The chorale Wie schðn leuchtet der Morgenstern was popular from its very outset in 1589. That it has retained its popularity down to the present day is evident by its continually appearing in hymnbooks and being used as a cantus in organ compositions as well as forming the basis for other media of musical composition. The treatment of organ compositions based on this single chorale not only exemplifies the curiously novel attraction that this tune has held for composers, but also supplies a common denominator by which the history of the organ chorale can be generally stated.

The lecture recital was given June 29, 1976. The subject was the History of the Violin Scordatura, and it included an historical survey of scordatura compositions along with discussions of the problems of notation and hints for solving the practical problems of performance. Works by Biber, Vivaldi, and Nardini were performed at appropriate moments during the lecture. In addition to the lecture recital, three other public recitals were performed: The first solo recital was on April 15, 1974 and included works of Albinoni, Copland, and Beethoven. The second program, a chamber music recital on January 19, 1975, featured works for piano trio by Haydn, Copland, and Arensky. The third recital was presented on April 14, 19 75 and included works by Vitali, Prokofiev, and Grieg. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.

Four contrasting recitals were presented to fulfill the requirements for the degree Doctor of Musical Arts. The first recital contained music of miscellaneous composers. Two Preludes and Fugues by the North German Baroque composers Vincent Libeck and Dietrich Buxtehude were separated by Samuel Scheidt's Variations on the Netherlands folk song "Ach du feiner Reiter". The Brahms Chorale Prelude "0 wie selig seid ihr doch, ihr Frommen" and the Louis Vierne "Intermezzo" from the Third Symphony represented Romantic-style composition. The major work of the program was the Carl Nielsen Commotio, a large work in orchestral style. The second recital consisted completely of music by J. S. Bach. Four works of contrasting styles were presented: Concerto, Opus 3, No. 8, composed by Antonio Vivaldi and transcribed by Bach, Partita on Sie gegrisset, Jesu gtig, Sonata IV, and Fantasy and Fugue in G Minor. The third recital was the lecture recital: Registration of Orchestral Textures in Organ Music. This lecture was an attempt to deal with the contemporary problem in performance practice of registration of Romantic organ music. The trends in organ building in the twentieth century have ranged from a deeper exploration of the possibilities of the Romantic organ to the reevaluation of and rededication to principles of organ building popular in the seventeenth and eighteenth centuries.

This thesis presents an historical and technical analysis of the Mozart horn concerti.

The purpose of this thesis is to give the reader an insight into the development of solo trumpet literature as well as to present historical information concerning the development of the trumpet and the effect it had on the literature written for that instrument. Only music originally written for trumpet will be considered as the many transcriptions of older music that now appears are not characteristic of the idiomatic writing for trumpet at that time.

楊曉勛. / 本論文於1997年9月呈交. / 論文(博士)--香港中文大學音樂學部, 1998. / 參考文獻: p. 109-113. / 中英文摘要. / Ben lun wen yu 1997 nian 9 yue cheng jiao. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Yang Xiaoxun. / Lun wen (Bo shi)--Xianggang Zhong wen da xue yin yue xue bu, 1998. / Can kao wen xian: p. 109-113. / Zhong Ying wen zhai yao.

