String quartet -- Eternal light : for orchestra -- The Lord's prayer : for baritone, clarinet and piano. / Wong Yat Wai Joseph. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Chapter 1. --- String Quartet --- p.1 / Chapter 2. --- Eternal Light for Orchestra --- p.21 / Chapter 3. --- "The Lord's Prayer for Baritone, Clarinet and Piano" --- p.58

作品集內共有十一首作品，為修讀音樂博士學位期間所創作，分別為：《竹露》、《枯丫嘯鳴》、《痕》、《我是在魚缸裏的金魚》、《夜雷細雨打梨花，靜聽微風響叮鈴》、《碎彩迷圖》、《悸動》、《雲泊》、《魂牽夢縈，更哪堪酒醒！》、《唧唧咕咕》以及《畫布》。 / My portfolio of music compositions consists of eleven compositions encompassing works for solo, duo, trio, medium to large ensemble, choir a cappella and orchestra. / In retrospect, the compositions in my portfolio can be categorized into four states of maturity and intelligence growth during my doctoral study. Dew on Bamboo Leaves, Arid Branches Resound and Scar present my primitive and instinctive thoughts on harmonic colours, motivic organity and expression of solitude and sentimentality. Im a Goldfish in a Globe , Pyrus Flower in Rain and In the Labyrinth of Stained Glass Mosaic establish my proficiency in orientating musical idiom and in communicating deliberated artistic conception of space and time with music. Palpitation and A Lagoon of Clouds comprise a comprehensive perception of texture and temporality. Lastly, Yearning . Sober Anguish , Susurrus and Canvas convey my dexterity incraftsmanship, complexity, musical form and poeticality. / In brief, my portfolio exemplifies my idiosyncratic insight into music as atemporal art, as a language and as an architecture of soundscape. Itrepresents the artistry of my compositions as a young composer. / Detailed summary in vernacular field only. / Lee, Kar Tai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2013. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes Chinese. / Abstract / Acknowledgements / Content / Volume I / Dew on Bamboo Leaves --- p.P.1 (9) / Arid Branches Resound --- p.P.17 (14) / Scar --- p.P.37 (5) / Im a Goldfish in a Globe --- p.P.49 (3) / Pyrus Flower in Rain --- p.P.57 (3) / In the Labyrinth of Stained Glass Mosaic --- p.P.65 (16) / A Lagoon of Clouds --- p.P.85 (17) / Yearning --- p.P.107 (36) / Susurrus ( Quiet Carriage) --- p.P.147 (2) / Volume II / Palpitation - Montage for Large Orchestra in 100 Seconds --- p.P.1 (6) / Canvas --- p.P.13 (28)

Remembrance -- Suite -- Symphonic prelude. / Ng Wah-hei. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2005. / Abstracts in English and Chinese. / Abstract --- p.i / Table of Contents --- p.ii / Acknowledgements --- p.iii / Chapter 1. --- Remembrance for Orchestra --- p.1 / Chapter 2. --- "Suite for Flute, Clarinet, Cello, and Percussion" --- p.58 / Chapter 3. --- Symphonic Prelude for Orchestra --- p.100

Music as a hub in school presentationsThe aim of the study is to elucidate how making meaning is constituted when lower secondary pupils play music when giving accounts of other school subjects than music. The empirical material consists of four presenta- tions in the subjects of physics, religion and Swedish, which were filmed during ordinary lessons in a lower secondary school. In addition the data consists of nine filmed stimulated recall interviews with the pupils and their teachers, which were also filmed.Social semiotic multimodality constitutes the study’s theoretical and methodological point of departure. The perspective enables investigation of the pupils’ playing of music and music in its multimodal context, and of how different dimensions of meaning are constructed. The filmed presentations were transcribed into music scores in order to visualise the multimodal events of the presentations. Three different categories of meaning were used, ideational, interpersonal and textual meaning, to analyse how music relates to other modes of communication.The results show how the temporal functions of music serve as frame- work and motor, what the music narrates in relation to the subject content and what interpersonal relations the music communicates. The young peo- ple’s knowledge of music manifests itself in the different accounts as an ability to use and adapt musical knowledge to a context where another sub- ject than music is in focus. The presentations of Swedish are travesties of well-known songs and the pupils stick to the given form. In the other presen- tations the pupils themselves had compiled the music and the result was a form of musical works where the music does not follow any model or certain genre. The informants think that this working method implies that the work is experienced as meaningful both to themselves and to the audience.

Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience. / Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to another. Transformation of the sound material is accomplished by means of digital signal processing and, in the instrumental parts, by way of compositional techniques modeled after specific electroacoustic sound processing techniques. / The organization of musical structures and formal processes was informed by certain characteristics associated with devices that handle information represented digitally, by techniques of electroacoustic sound production and transformation, and by particular extended instrumental techniques. / Volume 1 of this dissertation is a written text articulated in two parts. The first part gives a historical and aesthetical context for my composition. The second part is an analysis of materials and formal processes used in the piece. Volume 2 is the music score of the composition. A CD containing the patches and soundfiles utilized in the electronic part supplements both volumes.* / *This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.

Fading Points is a piece of music for large wind ensemble. The work is concerned with time perception and is designed to convey to the listener a long temporal progression from slow music to fast music. To this end, the work is written using musical gestures specifically designed for their portrayal of musical time. The work consists of four sections, each of which is described in detail in the analytical part of the thesis. The analysis also describes the rhythmic language, which is created around short rhythmic cells. These cells are based on ratios and are used in all levels of the piece from the surface rhythm to the large formal divisions. The harmonic language is also described. The vertical harmony is derived from a dense chord presented at the beginning of the piece. The horizontal pitch material is created from small pitch cells, also taken from the opening chord. These cells are used in isolation but are also combined to create modes, which are the focus of the latter parts of the piece.

Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra. / The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra. / Tang Lok-yin. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Librettos (1st work) in English ; abstracts in English and Chinese. / Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano" / Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas / Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics / Chapter Composition 4 --- Playing Game for Orchestra / Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra / Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra