Thesis (DDes) - National Institute of Design Research, Swinburne University of Technology, 2006. / A doctoral research project presented to the National Institute of Design Research, Swinburne University of Technology in partial fulfilment of the requirements for the degree of Doctor of Design, 2006. Typescript. Bibliography: p. 109-120.

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 337-348).

Thesis--Indiana University. / Vita. Photocopy. Ann Arbor, Mich. : University Microfilms, 1980--21 cm. Bibliography: leaves 402-420.

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (p. 337-348).

Title from first page of PDF document. Includes bibliographical references (p. 78-81-Xx).

Thesis (doctoral)--Universiteit Leiden, 2002. / Includes bibliographical references (p. 226-245).

by Lam Wing Cheong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 138-146). / Some music examples in Chinese. / Abstract --- p.iv / List of Tables and Figures --- p.v / List of Music Examples --- p.vi / Maps of Hong Kong --- p.vii / Chapter Chapter One --- Introduction / Chapter 1.1 --- Definitions of Context and Customization --- p.1 / Chapter 1.2 --- Conceptual Framework --- p.2 / Chapter 1.3 --- The Field --- p.3 / Chapter 1.4 --- The Structure of Cantonese Operatic Song --- p.5 / Chapter 1.5 --- Source Materials and Methodology --- p.12 / Chapter 1.6 --- Scope and Limitations --- p.14 / Chapter 1.7 --- Translation and Transliteration --- p.16 / Chapter Chapter Two --- History of Street Performance and Cantonese Operatic Song Groups at Temple Street / Chapter 2.1 --- A brief history of Chinese street performance --- p.18 / Chapter 2.2 --- A brief history of street performance in Hong Kong --- p.22 / Chapter 2.3 --- The organization of the groups --- p.29 / Chapter 2.4 --- The financial system and its function --- p.31 / Chapter 2.5 --- Concluding Notes --- p.33 / Chapter Chapter Three --- "Performers, Performing Style, and Programming" / Chapter 3.1 --- From ambulatory to sedentary performers --- p.38 / Chapter 3.2 --- Performing style of the song groups --- p.39 / Chapter 3.3 --- The performance programming created by song groups --- p.41 / Chapter 3.4 --- Concluding notes --- p.45 / Chapter Chapter Four --- Roles and Functions of the Audience and the Interlocking Relationship between Audience and Performers / Chapter 4.1 --- Historical background --- p.48 / Chapter 4.2 --- The audience at Temple Street --- p.51 / Chapter 4.3 --- The interlocking relationship between audience and performers --- p.56 / Chapter 4.4 --- Concluding notes --- p.67 / Chapter Chapter Five --- Customization of Performance / Chapter 5.1 --- Customization of the instrumental section --- p.71 / Chapter 5.2 --- Customization of repertoire --- p.74 / Chapter 5.3 --- Concluding notes --- p.87 / Chapter Chapter Six --- Conclusion --- p.90 / Tables --- p.97 / Figures --- p.100 / Music Examples --- p.102 / Glossary --- p.129 / References --- p.138