李潔嫦. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998. / 參考文獻: leaves 99-106. / Li Jiechang. / 撮要 --- p.iii / Chapter 第一章 --- 地水南音源流槪說 / Chapter 一´Ø --- 引言 --- p.一 / Chapter 二´Ø --- 南音的起源和發展 --- p.二 / Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四 / Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代） / Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八 / Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九 / Chapter 三´Ø --- 七十年代 --- p.二五 / Chapter 四´Ø --- 八十年代至今 --- p.二八 / Chapter 第三章 --- 地水南音的音樂風格 / Chapter 一´Ø --- 引言 --- p.四三 / Chapter 二´Ø --- 唱詞結構 --- p.四四 / Chapter 三´Ø --- 板面及過序的處理 --- p.四八 / Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四 / Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八 / Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣 / Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八 / Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三 / Chapter 三´Ø --- 結論 --- p.九十 / Chapter 第五章 --- 結論 --- p.九四 / 參考書目 --- p.九九 / 附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七 / 附錄二 《霸王別姬》的唱腔分析 --- p.一一七 / 附錄三《客途秋恨》的唱腔分析 --- p.一三一 / 表目 / 表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五 / 表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七 / 表2-3 八十至九十年代南音演出和講座資料 --- p.三九 / 表3-1 --- p.五五 / 表3-2 --- p.五七 / 表3-3 --- p.六五 / 表3-4 --- p.六九 / 表3-5 --- p.七二 / 表4-1杜煥生平年表 --- p.八二 / 表4-2唐健垣生平年表 --- p.八八

劉紅. / 論文(博士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 248-251. / Liu Hong. / 前言 / 簡 述 / Chapter 第一節 --- 本選題之背景 --- p.1 / Chapter 第二節 --- 與本選題有關研究之簡略評述 --- p.1 / Chapter 一、 --- 道教音樂研究之概况 --- p.1 / Chapter 二、 --- 與本選題有關研究之評述 --- p.2 / Chapter 第三節 --- 本選題之意義 --- p.3 / Chapter 第四節 --- 本選題之研究方法上的考慮 --- p.4 / Chapter 一、 --- 田野工作 --- p.4 / Chapter 二、 --- 本人經歷 --- p.5 / Chapter 三、 --- 研究的角度和方法 --- p.5 / Chapter 第一章 --- 概述 --- p.8 / Chapter 第一節 --- 蘇州道教概况 --- p.8 / Chapter 第二節 --- 蘇州道教音樂述略 --- p.13 / Chapter 一、 --- 蘇州道樂的歷史 --- p.13 / Chapter 二、 --- 蘇州道樂的特點 --- p.19 / Chapter 第二章 --- 蘇州道教科儀 --- p.25 / Chapter 第一節 --- 正一道科儀簡述 --- p.25 / Chapter 第二節 --- 蘇州道教科儀之沿革及現狀 --- p.27 / Chapter 第三章 --- 「天功」科儀及其音樂 --- p.32 / Chapter 第一節 --- 「天功」科儀的版本 --- p.32 / Chapter 第二節 --- 「天功」科儀簡介 --- p.34 / Chapter 第三節 --- 「天功」科儀的結構 --- p.40 / Chapter 一、 --- 儀式空間結構 --- p.41 / Chapter 二、 --- 儀式參與人員結構 --- p.44 / Chapter 第四節 --- 「天功」科儀及其音樂之程序 --- p.46 / Chapter 第五節 --- 「天功」科儀的即興性因素 --- p.144 / Chapter 第六節 --- 「天功」科儀音樂之類别劃分 --- p.147 / Chapter 一、 --- 音樂形式分類 --- p.148 / Chapter 二、 --- 音樂功能分類 --- p.150 / Chapter 第七節 --- 「天功」科儀音樂之表現形式 --- p.151 / Chapter 一、 --- 經韵唱誦形式 --- p.151 / Chapter 二、 --- 樂器及法器種類 --- p.152 / Chapter 三、 --- 樂器與法器的組合及運用形式 --- p.153 / Chapter 第四章 --- 「天功」科儀音樂之形態分析 --- p.162 / Chapter 第一節 --- 關于記譜的¨®Ơ明 --- p.162 / Chapter 第二節 --- 「天功」科儀音樂諸要素描述 --- p.163 / Chapter 一、 --- 調ˇ±ة調式與調性 --- p.163 / Chapter 二、 --- 音階音列與音域 --- p.166 / Chapter 三、 --- 節拍與速度 --- p.167 / Chapter 第三節 --- 旋律形態 --- p.170 / Chapter 一、 --- 典型旋律型 --- p.170 / Chapter 二、 --- 典型旋律型變體 --- p.176 / Chapter 三、 --- 旋律發展手法 --- p.179 / Chapter 第四節 --- 節奏形態 --- p.182 / Chapter 一、 --- 宏觀節奏形態 --- p.182 / Chapter 二、 --- 微觀節奏形態 --- p.184 / Chapter 三、 --- 節奏與功能 --- p.184 / Chapter 第五節 --- 結構形態 --- p.185 / Chapter 一、 --- 整體結構 --- p.185 / Chapter 二、 --- 韵體結構 --- p.185 / Chapter 三、 --- 句式結構 --- p.186 / Chapter 四、 --- 腔詞結構 --- p.188 / Chapter 五、 --- 固定尾句結構 --- p.193 / Chapter 第五章 --- 蘇州道教科儀音樂與地方民間音樂之比較 --- p.196 / Chapter 第一節 --- 蘇州道樂與蘇州民間俗樂之關系 --- p.196 / Chapter 一、 --- 與蘇州民歌的關系 --- p.196 / Chapter 二、 --- 與蘇州彈詞的關系 --- p.199 / Chapter 三、 --- 與蘇南吹打的關系 --- p.203 / Chapter 四、 --- 與昆曲的關系 --- p.210 / Chapter 第二節 --- 蘇州道樂舆蘇州民間俗樂之關系的 社會文化背景 --- p.214 / Chapter 一、 --- 地理環境因素 --- p.214 / Chapter 二、 --- 民俗習慣因素 --- p.218 / Chapter 第六章 --- 蘇州道教科儀音樂之文化環境分析 --- p.223 / Chapter 第一節 --- 音樂概念與音樂價值觀念 --- p.223 / Chapter 一、 --- 音樂的概念 --- p.223 / Chapter 二、 --- 音樂的價值觀念 --- p.226 / Chapter 第二節 --- 音樂的宇宙意識 --- p.229 / Chapter 一、 --- 道教生命觀念中的宇宙意識 --- p.229 / Chapter 二、 --- 道教儀式環境中的宇宙意識 --- p.229 / Chapter 三、 --- 蘇州道樂中的宇宙意識 --- p.232 / Chapter 第三節 --- 儀式行為人的訓練和經歷與音樂風格 形成之關系 --- p.235 / Chapter 第四節 --- 宮觀管理制度與音樂風格形成之關系 --- p.239 / 餘論蘇州道教音樂之發展問題 ´ؤ´ؤ傳統與現實的挑戰 --- p.244 / 總 結 --- p.247 / 參考書目 --- p.248

