by Wong Siu Ling, Gabriella. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves 64-69). / Chapter CHAPTER ONE --- INTRODUCTION --- p.1 / Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6 / Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15 / Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23 / Chapter CHAPTER FIVE --- METHODOLOGY --- p.37 / Chapter CHAPTER SIX --- FINDINGS --- p.44 / Chapter CHAPTER SEVEN --- DISCUSSION --- p.52 / BIBLIOGRAPHY --- p.64 / Chapter APPENDIX 1 --- List of Big Corporations and Independents --- p.70 / Chapter APPENDIX 2 --- Production cost of a Standard L.P. record --- p.74 / Chapter APPENDIX 3 --- Categories of song types --- p.75 / Chapter APPENDIX 4 --- Comparison of songs from Big Corporations and the Indies by year --- p.78 / Chapter APPENDIX 5 --- Comparison of songs from Big Corporations and the Indies from 1980- 1985 (51) 1986 -1991 (52) --- p.91

黎美倫. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1995. / 參考文獻: leaves 139-142. / Li Meilun. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 佛敎在中國之發展槪況 --- p.5 / Chapter 第一節 --- 佛敎之傳入 --- p.5 / Chapter 第二節 --- 佛敎在各朝代之發展槪況 --- p.6 / Chapter 1. --- 漢代佛敎 --- p.6 / Chapter 2. --- 魏晉佛敎 --- p.7 / Chapter 3. --- 南北朝佛敎 --- p.8 / Chapter 4. --- 隋唐佛敎 --- p.9 / Chapter 5. --- 宋明佛敎 --- p.13 / Chapter 6. --- 晚淸及民國年間之佛敎 --- p.14 / Chapter 第三章 --- 佛敎在香港之發展槪況 --- p.17 / Chapter 第一節 --- 發展歷史 --- p.17 / Chapter 第二節 --- 香港佛敎寺院分佈及分類 --- p.21 / Chapter 第四章 --- 佛敎儀式之介紹 --- p.23 / Chapter 第一節 --- 佛敎儀典 --- p.23 / Chapter 第二節 --- 道場懺法 --- p.26 / Chapter 第三節 --- 朝暮課誦 --- p.27 / Chapter 1. --- 早晚課的意義 --- p.27 / Chapter 2. --- 早晚課常用的經文 --- p.27 / Chapter 3. --- 早晚課進行的程序 --- p.47 / Chapter 4. --- 早晚課中使用之法器 --- p.48 / Chapter 5. --- 早晚課誦的記譜法 --- p.49 / Chapter 第五章 --- 實地考察：志蓮淨苑之朝暮課誦 --- p.52 / Chapter 第一節 --- 志蓮淨苑簡介 --- p.52 / Chapter 1. --- 位置 --- p.52 / Chapter 2. --- 歷史 --- p.52 / Chapter 3. --- 寺內位置分佈 --- p.54 / Chapter 4. --- 寺內佛事活動 --- p.56 / Chapter 5. --- 寺內僧人活動 --- p.59 / Chapter 6. --- 寺內所採用之法器 --- p.60 / Chapter 第二節 --- 志蓮淨苑的早課程序 --- p.65 / Chapter 1. --- 儀式目的 --- p.65 / Chapter 2. --- 儀式進行日期 --- p.65 / Chapter 3. --- 儀式進行時間 --- p.65 / Chapter 4. --- 儀式進行地點 --- p.65 / Chapter 5. --- 儀式參予人數 --- p.66 / Chapter 6. --- 儀式中採用語言及聲音 --- p.66 / Chapter 7. --- 儀式中使用物件 --- p.67 / Chapter 8. --- 儀式中參予者的動作 --- p.67 / Chapter 第三節 --- 志蓮淨苑的晚課程序 --- p.72 / Chapter 1. --- 儀式目的 --- p.72 / Chapter 2. --- 儀式進行日期 --- p.72 / Chapter 3. --- 儀式進行時間 --- p.12 / Chapter 4. --- 儀式進行地點 --- p.72 / Chapter 5. --- 儀式參予人數 --- p.72 / Chapter 6. --- 儀式中採用語言及聲音 --- p.72 / Chapter 7. --- 儀式中使用物件 --- p.73 / Chapter 8. --- 儀式中參予者的動作 --- p.73 / Chapter 第六章 --- 朝暮課誦之音樂分析 --- p.79 / Chapter 第一節 --- 梵唄的定義及功能 --- p.79 / Chapter 第二節 --- 早課的曲目分析 --- p.80 / Chapter 1. --- 《爐香讚》的音樂分析 --- p.86 / Chapter 2. --- 《佛號》的音樂分析 --- p.89 / Chapter 3. --- 《回向偈》的音樂分析 --- p.92 / Chapter 4. --- 《彌陀偈》的音樂分析 --- p.96 / Chapter 5. --- 《繞佛》的音樂分析 --- p.100 / Chapter 6. --- 《念聖號》的音樂分析 --- p.103 / Chapter 7. --- 《三皈依》的音樂分析 --- p.107 / Chapter 8. --- 《彌陀讚》的音樂分析 --- p.112 / Chapter 第三節 --- 晚課的曲目分析 --- p.115 / Chapter 1. --- 《四生登於寶地》的音樂分析 --- p.117 / Chapter 2. --- 《普賢警眾偈》的音樂分析 --- p.120 / Chapter 3. --- 《伽藍讚》的音樂分析 --- p.125 / Chapter 第四節 --- 早晚課音樂的分析結果 --- p.128 / Chapter 1. --- 調式方面 --- p.128 / Chapter 2. --- 音域方面 --- p.130 / Chapter 3. --- 旋律方面 --- p.130 / Chapter 4. --- 曲式結構方面 --- p.132 / Chapter 5. --- 節奏方面 --- p.132 / Chapter 6. --- 唱法方面 --- p.133 / Chapter 7. --- 表情方面 --- p.133 / Chapter 8. --- 異音性和聲方面 --- p.134 / Chapter 9. --- 演唱方式方面 --- p.134 / Chapter 10. --- 法器伴奏方面 --- p.135 / Chapter 第五節 --- 音樂在早晚課儀式中之運用及功能 --- p.136 / Chapter 1. --- 音樂與信仰的關係 --- p.136 / Chapter 2. --- 音樂與訊息的關係 --- p.136 / Chapter 3. --- 音樂與調節氣氛的關係 --- p.136 / Chapter 第七章 --- 結語 --- p.138 / 參考書目 --- p.139 -142 / 附錄一.香港佛敎聯合會´ؤ九九二年度法事表 --- p.143 / Chapter 二. --- 香港佛光協會一九九三年法事表 --- p.144 / Chapter 三. --- 香港的佛學講座時間表 --- p.145

