Two "old melodies" (guqu) from traditional Cantonese instrumental repertoire, "The Grief of Zhaojun" (Zhaojun Yuan) and "Autumn Moon Overlooking the Han Palace" (Hangong Qiuyue) are assigned contrasting moods by Cantonese musicians: the former is associated with sorrowful sentiments; the latter, with bright and/or lively qualities. This study attempts to show that affective elements in Cantonese instrumental music intergrate ancient socio-philosophical theories with aspects of traditional performance practice. Chapter 1 presents the similarities between Confucian functionalist ideology and a number of heterophonic features. Chapter 2 introduces the manifestation of Daoist metaphysical philosophy through principles of heterophonic variation and a number of melodic characteristics. Chapter 3 contains some general aspects of traditional Cantonese instrumental music and the musical analysis. The musical analysis looks, within the context of Confucianism and Daoism, at the affective role of melodic embellishment techniques associated with heterophonic practices. / Arts, Faculty of / Music, School of / Graduate

published_or_final_version / Music / Master / Master of Philosophy

論文(碩士)--香港中文大學, 1968. / Manuscript. / Includes bibliographical references (leaves 127-132). / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 緒論 --- p.6 / Chapter 第二章 --- 古代音樂之發展及樂教思想之孕育 --- p.9 / Chapter 第三章 --- 孔子之音樂修養 --- p.17 / Chapter 第四章 --- 孔子之音樂思想 --- p.24 / Chapter 一 --- 音樂之作用 --- p.24 / Chapter 二 --- 禮樂相成 --- p.28 / Chapter 三 --- 禮樂主德 --- p.30 / Chapter 四 --- 樂德中和 --- p.31 / Chapter 五 --- 雅樂與淫聲 --- p.35 / Chapter 第五章 --- 墨子哲學與其非樂思想之關係 --- p.41 / Chapter 第六章 --- 孟子之音樂思想及其與孔子之異趣 --- p.47 / Chapter 第七章 --- 莊子哲學凹其音樂思想之關係 --- p.57 / Chapter 第八章 --- 附論：苟子樂篇與樂記之糾葛 --- p.65 / Chapter 第九章 --- 荀子之音樂思想 --- p.81 / Chapter 一 --- 樂論篇中之疑點 --- p.81 / Chapter 二 --- 荀子倡導樂教之緣由 --- p.84 / Chapter 三 --- 樂感人心與人心感樂 --- p.89 / Chapter 四 --- 雅樂與浮聲 --- p.91 / Chapter 五 --- 禮樂異同 --- p.92 / Chapter 六 --- 孔旬音樂思想之異趣 --- p.94 / Chapter 第十章 --- 樂記中之音樂理論 --- p.98 / Chapter 一 --- 樂記之矛盾謬誤處 --- p.98 / Chapter 二 --- 樂記本義試探 --- p.102 / Chapter (一) --- 樂律度數 --- p.103 / Chapter (二) --- 音樂之原 --- p.105 / Chapter (三) --- 聲、音、樂之別 --- p.109 / Chapter (四) --- 人心感樂與樂感人心 --- p.112 / Chapter (五) --- 禮樂王德 --- p.115 / Chapter (六) --- 禮樂之道與天地之道 --- p.117 / Chapter (七) --- 禮樂相成 --- p.121 / Chapter 第十一章 --- 結論 --- p.124 / 參考書目 --- p.127

published_or_final_version / Music / Master / Master of Philosophy

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Arts

Musical study of The Butterfly Lovers violin concerto by He Zhanhao and Chen Gang. Tracing its cultural background in China, analyzing in terms of the concerto's form, melody, scale, mode, harmony, and orchestration and discussing the more unusual technical demands of violin playing made by this concerto.

Chinese music has one of the longest histories of development of all music cultures of the world. A system of music (theory) was formulated, in its unique way, but is differed fundamentally from its occidental counterpart. The discussion of this thesis focuses on the following two aspects: (1) the observations on those musical and non-musical factors, which had conditioned the course of development of Chinese music and (2) the analysis of selected examples to summarize the tonal structures and modal patterns, particularly, on the modal and modulatory analysis. A comparison of similarities and differences on melodic gesture between Chinese and Western tonal practice is also included in this study.

Thesis (Ph. D.)--University of California, San Diego, 2001. / Vita. Includes bibliographical references (leaves 300-308).

published_or_final_version / Music / Master / Master of Philosophy