Symphony no. 2 : towards a harmonious world. I. Molto sostenuto. II. Con alcuna licenza. III. Con fuoco -- Sunrise : for orchestra -- Epilogue for a tragedy : for flute, violin, cello and piano. I. Molto mesto. II. Molto pesante : quasi tarantella : tranquillo -- Ally : for clarinet, violin and cello -- Cosmo palladium : for flute and Max/MSP. / Hung Ming-kin Christopher. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Symphony No.2 Towards a Harmonious World / Chapter I. --- Molto sostenuto --- p.5 / Chapter II. --- Con alcuna licenza --- p.36 / Chapter III. --- Con fuoco --- p.45 / Sunrise for orchestra --- p.84 / "Epilogue for a Tragedy for flute, violin, cello and piano" / Chapter I. --- Molto mesto --- p.101 / Chapter II. --- Molto pesante- quasi tarantella -tranquillo --- p.106 / "Ally for clarinet, violin and cello " --- p.115 / Cosmos Palladium for flute and Max/MSP --- p.125

此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.

《紙・驚》與《鼓・箏》 : 褐紫紅色 : 自《彩露》 : 為京腔女中音、中國大鼓和古箏而寫的雙樂章作品 = "Paper. Jolt" and "Gu. Zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-Zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu Zheng, and Percussion (suspended cymbal and vibraphone) = 青瓷色: 自《彩露》: 為降B單簧管, 古箏與敲擊(弔鈸及鋼片琴)而寫 -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet. / "Zhi, jing" yu "Gu, zheng" : he zi hong se : zi "Cai lu" : wei jing qiang nü zhong yin, Zhongguo da gu he gu zheng er xie de shuang yue zhang zuo pin = "Paper, Jolt" and "Gu, zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu zheng, and Percussion (suspended cymbal and vibraphone) = Qing ci se : zi "Cai lu": wei xiang B dan huang guan, gu zheng yu qiao ji (diao ba ji gang pian qin) er xie -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet. / Lee, Kar Tai. / Durations: 8 min.; 4 min.; 4 min.; 10 min. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Abstracts in English and Chinese. / Cover Page --- p.i / Abstract --- p.ii / Acknowledgements --- p.iv / Table of Contents --- p.iv / """Paper. Jolt “ and “ Gu . Zheng""《´紙Ø驚》與《´鼓Ø箏》" --- p.1 / Carnival《嘉年華》 --- p.18 / Celdaon《青瓷》 --- p.35 / "Prelude, Passacaglia and Fugue《前奏、巴沙加牙和賦格曲》" --- p.48

Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.

Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.

published_or_final_version / Music / Master / Master of Philosophy

by Ho Tsz-Yan, Rebecca. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Chapter Part I: --- p.page / Chapter ´Ø --- Abstract --- p.1 / Chapter Part II: / Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3 / Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6 / Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25 / Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28 / Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65 / Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69 / Chapter Part III： / Chapter ´Ø --- Biography --- p.119

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)

Thesis (M. Phil.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig, and Talibun-ag. "Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in essence, a destination of one's life journey. "Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition revolving around a hextatonic scale which goes through a process of change as the music progresses. The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections (ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic scale is the composer's own material injected to some pre-formed structure already existing as in the mentioned ballad. "Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot, tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note that the recording provided with this thesis is simply a reading session of the piece). "Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto flute and percussions), a mono-dramatist and a choral quartet.