Thesis (D.M.A.)--University of Nebraska-Lincoln, 2010. / Title from title screen (site viewed July 8, 2010). PDF text: vi, 76 p. : ill., music ; 19 Mb. UMI publication number: AAT 3397140 . Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (D.M.A.)--University of North Texas, 2001. / Includes bibliographical references (p. 70-75). Includes discography (p. 75-81).

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 22, 2003, Apr. 27, 2003, Oct. 7, 2004, and Oct. 16, 2006. Includes bibliographical references (p. 89-90).

Wong, Hoi yan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 149-159). / Abstracts in English and Chinese. / Abstract --- p.ii / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.iv / Chapter Chapter 1 --- Background --- p.1 / Chapter 1.1 --- Chen Yi and Her Music --- p.1 / Chapter 1.2 --- Western Music in China --- p.5 / Chapter 1.3 --- Institutionalization of Music Education in China --- p.7 / Chapter 1.4 --- Key Figures in Music Education --- p.10 / Chapter Chapter 2 --- Literature Review and Scope of Study --- p.13 / Chapter 2.1 --- Literature Review --- p.13 / Chapter 2.2 --- Objective and Scope of Study --- p.19 / Chapter Chapter 3 --- Recurring Themes in Chen's Music --- p.21 / Chapter 3.1 --- Baban --- p.22 / Chapter 3.2 --- 12-tone Row --- p.33 / Chapter 3.3 --- Chen Yi Theme --- p.41 / Chapter 3.4 --- Scale X --- p.43 / Chapter Chapter 4 --- Analyses --- p.48 / Chapter 4.1 --- Piano Concerto and Ba Ban (solo piano) --- p.48 / Chapter 4.2 --- Sparkle --- p.84 / Chapter 4.3 --- Golden Flute --- p.91 / Chapter 4.4 --- SiJi (Four Seasons) --- p.108 / Chapter Chapter 5 --- Conclusion --- p.118 / Appendix A The Interview with Chen Yi --- p.123 / Appendix B An Analysis of Monologue --- p.135 / Appendix C List of Chen Yi's Works --- p.137 / Selected Bibliography --- p.149

This dissertation aims to deal Pei Chu-yi (¥Õ©~©ö¡A772-846), the most important poet in Tang Dynasty, with his influence on the lyric development in Sung Dynasty. With the concept of intertextuality as my methodology, Pei Chu-yi is treated as a pivotal role in my new reading the lyrics composed in Sung Dynasty (960-1279 A.D.). As it will be shown, many lyrics in Sung are highly intertextualized with Pei¡¦s poems, and the works of Huang Ting-jan ¶À®x°í(1045-1105) illustrated the very example in how a poet related himself (including his personal experiences, view of literature, etc.) as a follower to the pioneering poet Pei. Therefore, from the later literary and cultural continuities with Pei, I apply the concept of ¡§intertextuality¡¨ to re-read and re-explore the ideas of ¡§text,¡¨ imitation,¡¨ and even ¡§originality¡¨ during the ancient China. In this ground, ¡§intertextuality¡¨ represents a poet¡¦s personal and historical identities via his own poems. Yet there will be some limits when doing the mentioned ¡§intertextualizing¡¨ readings. As I will illustrate, many political experiences are less ¡§straightforwardly¡¨ put into lyrics as Pei had done in his ¡§Pi-Pa Yin¡¨(µ\µ]¤Þ). In this ground, the idea of ¡§intertextuality¡¨ needs to be subdivided into two types: the general one and the specific one. The former indicates a universal humanity and emotion aroused by misfortune, blame, ideology and conflicting values while the latter shows a poetic (and subjective) identity in a poet¡¦s representing himself via his poems Several contributions can be thereby found in this dissertation. First, lyric poets of Sung Dynasty favored Pei¡¦s works, mainly composed in his exile at Chiang Chu (¦¿¦{). Second, lyric poets of Sung Dynasty found their own ways to release or relive from their political identities through Pei¡¦s poems. Thirdly and finally, we can never feature the lyric poems in Sung Dynasty without Pei¡¦s poetics. With the three main points, I further develop an ¡§affiliative ¡¨ relationship between Pei and lyric poets of Sung Dynasty. With the help of Julia Kristiva¡¦s ¡§chora¡¨ concept, I analyze some key words both used by Pei and his followers so as to display the different semiotics applied in Tang Dynasty and in Sung Dynasty. In my last chapter, I suggest several ways to re-read Pei¡¦s works with literary works in different dynasties (for instance, to intertextualize Pei¡¦s ¡§Chung Hung Ke¡¨(ªø«ëºq) with Pei Pu¡¦s drama ¡§U Tun Yu¡¨(±ï®ä«B) in Yuan Dynasty, with Hung Sheng¡¦s fiction Chung Sheng Dien (ªø¥Í·µ) in Chin Dynasty). With this ¡§intertextual¡¨ research, cross-genre studies will be more valuable and thus significant. Finally, I recommend to develop more literary ¡§affiliations¡¨ between one dynasty and the other. Such comparisons as lyric poets of Sung with Han Yu (Áú·U) or with Du Fu (§ù¨j) will renovate the traditional readings of Tang Poetry (­ð¸Ö) and Sung Lyric (§ºµü).

Thesis (M.A.)--National Taiwan University, 1971. / Cover title. Includes bibliographical references (leaves 125-129).

Thesis (Ph. D.) -- Florida State University, 2003. / Advisor: James Mathes, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-19-03) Document formatted into pages; contains 288 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2003. / Includes bibliographical references (leaves 338-380).

Thesis (M.A.)--Guo li Taiwan da xue, 1969. / Reproduced from typescripts. On double leaves. Includes bibliographical references (p. 75-79).

Thesis (Ph. D.)--University of Washington, 1994. / Vita. "The second part of the dissertation, consisting of two chapters, constitutes a translation and study of Chin shu 1, the 'Annals of Emperor Hsuan.'"--Abstract, 1. [2]. Includes bibliographical references (leaves [421]-432).