林萬儀. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 116-127. / Lin Wanyi. / 目錄 --- p.i / 撮要 --- p.iii / Chapter 第1章 --- 導論 --- p.1 / Chapter 1.1 --- 「粤曲女伶」的槪念 / Chapter 1.2 --- 粤曲女伶的硏究槪況 / Chapter 1.3 --- 硏究範圍 / Chapter 1.4 --- 考查工作及資料 / Chapter 1.5 --- 硏究目的 / Chapter 第2章 --- 粤曲女伶的出現及發展 --- p.10 / Chapter 2.1 --- 第一階段：出現及初期發展(1862-1923) / Chapter 2.2 --- 第二階段：二、三十年代的發展(1923-1937) / Chapter 2.3 --- 第三階段：戰時的發展(1937-1945) / Chapter 2.4 --- 第四階段：戰後十五年內的發展(1945-1959) / Chapter 2.5 --- 第五階段：六十年代的發展(1960-1969) / Chapter 2.6 --- 第六階段：七十及八十年代前半期的發展(1970-1985) / Chapter 2.7 --- 第七階段：近十年的發展(1986-1996) / Chapter 第3章 --- 香港當代粤曲女伶槪述 --- p.34 / Chapter 3.1 --- 人數與活躍程度 / Chapter 3.2 --- 年齡與年資 / Chapter 3.3 --- 演唱粤曲以外的有關事業 / Chapter 3.4 --- 組織及聯繫 / Chapter 第4章 --- 女伶的演出場合 --- p.52 / Chapter 4.1 --- 歌壇 / Chapter 4.2 --- 地檔 / Chapter 4.3 --- 會堂 / Chapter 4.4 --- 宴會 / Chapter 4.5 --- 歌台 / Chapter 第5章 --- 女伶的演出 --- p.66 / Chapter 5.1 --- 演出的準備及過程 / Chapter 5.2 --- 演出所用的曲本 / Chapter 5.3 --- 觀眾的參與及影響 / Chapter 5.4 --- 演唱與侍奉：女伶的雙重角色 / Chapter 第6章 --- 女伶的唱腔風格及流派 --- p.90 / Chapter 6.1 --- 唱腔及唱腔流派的含意 / Chapter 6.2 --- 粤劇、粤曲的唱腔流派 / Chapter 6.3 --- 當代女伶所屬唱腔流派 / Chapter 6.4 --- 「女伶腔」的繼承及槪念的演變 / Chapter 第7章 --- 結論 --- p.105 / Chapter 7.1 --- 總結 / Chapter 7.2 --- 粤曲女伶與中國優伶文化 / Chapter 7.3 --- 粤曲女伶與中國樂妓文化 / Chapter 7.4 --- 女伶現象與香港文化 / Chapter 7.5 --- 未來硏究的方向：音樂與性別 / 參考著作目錄 --- p.116

Having written over 449 pieces of Cantonese opera works, Tang Di-sheng (1917-1959) is considered to be one of the most outstanding and influential librettists and playwrights of Hong Kong Cantonese opera in the 1950s. His Cantonese operas such as Liu Yue Xue (Snow in June; 1956), Di Nu Hua (The Floral Princess; 1957) and Zi Chai Ji (The Purple Hairpin; 1957), Shuang Xian Bai Yue Ting (Two Immortals at the Pavilion of the Moon; 1958), Bai Tao Hui (Madam Lee Sam Neung; 1958), and Zai Shi Hong Mel Ji (The Reincarnation of Plum Blossom; 1959) are well known to be Tang's masterpieces. / In chapters three and four, the study applies the Merriam's model "concept", "behavior" and "music sound". First, the thesis examines the classical plays, the historical story, pre-existed Cantonese opera and other plays and discusses these "concepts" in relation to Tang's creation. His "behavior", behavior of performers, musicians, audiences and listeners constitutes in the stage performances, the movies and the recordings became the "music sound" of the works of Tang. Finally, it also attempts to understand the works of Tang against the social and cultural background in Hong Kong. The analysis of the selected works shows that Tang attempted to change the creative idea of the works, performing practice, the female role in the 1950s, and how Tang cultivated a unique Hong Kong flavor in his own works. / The theoretical framework is based on Merriam's research model, "concept", "behavior", and "music sound" itself, and has referred to Timothy Rice the revision model which developed a three-dimensional model ("historical construction", "social maintenance", and "individual creation and experience") for ethnomusicological research. Chapter two examines "individual creation and experience", which discusses the biography and the works of Tang Di-sheng, analyses his creativity and experience. Moreover, it is a macroscopic research to correlations in the Hong Kong society and Cantonese Opera. For "historical construction", this chapter studies the social background of Hong Kong's historical development, the development and changes of the social cultural contexts of Hong Kong society and a how did Tang receive "social maintenance" from 1950 to 1959. / 戴淑茵. / Adviser: Chan Sau Yan. / Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2942. / Submitted: November 2007. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 373-399). / 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 Chinese and English. / School code: 1307. / Dai Shuyin.

