The physical sale of music and the effectiveness of traditional media are expected to continue to decline, challenging marketers to develop new methods to create awareness about music. Although music sales are declining, interest in music is healthy, and strongest amongst the American young adult market - between the ages 18-34. This marketing plan uses traditional and innovative techniques to capture the attention of the target market, which is more culturally diverse and technologically advanced than any previous demographic. / by James Rocco Amedeo. / Thesis (M.S.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Orientador: Gisela Gomes Pupo Nogueira / Coorientador: Alberto Tsuyoshi Ikeda / Banca: Herom Vargas / Banca: Ricardo Lobo Kubala / Resumo: O presente trabalho disserta sobre hibridismos em música, sobretudo na obra violonística do cubano Leo Brouwer. Foi feita uma discussão de caráter geral sobre os diversos usos de hibridismos presentes em algumas músicas de compositores latinoamericanos. Para tanto foram abordados alguns autores dos chamados estudos culturais, por tratarem especificamente desse tema, ainda que usem outros termos ou palavras. Com isso pretende-se dar aos intérpretes de violão subsídios baseados na diversidade cultural, trazendo a interpretação como um campo de possibilidades. Por fim, a pesquisa apresentou elementos diversificados presentes na música de Brouwer, o que a caracteriza como uma prática híbrida / Abstract: This dissertation is about hybridity in music, focusing on the work of the Cuban guitarist Leo Brouwer. The various ways hybridity is present in some songs of Latin American composers were discussed here. Therefore, some authors from what is called cultural studies were addressed, by specifically refer to this topic, albeit using other terms or words. This is intended to provide subsidies to guitar interpreters based on cultural diversity, bringing interpretation as a field of possibilities. Lastly, the research presented several elements found in Brouwer's music that characterizes it as a hybrid practice / Mestre

Orientador: Paulo Augusto Castagna / Banca: Marcos Fernandes Pupo Nogueira / Banca: José Leonardo do Nascimento / Banca: Viviana Mônica Vermes / Banca: Marcos da Cunha Lopes Virmond / Resumo: Inicialmente, a tese procura demonstrar a presença da belle époque na cidade de Campinas em finais do século XIX. Embora sem todos os seus fundamentos, o fenômeno se apresenta por meio de sua reurbanização, eventos culturais e instituições diversas. Neste sentido, o estudo da trajetória de José Pedro de Sant'Anna Gomes se insere, confirmando o impacto da belle époque sobre uma periodização distinta. Procurou-se reunir o conhecimento mais recente sobre Sant'Anna Gomes, assim como, paralelos possíveis com os modelos disponíveis no período. Por fim, apresenta-se o estudo de duas de suas obras instrínsicamente relacionadas com a sociedade campineira da época e seus novos paradigmas. / Abstract: This thesis seeks to demonstrate the presence of "belle époque" in the city of Campinas at the end of the 19th century. Although lacking all its foundations, the phenomenon presents itself through redevelopment, cultural events, and diverse institutions. In this context, the study of the trajectory of José Pedro de Sant'Anna Gomes is inserted, confirming the impact of belle époque on a specific periodization. We gather the most recent knowledge about Sant'Anna Gomes, as well as possible parallels with the models available in the period. Finally, we present the study of two of his works intrinsically related to the Campinas society of the time and its new paradigms. / Doutor