Chuen Fung Wong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 94-102). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.v / Table of Contents --- p.vi / List of Figures and Tables --- p.viii / Romanization and Translation --- p.ix / Chapter 1. --- Introduction --- p.1 / Beyond Ethnomusicology and Music History --- p.1 / Music Scholarship and Historiography in Modern China --- p.3 / Modern Research on Guqin: Becoming a Chinese Instrument --- p.8 / On Methodology --- p.11 / Chapter 2. --- The Making of Modern Notation: Reformation Models of Guqin Notation in the Twentieth Century --- p.14 / Introduction --- p.14 / Guqin Notation --- p.16 / Traditional Notation/Pre-Modern: An Imagined Tradition --- p.18 / Modern Changes --- p.20 / Notation Model in Oinxue Rumen --- p.21 / Notation Model in Qinjing --- p.23 / Wang Guangqi's Model --- p.25 / Yang Tinliu's Reformation Proposal --- p.28 / Gong Yi´ةs Guqin Yamoufa --- p.31 / Concluding Remarks: The Making of a Modern Notation --- p.35 / Chapter 3. --- Between Creativity and Reconstruction: Dapu and Its Changing Concept --- p.38 / Introduction --- p.38 / Defining Dapu --- p.40 / "Between Ancient and Modern, Historical and Creative" --- p.41 / The Power of Silk String --- p.46 / Dapu in Modern China and Its Practical Uses --- p.48 / Concluding Remarks: Dapu and Modernity in China --- p.51 / "Epilogue: A Brief Report on the Fourth National Dapu Conference,19-26 August 2001, Changshu" --- p.56 / Chapter 4. --- Becoming a Chinese Music history: Guqin and Music Historiography --- p.60 / Introduction --- p.60 / Music Historiography and the Work-Concept in China --- p.63 / Guqin and Musical Works --- p.66 / Situating Guqin Music into History: The Irony of Meihua Sannong --- p.68 / The Tactics of Historicization: The Case of Lisao --- p.72 / Werktreue and Chinese Music Historiography: A Conceptual Imperialism --- p.76 / Chapter 5. --- Conclusion: Guqin and Postcolonial Modernity in China --- p.80 / Introduction --- p.80 / A Postcolonial Reading --- p.82 / The Quest for Modernity --- p.83 / Final Remarks: On Translation and Chinese Music Scholarship --- p.86 / Appendix A Chinese Dynasties and Historical Periods --- p.88 / "Appendix B Map of China, Hong Kong, and Taiwan" --- p.89 / Appendix C General Histories of Chinese Music --- p.90 / Reference Cited --- p.94 / Glossary of Chinese Terms --- p.103

Fung Chui Bik. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 1-7 (3rd gp.)). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One: --- Literature Review --- p.5 / Chapter Chapter Two: --- Methodology --- p.23 / Chapter Chapter Three: --- Historical Background / Chapter 3.1 --- The emerging of Indie music in Hong Kong --- p.26 / Chapter 3.2 --- New wave of DIY --- p.31 / Chapter Chapter Four: --- The Mediations & Active Prosumers --- p.38 / Chapter 4.1 --- The Mediations of Producers-consumers --- p.40 / Chapter 4.2 --- The Mediations of Professional-consumers --- p.52 / Chapter 4.3 --- The Mediations of Media workers --- p.62 / Chapter Chapter Five: --- Different Modes of Indie Prosuming --- p.70 / Chapter 5.1 --- Disciple --- p.73 / Chapter 5.2 --- Practitioner --- p.77 / Chapter 5.3 --- Critical Prosumer --- p.83 / Chapter Chapter Six: --- Conclusion一 A New Indie Culture --- p.86 / References and Bibliography / "Appendix I，II，III, IV"

