by Tsui Ying Fai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1990. / Bibliography: leaves 152-162. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Definition / Chapter 1.2 --- Background of the Modernized Chinese Folk Orchestra / Chapter 1.3 --- Chinese Orchestras in Hong Kong / Chapter 1.4 --- Limitations and Scope / Chapter 1.5 --- Translation and Transliteration / Chapter Chapter 2 --- Chinese Instrumental Activities in Hong Kong Before 1970 --- p.12 / Chapter 2.1 --- Historical Background of Hong Kong / Chapter 2.2 --- Chinese Orchestral Activities in Hong Kong before the 1970's / Chapter Chapter 3 --- Amateur Chinese Orchestras in the 1970´بs --- p.22 / Chapter 3.1 --- Establishment / Chapter 3.2 --- Aims and Objectives / Chapter 3.3 --- Headquarters / Chapter 3.4 --- Economic Situation / Chapter 3.5 --- Administration Structure / Chapter 3.6 --- Membership and Players / Chapter 3.7 --- Activities / Chapter 3.8 --- Repertoire and Music Scores / Chapter 3.9 --- Social Networks / Chapter 3.10 --- Problems and Changes / Chapter Chapter 4 --- Case Studies of Three Amateur Chinese Orchestras --- p.55 / Chapter 4.1 --- Wang Kwong Chinese Orchestra / Chapter 4.2 --- The Hong Kong Youth Music Society / Chapter 4.3 --- Sing Fai Chinese Folk Orchestra / Chapter Chapter 5 --- Other Important Events in the 1970's --- p.111 / Chapter 5.1 --- The Emergence of Solo Concerts by Amateur Players / Chapter 5.2 --- Collective Activities Among Amateur Chinese Orchestras / Chapter 5.3 --- Government Involvement and Professional Practice / Chapter Chapter 6 --- Causes for the Rapid Growth of Amateur Chinese Orchestras in the 1970 's --- p.122 / Chapter 6.1 --- Reasons for Many Different Amateur Chinese Orchestras Being Established / Chapter 6.2 --- Causes for the Emergence of the Chinese Orchestras / Chapter Chapter 7 --- Conclusion --- p.146 / Bibliography --- p.152 / Chapter Appendix I --- List of Concert Programs --- p.157 / Chapter Appendix II --- A Survey on Repertoire of Twenty-eight Concerts in the 1970 's --- p.163 / Chapter Appendix III --- List of Scores Published in the Mainland in the 1970's --- p.166 / Chapter Appendix IV --- Adminstrative Structure of the Wang Kwong Chinese Orchestra --- p.171 / Chapter Appendix V --- Musical Examples in Full Scores --- p.172 / Glossary --- p.177

Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.