The goal of this research is to discover Shostakovich's inspiration and motivation for writing the Twenty-Four Preludes and Fugues. Through the in-depth research of the cycle, this thesis will discuss the different aspects of the unique harmonic ambiguity of both the preludes and the fugue subjects so that readers understand Shostakovich's language of musical communication. Shostakovich lived during a transitional period in the history of Russia when totalitarianism was being challenged. The research will also explore how the political environment influenced his composition during those years. / by Jihong Park. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Lau, Shui Chung Jason. / Thesis submitted in: November 2006. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 122-127). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.iv / Table of Contents --- p.v / "List of Figures, Tables and Examples" --- p.viii / Romanization and Translation --- p.ix / Chapter Chapter One --- Introduction --- p.1 / Returning to their Homelands ´ؤContemporary Ethnomusicological Research --- p.2 / Background and Issues --- p.5 / Methodology and Approach --- p.8 / Sources and Related Studies on Zheng Music --- p.9 / Study of Zheng Music in Hong Kong --- p.10 / Chapter Chapter Two --- The Development of Zheng in Hong Kong Since the 1940s --- p.14 / Important Years in the Colonial History of Hong Kong --- p.14 / History of Zheng in Hong Kong --- p.15 / Chapter 1. --- 1940s and 1950s --- p.15 / Chapter 2. --- 1960s --- p.18 / Chapter 3. --- 1970s --- p.22 / Chapter 4. --- 1980s --- p.26 / Chapter 5. --- 1990s --- p.30 / Chapter 6. --- 2000s --- p.34 / Practical Examinations for Zheng --- p.36 / Zheng in Hong Kong Today --- p.38 / Chapter Chapter Three --- Hong Kong Zheng School? --- p.41 / "The ""Hong Kong Zheng School""" --- p.41 / The Basic Criteria for Establishing a Regional School --- p.43 / Chapter 1. --- So Chun-bo's Criteria for Establishing a Regional School --- p.44 / Chapter 2. --- He Baoquan's Criteria for Establishing a Regional School --- p.44 / "Does the ""Hong Kong Zheng School"" Stand?" --- p.46 / Fengshouge - the First Composed Zheng Piece in Hong Kong --- p.49 / Huangcheng Laike - the First Zheng Solo Piece Composed by So Chun-bo --- p.55 / Conclusion --- p.58 / Chapter Chapter Four --- Regional Schools - A Post-1949 Invention --- p.59 / A Brief History of Zheng --- p.59 / Chapter 1. --- Zheng Notation in the 20th Century --- p.60 / Chapter 2. --- Different Models of Zheng --- p.61 / Chapter 3. --- Change of Tuning System for Zheng Music --- p.62 / Chapter 4. --- Controversy over the Origin of the Zheng --- p.66 / Chapter 5. --- Problems in Regional Zheng Schools --- p.67 / Zheng Schools in China --- p.69 / Development of Zheng in the PRC after1949 --- p.72 / Manuscripts of Guqin and Pipa --- p.76 / Manuscripts of Zheng --- p.78 / Differences Between Guqin and Zheng --- p.81 / Contents of the Early Published Zheng Scores in the 20th Century --- p.84 / Chapter 1. --- Nizhengpu and Guzheng Duzouqu Written by Liang Tsai-ping --- p.84 / Chapter 2. --- Guzheng Tanzhoufa Written by Cao Zheng --- p.88 / Fundamental Problems in Zhejiang and Shaanxi Schools --- p.91 / Chapter 1. --- The Zhejiang School --- p.91 / Chapter 2. --- The Shaanxi School --- p.95 / Chapter 3. --- Reasons for their Success --- p.97 / Chapter 4. --- The Jiao School --- p.98 / Conclusion --- p.99 / Chapter Chapter Five --- Conclusion --- p.100 / Introduction --- p.100 / Construction of a Regional School - A Mainland Chinese Conception --- p.101 / "The ""Invented Tradition""" --- p.102 / Epilogue --- p.104 / Chapter Appendix I --- Total Number of Participants in Chinese Instrument Classes in the HKSMF --- p.106 / Chapter Appendix II --- Total Number of Participants in Zheng Solo Classes in the HKSMF --- p.107 / Chapter Appendix III --- List of Set Pieces for Zheng Solo Classes in the HKSMF --- p.109 / Chapter Appendix IV --- List of Own Choice Pieces for Open or Advanced Zheng Solo Classes --- p.111 / Chapter Appendix V --- Syllabus of the Practical Examinations for Zheng Organized by So Chun-bo --- p.113 / Character List and Glossary --- p.115 / Bibliography --- p.122 / Websites --- p.128

