seven-regions of Central Plain, Northwest, North, East, Southwest, South, and Southeast, each of which showed affinity to some particular political unit (state), ethnicity and social organization of the archaeological culture. Through regional and cross-regional analysis of the shape, composite and musical features of the instruments and their contemporary cultural significance, I argue that the Shang and Zhou musical cultures were primarily originated and developed in multiple cultural contexts along the Yellow River and Yangtse River areas. Among the seven regions, the Central Plain region occupied a dominant position. The other regions of musical culture developed independently but maintained close cultural interaction with the Central Plain region. / Lastly, I discuss the ritual-music function of the instruments in the formation of ritual-music system, the condition of the owners and players of the instruments, and the compositive set of ritual bronze vessels and instruments. I conclude that the social function of musical instruments in the Shang and Zhou dynasties had actually gone beyond music performance itself. They had functions of performing music, executing sacrifice, and symbolizing the socio-political status and ranks of individuals. / This dissertation is an archaeo-musicological study on unearthed musical instruments of the Shang (1600 B.C.--1046 B.C.) and Western Zhou (1046 B.C.--771 B.C.) dynasties in China. Using the unearthed musical instruments in conjunction with other related archaeological findings and ancient Chinese documents, I discuss issues relating to the multi-structure and social function of these instruments within their socio-historical contexts. / Using the textual information from oracle bone inscriptions, bronze inscriptions, and Chinese classical texts, I explore the functions of the unearthed musical instruments in terms of sacrificial activities and the Liyue (ritual-music) system. I identify four types of excavation (dwellings, sacrificial pits, hoards, and tombs) to elucidate the relationship between sacrificial activities and musical instruments. I then discuss the metaphor of the instruments' decorations and the use of instruments in the ritual activities such as praying for rain and ancestral cult. / 方建軍. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 277-316). / Adviser: Tsao Poon Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2380. / 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. 277-316). / Fang Jianjun.

Cheng, Kam Lam Canny. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 135-144). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / List of Abbreviations --- p.vi / List of Figures --- p.vii / List of Examples --- p.x / List of Tables --- p.x / Maps --- p.xi / Chapter Chapter One: --- Introduction Overview --- p.1 / Filipino Migration / The Filipinos as Diaspora / Theoretical Framework and Literature Review / Methodology / Where is the Field? / Language / Terminology and Stereotypes: Names Used for Filipino/as in Hong Kong / "Social Status, Social Relationships, and Time and Space Constriants" / Overview of the Thesis and Objectives of the Study / Chapter Chapter Two: --- "The Population, Employment and Soundscape of Filipino and Filipina Domestic Helpers in Hong Kong" --- p.31 / Immigration and Employment / Musicality of the Filipinos / The Role of Filipinos in Hong Kong's Musical Scene / "The Soundscape of Hong Kong, a Graphic Illustration" / Chapter Chapter Three: --- Sacred Contexts --- p.42 / "Detailed ""Sacred"" in this Thesis" / The Hong Kong Catholic Diocese and Music of the Chinese Masses / Clerical Support for the Filipino Catholic Community in Hong Kong / Profiles of Five Churches / Detailed Case Study of Two Churches / Selected Examples from Other Hong Kong Church Choirs / "Justification of ""Filipinoness""" / The Impact of Filipino Religious on the Musical Practice of Hong Kong Chinese Parishes / The Impact of Filipino Popular Music on Hong Kong Filipinos' Sacred Music / A Side Trip to the Philippines / Chapter Chapter Four: --- Secular Contexts --- p.83 / Marking Their Piece of Territory / Chater Road: Chater Square and Statue Square / Kantaka (Singing Contests) / Concert in the Park / Culture in Motion / Cultural Initiatives by the Philippine Consulate in Hong Kong / Asia Gathering / Catholic Prayer Gathering / Radio Broadcasts / Buying Recordings / Karaoke / The Hong Kong Musicians Union / Commercial Sponsors for Filipino Musical Activities / The Cordillera Men's Club / Chapter Chapter Five: --- Musical Involvement of the Filipions in Hong Kong during the Anti-World Trade Organization Campaign --- p.115 / Singing of the Filipinos / Chapter Chapter Six: --- Epilogue --- p.127 / Bibliography --- p.135

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

Al laox, is a kind of polyphonic folk song which are sung and widely practiced by parts of Dong people in southern China. As an indispensable component of the non-literary peasant society of Dong ethnic culture, Al laox music tradition has been systematically passed down, with full participation and ritualized performance in Dong people's daily life. / As a case study of "local music tradition", this research will contribute to further research topics, such as the common characteristic of Dong traditional music, sociological meaning of polyphonic folk song and contemporary transformation of traditional music etc. / This dissertation aims to investigate the interaction between "Al laox music tradition and community identity of Dong People". Based on extensive fieldwork and textual analysis, this thesis discusses, on one hand, how Dong people construct their identity with Al laox music tradition, on the other hand, it examines what exactly the Al laox music tradition is and what it means to native people. Thus, this bidirectional concerns not only respond to the general ethnomusicological issue of "how culture shapes music", but also gives an interpretation of "how music function culture". / This dissertation has two methodological concerns: (1) a micro-ethnographical study of village social structure in relation to the Al laox music tradition, and (2) a survey of Al laox as a ritualized communal singing ritual. The former focuses on a typical Dong community as a locus to examine the operation of Gaolao music tradition, whereas the latter illustrates how Dong people construct distinct stratified identities through singing especially in three coorelative rituals. Specifically, this research takes Xiao Huang village in Congjiang county, Guizhou province and the relavant villages around as object and structures around three significant ritualized singing pattern, gabx gongx, xeegnl doul and weex yeek. / 楊曉. / Adviser: Tsao Poon Yee. / Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2944. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 392-418). / 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 Chinese and English. / School code: 1307. / Yang Xiao.