During the reign of Kangxi (r. 1662-1722), the second Manchu emperor of the Qing dynasty (1644-1911), Western music began to take root in the Manchu court. There is abundant evidence that the missionaries performed Western music before Kangxi and the emperor looked upon the Jesuits Ferdinand Verbiest (1623-1688) and Tomas Pereira (1645-1708) as his music tutors. In 1713, Kangxi commissioned a treatise on music, Yuzhi Lulu zhengyi (A True Doctrine of Music, by Imperial Authority), which was completed in 1714. Begun by Pereira but completed by the Italian Lazarist Paolo Felipe Teodorico Pedrini (c. 1670-1746), the third part of this musical treatise Xieyun duqu, is devoted exclusively to Western music theory. This treatise is the earliest official Chinese source concerning Western music theory. / Evidence that Western theoretical writings were included in Lulu zhengyi raises an important question: why did Kangxi demand that Western music theory be incorporated within his imperial treatise? There are only a limited number of studies on Western music in the early Qing court, and this research fills in a serious lacuna. This study will argue that it is not simply due to Kangxi's open mind and fondness for European knowledge that leads to the incorporation of Western music theory in Lulu zhengyi. Kangxi's goal was to use Western music as a tool to restore the lost Chinese ancient music. / The reign of Kangxi witnessed the elevation of Western music in the Qing court. After the reign of Kangxi, Western music continued to be performed at the court, however, its prestige diminished, and it served solely as entertainment for the emperors. Indeed, in Yongzheng's preface to Luli yuanyuan (1723), Western music theory was regarded as that of the Western barbarian. Later, when Qianlong ordered the compilation of the sequel to Lulu zhengyi in 1741, no Western music was included. / Chiu, Wai Yee Lulu. / "May 2007." / Adviser: Michael Edward McClellan. / Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0020. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (p. 186-219). / 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.

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

published_or_final_version / Music / Master / Master of Philosophy

published_or_final_version / Asian Studies / Master / Master of Arts

蔡懿嫻. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 246-256). / 附中英文摘要. / Cai Yixian. / Lun wen (zhe xue shuo shi) -- Xianggang zhong wen da xue, 1999. / Can kao wen xian (leaves 246-256). / Fu Zhong Ying wen zhai yao. / 緒論 --- p.1 / Chapter (一) --- 硏究源起 --- p.1 / Chapter (二) --- 中國佛教音樂的硏究現況 --- p.1 / Chapter (三) --- 本選題的意義及硏究目的 --- p.5 / Chapter (四) --- 本論文採用之硏究方法 --- p.6 / Chapter 第一章 --- 佛教及其音樂在中國之發展槪況 --- p.8 / Chapter 第一節 --- 佛教之傳入 --- p.8 / Chapter 第二節 --- 佛教音樂在中國的發展槪況 --- p.10 / Chapter (一) --- 漢代至東晉的初弘階段 --- p.10 / Chapter (二) --- 南北朝的建立階段 --- p.12 / Chapter (三) --- 唐代的繁盛及定型化階段 --- p.13 / Chapter (四) --- 宋元至近代的衰微階段 --- p.15 / Chapter 第二章 --- 佛教在香港的發展槪況 --- p.18 / Chapter 第一節 --- 香港的三大古刹與佛教在香港的歷史槪況 --- p.18 / Chapter 第二節 --- 1900年至1940年佛教在香港的發展槪況 --- p.20 / Chapter 第三節 --- 戰後佛教在香港的發展 --- p.22 / Chapter 第三章 --- 香港的佛教儀式及法事音樂 --- p.24 / Chapter 第一節 --- 香港的佛教儀式 --- p.24 / Chapter (一) --- 《朝暮課誦》及《二時臨齋儀》 --- p.24 / Chapter (二) --- 佛教定期舉行的法事 --- p.25 / Chapter (三) --- 佛教不定期舉行的重要法事 --- p.26 / Chapter 第二節 --- 香港佛教法事音樂 --- p.28 / Chapter 第三節 --- 香港佛教法事音樂的傳授 --- p.29 / Chapter 第四章 --- 《焰口》佛事及其音樂 --- p.34 / Chapter 第一節 --- 《焰口》佛事簡介 --- p.34 / Chapter (一) --- 《焰口》佛事之起源 --- p.34 / Chapter (二) --- 《焰口》佛事之經文版本 --- p.34 / Chapter (三) --- 《焰口》佛事之舉行時間及地點 --- p.36 / Chapter (四) --- 《焰口》佛事之目的 --- p.36 / Chapter 第二節 --- 佛教天童精舍之法會 --- p.37 / Chapter (一) --- 佛教天童精舍之簡介 --- p.37 / Chapter (二) --- 天童精舍之《焰口》佛事 --- p.39 / Chapter (三) --- 《焰口》佛事之參與人員 --- p.41 / Chapter (四) --- 實地考查佛教天童精舍之《焰口》佛事 --- p.41 / Chapter (五) --- 《焰口》佛事之程序 --- p.42 / Chapter (六) --- 《焰口》佛事之音樂記譜 --- p.73 / Chapter 第五章 --- 《焰口》佛事音樂之形態分析 --- p.185 / Chapter 第一節 --- 《焰口》佛事的唱誦形式及經文分類 --- p.185 / Chapter (一) --- 《焰口》佛事的唱誦形式 --- p.185 / Chapter (二) --- 《焰口》佛事的經文分類 --- p.187 / Chapter 第二節 --- 《焰口》佛事梵唄的調式與音階 --- p.193 / Chapter (一) --- 調式 --- p.193 / Chapter (二) --- 調性的轉移 --- p.193 / Chapter (三) --- 音階與音域 --- p.194 / Chapter 第三節 --- 梵唄速度特點 --- p.198 / Chapter (一) --- 散一緊一快一慢 --- p.198 / Chapter (二) --- 散板 --- p.199 / Chapter (三) --- 固定節拍 --- p.199 / Chapter 第四節 --- 旋律的發展手法 --- p.199 / Chapter (一) --- 典型旋律型的運用 --- p.199 / Chapter (二) --- 典型旋律型的變化 --- p.203 / Chapter 第五節 --- 梵唄的結構型態 --- p.205 / Chapter (一) --- 單句反覆變奏體 --- p.205 / Chapter (二) --- 上下句反覆變奏體 --- p.205 / Chapter 第六節 --- 曲調運用手法 --- p.211 / Chapter (一) --- 一曲一詞 --- p.211 / Chapter (二) --- 一曲多用 --- p.211 / Chapter (三) --- 一詞多調 --- p.216 / Chapter (四) --- 套曲 --- p.227 / Chapter 第七節 --- 《焰口》佛事打擊法器的運用 --- p.229 / Chapter (一) --- 《焰口》佛事的打擊法器 --- p.229 / Chapter (二) --- 《焰口》佛事打擊法器的伴奏方式 --- p.232 / Chapter 第八節 --- 儀式音樂在佛教儀式中的意義 --- p.234 / Chapter 第九節 --- 《焰口》佛事與外圍文化的關係 --- p.235 / 總結 --- p.243 / 參考書目 --- p.246

