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The purpose of this study is to analyze and codify the basic principles and techniques of composition and arranging as used in ten selected published dance band stock orchestrations of popular ballads.

This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component. Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role. / published_or_final_version / Music / Doctoral / Doctor of Philosophy

During the mid-1930s, a tradition of music-making which drew its repertoire almost exclusively from the music of Indian films began among Indian South African ensembles in and around the city of Durban. This dissertation examines the ways in which the re-created music of Indian films served as a popular expressive medium for the majority of Indian South Africans in and around the city of Durban between 1930 and 1970. Unlike ethnomusicological and popular music studies that focus on musics which are generally both composed and performed by the same group of people, this study deals with a repertoire that was by and large imported directly from another geo- 'graphic, political, and social context: India. The study is based on the premise that the performance of music can serve as a valuable historical text, and it posits that the musical structures and performance practices of the ensembles under study encode vital information about shared socio-political experiences and the Indian South African identities that emerged during the period under discussion. / Thesis (Ph.D.)-University of Natal, Durban, 1999.

The promotion of the Hindi language by the Hindi Shiksha Sangh (South Africa) has dominated the cultural life of the majority of Hindi-speaking Hindus in South Africa for over fifty years. This study concerns itself with the role of music in the construction of a local Hindi identity in the Sangh. It examines the factors that created and sustained the Hindi identity. Areas that come under focus in the research include: the history of the Hindi-speaking Hindu and their language in South Africa; the promotion of the Hindi language; the role assumed by the Hindi Shiksha Sangh . (South Africa) ; the function and significance of music and the socio-historical context of music that informs the cultural identity of the Hindi-speaking Hindu. The theoretical basis for this research has been drawn from principles in musical ethnography. The study locates the cultural identity of a linguistic group within the premise of socially meaningful music. / Thesis (M.Mus)-University of Natal, Durban, 1999.

The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. During the early 1970s, a reawakening study of klezmer developed. Henry Sapoznik, Lev Liberman and Andy Statman were instrumental in creating a klezmer revival in the United States. At the same time, Argentinean-born Israeli clarinetist Giora Feidman was popularizing klezmer in Europe. Klezmer had again become popular and the revival's impact on the concert hall was inevitable. Even though klezmer has existed for centuries, composers have only recently included klezmer elements in their concert works. Characteristic modes (Freygish and Misheberakh), forms (freylekhs and doinas), instrumentation, and rhythms all contribute to create a unique style. Three musical works for clarinet are examined in the dissertation: Simeon Bellison's Four Hebrew Melodies in form of a suite, Simon Sargon's KlezMuzik and David Schiff's Divertimento from Gimpel the Fool. Although the compositions reveal different approaches to the elements, the klezmer influence is evident in each of them. An appendix of clarinet klezmer influenced concert works is included.

My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has recently taken a new direction with the success of many new Native American composers who have an intrinsic commitment to see it succeed as a category of classical repertoire. Native American musical elements have been misunderstood for many years due to differences in systems of notation and cultural barriers. The ethnographers and Indianist composers, though criticized for creating a paradox, in reality are the ones who saved the original tribal melodies and created the perpetual interest in Native American music as a thematic resource for classical music repertoire, in particular piano repertoire.

李允協. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1995. / 參考文獻: leaves 129-143. / Li yunxie. / 鳴謝 --- p.´þ / 前言 --- p.(3) / Chapter 1 --- 侗族概況與音樂述略 --- p.1 / Chapter 1.1 --- 侗族概況 --- p.1 / Chapter 1.1.1 --- 地理環境及人口分佈 --- p.1 / Chapter 1.1.2 --- 語言 --- p.3 / Chapter 1.1.3 --- 簡史與族源 --- p.10 / Chapter 1.1.4 --- 家庭和社會組織 --- p.17 / Chapter 1.1.5 --- 信仰和崇拜 --- p.21 / Chapter 1.1.6 --- 風俗習慣 --- p.28 / Chapter 1.1.7 --- 節會要覽 --- p.32 / Chapter 1.2 --- 音樂述略 --- p.37 / Chapter 1.2.1 --- 民間歌曲 --- p.37 / Chapter 1.2.2 --- 樂器與器樂 --- p.45 / Chapter 1.2.3 --- 侗戲音樂 --- p.52 / Chapter 1.2.4 --- 曲藝 --- p.56 / Chapter 2 --- 侗族大歌概貌 --- p.58 / Chapter 2.1 --- 分類 --- p.58 / Chapter 2.2 --- 唱大歌的場合 --- p.60 / Chapter 2.3 --- 大歌的结構 --- p.62 / Chapter 2.4 --- 歌詞韵律结構 --- p.66 / Chapter 3 --- 侗歌的傳承與社會功能 --- p.68 / Chapter 3.1 --- 承傳 --- p.69 / Chapter 3.2 --- 社會功能 --- p.73 / Chapter 4 --- 多聲部民歌曲目研究分析 --- p.78 / Chapter 4.1 --- 田野工作簡況 --- p.78 / Chapter 4.2 --- 多聲部民歌曲目分析 --- p.84 / Chapter 4.2.1 --- 曲目介紹 --- p.84 / Chapter 4.2.2 --- 曲目綜合分析 --- p.89 / Chapter 4.2.3 --- 譜例個案分析 --- p.112 / Chapter 5 --- 總结 --- p.123 / 附錄 / Chapter 1 --- 參考書目 --- p.129 / Chapter 1.1 --- 外文參考書目 --- p.129 / Chapter 1.2 --- 中文參考書目及論文目錄 --- p.130 / Chapter 2 --- 附圖 / 附圖一中國民族分佈概圖 --- p.144 / 附圖二 侗族的分佈 --- p.145 / 附圖三 侗語方言區域圖 --- p.146 / 附圖四 侗族蘆笙 --- p.147 / 附圖五 侗族蘆笙筒 --- p.147

論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 341-355). / 中英文摘要. / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Zhong Ying wen zhai yao. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 341-355).