Chan, Pui Lun. / "December 2010." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 133-147). / Abstracts in English and Chinese. / Abstract of thesis entitled: --- p.i / Abstract (Chinese) --- p.iii / Acknowledgements --- p.iv / Table of Contents --- p.v / List of Figures and Tables --- p.viii / Romanization and Translation --- p.ix / Chapter Chapter One - --- Introduction --- p.1 / Chapter 1.1 --- "Motivations, Arguements and Methodology" --- p.2 / Chapter 1.2 --- Ethnomusicological Studies on Chinese Operas --- p.3 / Chapter 1.3 --- Studying Peking opera in Hong Kong --- p.5 / Biographies of Mainland Peking Opera Performers --- p.5 / Newspapers Reports and Columns --- p.6 / Interview Transcripts of Peking Opera Artists in Hong Kong --- p.7 / Government Documents and Archival Data --- p.8 / Fieldwork --- p.8 / Challenges and Limitations --- p.9 / Chapter 1.4 --- Thesis Outline --- p.10 / Chapter Chapter Two - --- The History of Peking Opera in Hong Kong --- p.14 / Chapter 2.1 --- The Dual Forces of Cultural Policies --- p.15 / Tour Performances as Diplomacy --- p.15 / The First Encounter: Mei Lan-fang's Tour in 1922 --- p.17 / Cultural Competition between the Two Chinese Regimes --- p.21 / Cultural Policy of the Colonial Government before 1980 --- p.24 / Chapter 2.2 --- Early Peking Opera Activities in Hong Kong --- p.26 / Peking Opera in Recordings and Radio Broadcasting --- p.26 / Peking Opera Films in the 1940s and 50s --- p.33 / Integrating Peking Opera with Local Martial Arts Films in the 1960s and 70s --- p.35 / Local Peking Opera Academies --- p.38 / Amateur Peking Opera Groups --- p.42 / Hybridization Between Peking Opera and Cantonese Opera --- p.43 / Chapter 2.3 --- An Entertainment for Mainland Emigrants --- p.48 / Chapter 2.4 --- Summary --- p.51 / Chapter Chapter Three - --- Contemporary Peking Opera Activities --- p.54 / Chapter 3.1 --- The Continuing Political Influence --- p.55 / The Shifting Dynamics of Political Influences in the Pre-HKSAR Period (From 1980 to 1997) --- p.55 / Increasing Support in the HKSAR Period (1997- present) --- p.58 / Chapter 3.2 --- Readapting Western Literature into Peking opera --- p.62 / Chapter 3.3 --- Other Contemporary Activities --- p.65 / General Observations --- p.65 / Musical Background of Participants and Audiences --- p.69 / Audiences'and Participants' Responses --- p.70 / Presentations Styles --- p.71 / Chapter 3.4 --- Summary --- p.78 / Chapter Chapter Four - --- Globalization Impacts on Peking opera in Hong Kong --- p.80 / Chapter 4.1 --- Peking Opera Activities and Globalization in Hong Kong --- p.83 / "Realizing the ""Imaginations""" --- p.83 / The Hybrid Form of Globalization r. --- p.88 / Chapter 4.2 --- A Traditional Interpretation of Globalization --- p.93 / "The ""Dilemma of Identity""" --- p.93 / The Dominance/Resistance Dichotomy in Ethnomusicological Studies --- p.94 / The Co-existence of Dichotomy --- p.96 / Chapter 4.3 --- Summary --- p.99 / Chapter Chapter Five - --- Conclusion --- p.101 / Chapter 5.1 --- Historical Activities --- p.101 / Chapter 5.2 --- Contemporary Activities --- p.104 / Chapter 5.3 --- Political Influences --- p.106 / Chapter 5.4 --- Globalization Impacts --- p.108 / Chapter Appendix I: --- Peking opera events presented by major cultural supporting sectors from 1976 to 2009 --- p.110 / Chapter Appendix II: --- Arts Development Council Grants to Local Peking Opera Troupes from the Financial Year of 1994/95 to 2007/08 --- p.120 / Chapter Appendix III: --- Other Peking Opera Activities Conducted by Local Peking Opera Troupes from 1976 to 2009 --- p.122 / Glossary --- p.126 / Bibliography --- p.133