This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify and Indianise Indian South Africans, preparing them for their role as a middle-class racially defined group, a homelands group without a homeland. South Africanised popular music, and Indian South African Western semi-classical, popular music, or jazz performance was rejected by the SABC. Ambiguous nationalisms shaped Indian South African aesthetics. Global monopoly controlled the music industry. Similarly, disruptions in the global market enabled local musicians and small business groups to challenge the majors. In the late forties and fifties, this resulted in a number of locally manufactured records featuring local and visiting musicians, and special distribution rights under royalty to an independent South Asian company. The local South African records were largely characterised by their syncretic nature, and generated a South African modernism which had the capacity both to draw and repel audiences and officials alike. A glossary of non-English terms and a discography of Indian South African music have been included. / Thesis (Ph.D.)-University of Natal, Durban, 1999.

Examines the use of vernacular, country guitar styles in an electro-acoustic environment. Special attention is given to performance practices and explanation of techniques. Electro-acoustic techniques-including sound design and spatialization-are given with sonogram analyses and excerpts from the score. Compositional considerations are contrasted with those of Mario Davidovsky and Jean-Claude Risset with special emphasis on electro-acoustic approaches. Contextualization of the piece in reference to other contemporary, electric guitar music is shown with reference to George Crumb and Chiel Meijering.