在香港，若逝世者生前沒有宗教信仰或指定的喪葬儀式，家人通常都會為他舉行道教葬禮。黎志添教授認為道教葬儀在香港已經習俗化。事實上，在一般情況下，進行道教葬儀根本不能反映死者生前信奉的宗教信仰。為何道教葬儀在香港會成為大部份香港人的習俗？我認為，道教葬儀音樂已成為香港人不言而喻的一種身份。 / 港人一般不會關心葬儀，就算舉辦也不會深究儀式內容。但他們卻認為儀式中的音樂代表了他們的身份。在實地考察中，我發現道教葬儀音樂包含了不少廣東音樂的元素，曲牌《一錠金》就是其中的例子；事實上，採用道教儀式是香港人認同本土中國人身份的表現。 / 在實地考察中，我發現研究道教殯儀音樂可有多個視角，其音樂及宗教元素更蘊含多層意義。本文以樂師的活動為切入點，以政治身份角力的角度，研究香港道教殯儀音樂。 / In Hong Kong, a Taoist funeral is usually held for a deceased person by his or her family if the deceased did not have any religious belief or preference. In most cases, a Taoist funeral is a mere convention rather than a reflection of choice or religious affiliation of the deceased. To explore the reason of this ritual popularized in this particular region, I would like to suggest that the music played in a Taoist funeral is part of Hong Kong people’s identities. / Most Hong Kong people, in fact, would avoid the idea of death, not to mention death rituals. When they do, they usually have little knowledge of the Taoist ritual. Most, however, consider the music to be an essential part of the ritual, which reflects to a great extent, their identity. They do, however, consider that the music played represent their identity. / During the fieldwork for this thesis, I identified a number of traditional Cantonese music pieces in the ritual. For example, the Cantonese tune “Yi-ding jin“一錠金has been playing a significant role. Ordinary Chinese people, as a matter of fact, accept that the music in Taoist funeral rituals represent their identity. / I have come to understand that there are many layers in a Taoist funeral. The musicians, the ritual, and the Taoist philosophy are part and parcel of the funeral other than the music. Through extensive fieldwork and interviews, I attempt to draw a clear picture of Taoist funeral music activities in the Hong Kong community and explore the entwined relationship between politics and identity dynamics within Hong Kong Taoist funeral music. For a long time, perhaps even today, the identity of the Hong Kong people has remained a controversial issue, given that Hong Kong was a British colony before the return of its sovereignty to China. My research, however, shows that the Hong Kong people are keen to adopt a death ritual that demonstrates their Chinese identity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Chi Chun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 101-108). / Abstracts also in Chinese. / Acknowledgements --- p.v / Table of Contents --- p.ix / List of Figures --- p.x / Romanization and Translation --- p.xi / A Note on Photography --- p.xii / Chapter Chapter 1 --- : Introduction / Introduction and Background --- p.1 / Literature Review --- p.5 / Methodology and Approaches --- p.8 / Organization of the thesis --- p.13 / Chapter Chapter 2 --- : Funeral Music in Hong Kong / An Introduction to Funeral Parlours in Hong Kong --- p.15 / The Quanzhen School and the Zhengyi School in Hong Kong Funeral Parlours --- p.26 / Funeral Music in Hong Kong Society --- p.30 / Chapter Chapter 3 --- : Musical Practice of the Zhengyi School / Introduction --- p.38 / Musical Instruments in the Zhengyi school --- p.38 / Transmission --- p.49 / Changes? The Debate Between the Local Jiaoshi and the Non-local Jiaosh --- p.51 / Chapter Chapter 4 --- : Identity beyond the “Dead“ and the Hybridity of the Ritual / Introduction --- p.67 / Influence of Commercialization --- p.67 / Hybridity of Different Elements in Funeral Rituals --- p.75 / Chinese Identity of the Relatives and the Diseased --- p.78 / Chapter Chapter 5 --- : Conclusions --- p.83 / Appendices --- p.92 / Appendices A --- p.92 / Appendices B --- p.98 / Appendices C --- p.99 / Appendices D --- p.100 / References --- p.101