Tse, Chun Yan Victor. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 204-226). / Photocopy. Ann Arbor, Mich. : ProQuest LLC, 2011. xi, 226 p. : music ; 29 cm. / Abstract also in Chinese; includes Chinese characters. / Abstract --- p.i / Abstract in Chinese --- p.iii / Acknowledgments --- p.iv / List of tables --- p.viii / List of graphs --- p.ix / List of appendices at the end of individual chapters --- p.ix / List of abbreviations of qin handbooks --- p.X / Chapter Chapter 1 --- Background of the research --- p.1 / Chapter Chapter 2 --- Overview of the research methodology --- p.23 / Chapter Chapter 3 --- An illustrated methodology in reconstructing qin music from past scores guyuan 古怨 of the Southern Song Dynasty --- p.36 / Chapter Chapter 4 --- Chromaticism in Ming Dynasty scores -baixue 白雪 in Shenqi mipu 神奇秘譜 --- p.67 / Chapter Chapter 5 --- From chromaticism to pentatonism - baixue 白雪 in other Ming and Qing Dynasty handbooks --- p.91 / Chapter Chapter 6 --- Non-circle-of-fifths intonations in Qing Dynasty scores --- p.119 / Chapter Chapter 7 --- Varying 4th and 7th degrees - dongting qiusi 洞庭秋思 in Ming and Qing Dynasty handbooks --- p.143 / Chapter Chapter 8 --- Convergence of ideology and practice --- p.168 / Chapter Chapter 9 --- Conclusion ´ؤ looking back and looking forward --- p.199 / References --- p.204

published_or_final_version / Music / Master / Master of Philosophy

published_or_final_version / abstract / Music / Master / Master of Philosophy

published_or_final_version / Chinese Language and Literature / Master / Master of Arts

This study chronicles the development of piano music in China through seven representative works. An important aspect of this research will be to evaluate how and to what extent the repertoire reflects the diverse influences of Western music, traditional Chinese culture, and Chinese politics. Due to the tumultuous social history of modern China, political factors have dictated and continue to dominate cultural aesthetics in a unique way. As we have seen, at some period, styles closely conformed to the political ideology. When the political climate was freer, however, the composer's creative ideology was allowed to be expressed more openly, and the cultural exchange with the West was freer. Although many Chinese pieces are not of high quality, a number of Chinese composers have successfully devoted themselves to integrating Western musical techniques with their own rich cultural background.