by Yue Kwok-bun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1980. / Includes bibliographical references (leaf 149).

This dissertation is a comparative study of the classical guitar and the Pipa. One of the most popular plucked string instruments in the Western Hemisphere is the guitar and in the East, the Chinese pipa. The guitar and the pipa are the distant relatives and both share many commonalities in their history, technique, and construction. The purpose of this study is to illustrate the origins of the instruments, to show the similarities and dissimilarities of construction, and to compare the techniques used for both instruments.The study consists of six chapters. Chapter I presents introductory information as well as the purpose, significance, procedures, and delimitation of the study. Chapter II, a review of related literature, provides a brief description and evaluation of important sources utilized. Chapter III presents a brief history of the classical guitar and the Chinese pipa. Chapter IV provides an overview of the construction in which related to tone production itself of the guitar and the pipa. Chapter V gives a thorough discussion of the techniques used in both instruments. This chapter is further subdivided into four sections: Tone production, Right hand technique, Left hand technique, and "Special" techniques with regard to the use of timbre.By making comparisons between the guitar and the pipa, composers, performers, and luthiers would benefit. By learning the musical possibilities of each instrument, composers could expand the repertoire of each by borrowing their respective musical characteristics. Performers could improve both their techniques as well as add techniques to enhance their own musicality. Finally, luthiers would be able to experiment with their methods of building and perhaps produce higher quality instruments. The author hopes that the findings of this study, therefore, will not only add to musical knowledge in a global society, but also encourage further study. / School of Music

by See Kai-hung. / Title in Chinese: / Includes bibliographical references / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986

by Leung Siu. / Title also in Chinese. / Thesis (M.Phil.)--Chinese University of Hong Kong. / Bibliography: leaves 117-118.

So Hon-tou. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 55-59). / Text and abstracts in English and Chinese. / Abstract --- p.i / Table of contents --- p.iii / Introduction --- p.1 / Chapter Chapter I: --- "Relationship between the pipa and the guqin, and other instruments" --- p.7 / Chapter Chapter II: --- Establishment of authority and legitimacy of the editor's own edition --- p.17 / Chapter Chapter III: --- Influence of the record industry --- p.21 / Chapter Chapter IV: --- A Compilation of the Textual Parts from the Anthologies --- p.25 / Conclusion --- p.54 / Selected bibliographical references --- p.55

The purpose of this study was to study the rhymes in P'i Pa Chi, a drama from South China in the Yuan Dynasty. To achieve this purpose the rhyme words of P'i Pa Chi were gathered and divided into rhyming categories. These were compared with earlier and contemporary phonological works such as rhyme tables, rhyme dictionaries etc. and some particular problems were studied. P'i Pa Chi's rhyme categories, of course, cannot provide every single detail of real speech, but they do indicate certain differences as compared with contemporary Northern Drama which are important clues to an understanding of the phonological phenomena in Southern China in the Yuan Dynasty. / Arts, Faculty of / Asian Studies, Department of / Graduate

published_or_final_version / Music / Master / Master of Philosophy

Thesis (M. Phil.)--University of Hong Kong, 2001. / Two sets of recordings included, each in its own container. The first work is for string quartet; the second for bangdi, soprano sheng, yangqin, pipa, guzheng, erhu, gehu and percussion; the third for harmonica quintet, sheng, harp, piano and percussion. "Symphonic poem-Genesis" is for orchestra with piano and celesta. "Ghost opera" is for string quartet and pipa, with water, stones, paper and metal. Includes bibliographical references.

Thesis (M.Phil.)--University of Hong Kong, 2001. / Includes bibliographical references. Also available in print.

In recent years, a large part of the erhu's repertoire has been arranged for performance on the violin and vice versa. Given the difficulties involved in transcribing the music of plucked or woodwind instruments for the violin, the erhu has been the most popular choice for transcribing Chinese music for the violin. However, the erhu and violin are radically dissimilar instruments based on different principles. Pipa music is an essential part of traditional Chinese music from as early as 202 BCE, and the instrument's repertoire represents a large portion of East Asian music aesthetics, and this context should be considered to successfully transcribe pipa music for violin. This dissertation talks briefly about Chinese music history and its categories and also focuses on the history and development of the pipa as well as its repertoire categories to provide context for the following musical examples. I use existing transcription examples from different categories of pipa music as an avenue to discuss how to transcribe pipa music for the violin. Even though the violin has some limitations for use as a plucked instrument, the instrument can still make use of several different kinds of techniques in order to play the music in a way that can represent certain features of the pipa while retaining the violin's characteristics.