Cheng Ling Yan. / Thesis submitted in: June 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 86-90). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgement --- p.iii / Table of Contents --- p.iv / List of Figures --- p.vi / Romanization and Translation --- p.vii / Introduction --- p.1 / Chapter Chapter One --- Original Scoring 原創音樂： Compositional Practice in the Present-Day Hong Kong Film Music Industry --- p.6 / "How Original is “Original Scoring"" ？" --- p.8 / Originality in Previous Practice? --- p.9 / ~Film Music from the 1960s to the 1990s --- p.9 / ~“Chinese´ح Music in the Huang Mei Diao Film --- p.9 / ~Canned Music in the 1960s and 1970s --- p.11 / ~The Composer in 1970s Film Music --- p.12 / Film Music of the 2000s --- p.12 / Time Limitations --- p.13 / Budget --- p.15 / Technology in Use --- p.18 / "Close Relationships between the Director, Composer, and Mixer" --- p.21 / Chapter Chapter Two --- Film Music Functions and Formulaic Uses of Instruments --- p.24 / Function of Film Music --- p.25 / Formulaic Uses of Instruments --- p.26 / Re-Occurrence of Music in a Film --- p.30 / Chapter Chapter Three --- Imagined Scoring of Chinese Music --- p.33 / Chinese Instruments --- p.34 / Authenticity In Scene and Out of Scene --- p.35 / Imagined Scoring -- Creative Listening Experience --- p.36 / Cultural Correctness --- p.38 / Listening Experiences Formed in Daily Life --- p.39 / Music for the Elders in Hong Kong --- p.41 / Conclusion --- p.41 / Chapter Chapter Four --- Crossover of Pop Singers Into Films --- p.43 / Hong Kong Pop Singers as Film Actor/Actress or Vice Versa --- p.44 / Diegetic and Non-Diegetic Music --- p.50 / Popular Song In Film and Film Theme Song --- p.53 / The Crossover of Popular Music Composers Into Film Music --- p.54 / Pop Songs and Listening Experience --- p.56 / Change in the Practice - Problems of Overlapping Identities --- p.59 / Chapter Chapter Five --- Conclusion: Musically Illiterate in Pop but Fluent in Chinese? --- p.62 / The Hong Konger is Musically Not Chinese --- p.63 / The Hong Konger is Musically Fluent in Pop --- p.64 / Questions for Further Study --- p.64 / Appendix 1 (Wong Fook Ling ) --- p.66 / Appendix 2 ( Frankie Chan ) --- p.71 / "Appendix 3 (List of United States, Taiwan and Hong Kong Film Music Awards)" --- p.80 / Appendix 4 ( Film Titles ) --- p.81 / "Appendix 5 (Directors, Composers, Lyricists, Actors/Actresses and Singers )" --- p.84 / References Cited --- p.86 / Glossary --- p.92

China in the twentieth century witnessed a series of revolutions that brought about political and economic changes. Traditional cultures also underwent various changes to survive the drastic impacts of these political revolutionary ideologies. This study takes the case of the Qingyin (locally referred to as the Sizhu), a silk and bamboo instrumental ensemble form that has survived these political impacts in China's recent history and is still thriving in the rural community of Nanhui, a district geographically neighbour to the cosmopolitan city Shanghai, with the aim to locate the reasons and ways of its transformation. / Under the influence of various political, economic, and cultural factors, the Qingyin has lived through different musical groups over time. From 1850 to 1949, within the framework of Confucianism, it took the form of non-professional ritual musical bands. From 1949 to 1976, under the socialistic slogan of "art serves political ideologies", the Qingyin survived within the organizations of local opera bands and propaganda units to spread Maoism. From 1977 to 2004, under the government policy that "culture goes hand-in-hand with economy", the Qingyin lived among "art factories" (non-governmental corporations combining art with commercial production) and semi-professional ritual-musical bands. This study discusses how this traditional form of musical ensemble underwent the three stages of ritual-musical culture, popular culture, and consumption culture, with their corresponding changes in music repertory, performance style, and social activities. The author sees those changes as ways to continue cultural traditions employed by musicians to adapt to the alienated cultural ecology, which the author describes as "mechanism of internal reaction" and gives its analysis and interpretation. / 齊琨. / 簡譜記譜. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 314-330). / Jian pu ji pu. / Adviser: Tsao Pou Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2389. / 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 also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 314-330). / Qi Kun.

