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.

Prelude -- 星 : 女高音獨唱、混聲合唱團及鋼琴 = Star Suite : for soprano solo, SATB choir and piano -- Temptation. / Prelude -- Xing : nü gao yin du chang, hun sheng he chang tuan ji gang qin = Star Suite : for soprano solo, SATB choir and piano -- Temptation. / 2nd works derived from five poems written by Prof. Yu Kuang-chung (余光中). / 2nd works derived from five poems written by Prof. Yu Kuang-chung (Yu Guangzhong). / Wong Nga Yin. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Librettos (2nd work) in Chinese with English translation ; abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.ii / Table of Contents --- p.iii / Chapter 1. --- Prelude -for String Quartet --- p.1 / Chapter 2. --- 《星》tar Suite --- p.20 / Chapter (I) --- "《送別》<Farewell> -for Soprano, Alto, Tenor and Bass choir and Piano" --- p.25 / Chapter (II) --- 《孤星》<The Lonesome Star> -for Soprano Solo and Piano --- p.32 / Chapter (III) --- "《新月和孤星、》<The New Moon and The Lonesome Star〉 -for Soprano, Alto, Tenor and Bass choir (Acappella)" --- p.36 / Chapter (IV) --- 《流星》<The Shooting Star> -for Soprano Solo and Piano --- p.41 / Chapter (V) --- "《對語》〈Diabgue〉 -for Soprano, Alto, Tenor and Bass choir and Piano" --- p.46 / Chapter 3. --- Temptation -for Orchestra --- p.55 / Appendix Authorization E-mail of the Poems

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

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.

Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.

This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest times up to the mid-century. Part Two researches string techniques and notation from the turn of the century up to 1990. The historical perspective demonstrates that after World War n, with the emergence o f the electronic age and a changing social and intellectual climate, traditional concepts were being challenged. Composers facing the dilemma affecting music in general, and the string quartet in particular, had to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the developmental paths took shape from the problem itself and different approaches emerged to master the multi-faceted dimensions available to composers. Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems and string techniques. Quartets of the first half of the century show that both the dissolution and the extension o f traditional processes were contained, importantly, within the continued use of conventional notation. The impact and significance of these quartets within the context of 20th century development cannot be ignored. However, the quartets researched post-1960 demonstrate that composers have enlarged all parameters of the genre through the extension of traditional resources and by radical innovation. This research demonstrates that the emergence of new symbols and string techniques in the second half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these elements is undertaken. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work. / Tam, Chin Fai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 391-392). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / 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 in Chinese.