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

Sung, Kei Yan. / Thesis submitted in: December 2007. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 80-86). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter 1 --- General Background Information / Chapter ´ؤ --- Part I The American Context: Second Half of Twentieth Century --- p.5 / Chapter ´ؤ --- Part II Experimentalism --- p.9 / Chapter Chapter 2 --- Biographical Contexts / Chapter ´ؤ --- Biography - A Transethnic Overview --- p.15 / Chapter ´ؤ --- Harrison and Contemporary Composers: Relationship and Influences --- p.28 / Chapter Chapter 3 --- Composing Otherness / Chapter ´ؤ --- Part I Concerto in Slendro: An Anticipation of Asia --- p.38 / Chapter ´ؤ --- Part II Transethnicism in the Mature Period -- Varied Trio --- p.53 / Conclusion --- p.76 / Bibliography --- p.80

liv, 775 p. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D.Litt)--University of Adelaide, 1971

Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.

The faculty of judgment, whether aesthetic, political, or moral, held a central position in the life of eighteenth-century England. This dissertation reveals the political ideologies underlying the aesthetic judgments (made by composers, audiences, and characters) in a repertoire of masque settings of William Congreve's libretto, The Judgment of Paris from 1701 to 1742. / Chapter One provides an introduction to English political history in the early to mid-eighteenth century, in particular the Parliamentary strife which existed between the Whig and Tory parties, and documents the influence of politics on cultural production and aesthetic ideology. Chapter Two outlines the events surrounding the "The Prize Musick" competition including the circumstances of its inception, sponsors, competitors, and outcome. This chapter also discusses Congreve's ties to the Whig party and the structure and content of his libretto. Chapter Three analyses and compares the settings of the original extant settings from the competition by Daniel Purcell, John Weldon, and John Eccles with emphasis on their relative strengths of orchestration, harmonic structure, and motivic content. In Chapter Four new settings of Congreve's libretto, dating from the 1740s, by Giuseppe Sammartini and Thomas Arne are analysed and compared, both to each other and to the earlier "Prize" settings. This chapter also discusses the rise of other dramatic works based on similar "judgment" or "choice" plots such as Handel's The Choice of Hercules. Finally, Chapter Five outlines the historical function of music and aesthetic judgment in maintaining an orderly society and the role of The Judgment of Paris settings in fulfilling this function.

Amakwaya refers to the tradition and performance practice of choirs in South Africa that emerged from the mission-schools in the nineteenth century and is manifest today in the annual competitions held by various Teachers' Associations or company-sponsored events like the National Choir Festival. This choral practice, combining Western music styles with African tradition, bears the marks - both social and aesthetic - of colonial and missionary influences, and is closely linked to the emerging black middle class, their process of negotiating identity, and their later quest for a national culture. Many aspects of contemporary amakwaya performance practice, it is argued, including the recent interest of many members of the amakwaya community in opera, can be understood through an analysis of the social dimensions of these choirs. Particular attention is given to the role played by competitions and the sectionalised repertoire. The criticisms made in this regard flow from an understanding of the social meaning and aesthetic thrust of the tradition, from the author's practical involvement with the choirs, and from extensive discussions with choristers and conductors. The first part of the thesis is concerned with identifying the role played by European values such as those of education and progress, in the self-understanding of the emerging missioneducated black South African elite in the second half of the nineteenth century. An initial tendency towards uncritical imitation and attempts at assimilation ended in the experience of rejection by the settler community and isolation. It was followed, in the last quarter of the nineteenth century, by a complex negotiation between traditional and modern values. With political, social and economic mobility restricted in white South Africa, the black middle class turned towards artistic expression such as choral singing in order to define and express a distinctively African concept of civilisation. In this process, amakwaya performance developed into a powerful means whereby class identity and consciousness could be constructed and communicated. The second part looks into the framework of amakwaya, and at the mission schools and colleges they attended and the competitions they organise. As a result of the practice of hymn singing, participation in a choir soon became an important part of the leisure time activities of the early mission converts. This formative phase of amakwaya is illustrated in a case study of one of the most influential schools in Natal, Adams College, near Amanzimtoti, where the first black South African School of Music was established. In order to promote the values important to the missionaries as well as their converts - discipline, progress, and success - competitions were encouraged at the mission stations. These became models for the competitions which today are the main feature of amakwaya practice. The voices of various members of the community are used to present a critical evaluation of the positive and negative aspects of present-day competitions. The last part of the thesis concentrates on amakwaya repertoire, particularly as it is represented at important choral competitions such as the National Choir Festival. This part also attempts to facilitate an understanding of the genesis, structure and aesthetic of the sectionalised repertoire, which consists of neo-traditional songs, Western compositions, and choral works composed by mission-educated musicians. Strict adherence to the sectionalised repertoire is a unique feature of amakwaya performance practice to the present day. / Thesis (Ph.D.-Music)-University of Natal, 2002.