馬曼霞. / 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 218-231. / Ma Manxia. / Chapter 第一章： --- 論文槪述 --- p.1 / Chapter 第一節： --- 論文題目簡介 --- p.1 / Chapter 第二節： --- 硏究動機與目的 --- p.3 / Chapter 第三節： --- 與本論文有關的粤劇音樂硏究 --- p.5 / Chapter 第四節： --- 硏究方法 --- p.8 / Chapter 第五節： --- 硏究範圍 --- p.10 / Chapter 第六節： --- 採訪對象及劇目取例 --- p.11 / Chapter 第二章： --- 粤劇敲擊音樂的發展及結構 --- p.16 / Chapter 第一節： --- 粤劇敲擊樂器溯源 --- p.16 / Chapter 第二節： --- 樂器簡介 --- p.25 / Chapter 第三節： --- 樂器使用的歷時流變 --- p.31 / Chapter 第四節： --- 樂部編制 --- p.39 / Chapter 第五節： --- 鑼鼓點記譜法 --- p.46 / Chapter 第六節： --- 鑼鼓點分類 --- p.68 / Chapter 第七節： --- 鑼鼓點結構 --- p.80 / Chapter 第三章： --- 粤劇敲擊音樂的功能 --- p.87 / Chapter 第一節： --- 開始´ؤ束戲劇 --- p.87 / Chapter 第二節： --- 作爲演出前的「通告」 --- p.99 / Chapter 第三節： --- 爲「例戲」作拍和 --- p.101 / Chapter 第四節： --- 作正本戲的拍和 --- p.105 / Chapter 第四章： --- 敲擊音樂於劇場內外的溝通方式 --- p.143 / Chapter 第一節： --- 「敲擊樂部」內部溝通方式 --- p.144 / Chapter 第二節： --- 與「旋律樂部」的溝通方式 --- p.177 / Chapter 第三節： --- 與演員及觀眾的溝通方式 --- p.192 / Chapter 第五章: --- 總結 --- p.203 / Chapter 第一節： --- 敲擊音樂的溝通條件 --- p.203 / Chapter 第二節： --- 掌板在劇場中擔當的角色 --- p.207 / Chapter 第三節： --- 結語 --- p.216 / 參考資料 --- p.218

李麗虹. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 131-137. / Li Lihong. / Chapter 第一章 --- 前言 --- p.6-12 / Chapter 第一節 --- 硏究地區之選擇 / Chapter 第二節 --- 過去及當前之硏究 / Chapter 第三節 --- 硏究目標 / Chapter 第四節 --- 資料來源 / Chapter 第二章 --- 台灣布袋戲的源流、發展及布袋戲名稱的由來 --- p.13-28 / Chapter 第一節 --- 布袋戲名稱的由來 / Chapter 第二節 --- 台灣布袋戲的源流及發展 / Chapter 第三章 --- 布袋戲班的構成因素及《小西園》布袋戲班的介紹 --- p.29-49 / Chapter 第一節 --- 布袋戲班的構成因素 / Chapter 第二節 --- 小西園布袋戲班建團歷史及內部組織的硏究 / Chapter 第四章 --- 布袋戲音樂在台灣的發展、演變及北管音樂的使用 --- p.50-72 / Chapter 第一節 --- 布袋戲音樂的發展與演變 / Chapter 第二節 --- 北管的範圍與分類 / Chapter 第三節 --- 北管的演出形式 / Chapter 第四節 --- 布袋戲伴奏的樂器 / Chapter 第五章 --- 布袋戲北管聲部音樂的分析 --- p.73-104 / Chapter 第一節 --- 艾倫´Ø洛馬克斯，歌唱測定體系（Alan Lomax Cantometrics)方法的說明 / Chapter 第二節 --- 十首歌曲的分析硏究 / Chapter 第三節 --- 十首歌曲聲響效果的總結 / Chapter 第六章 --- 結論 --- p.105-107 / 附錄一 譜例 --- p.108-119 / 附錄二圖片說明 --- p.120-130 / 參考書目 --- p.131-138