論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1994. / 參考文獻: leaves 383-410 / 許子濱. / Chapter 第一章： --- 緒言 / Chapter 1. --- 研究主旨 --- p.001-002 / 註釋 --- p.003 / Chapter 2. --- 本文所據王逸《楚辭章句》版本述略 --- p.004-014 / 註釋 --- p.015-018 / 附圖 --- p.019-020 / Chapter 第二章： --- 王逸生平及學術考 --- p.021-063 / 註釋 --- p.064-071 / 附圖 --- p.72 / Chapter 第三章： --- 兩漢屈原論平議 --- p.073-117 / 註釋 --- p.118-126 / Chapter 第四章： --- 王逸以「忠信之篤、仁義之厚」說屈志考略 --- p.127-151 / 註釋 --- p.152-153 / Chapter 第五章： --- 「同姓無相去之義」考辨 / Chapter 一、 --- 王逸述屈原世系及官職考 --- p.154-166 / 註釋 --- p.167-170 / 附圖 --- p.171 / Chapter 二、 --- 釋「同姓」 --- p.172-192 / 註釋 --- p.193-196 / Chapter 三、 --- 「同姓無相去之義」說彙考 / Chapter 1. --- 王逸以降言《楚辭》者「同姓無相去 之義」說輯述 --- p.197-196 / 註釋 --- p.220-224 / Chapter 2. --- 駁「同姓無相去之義」說輯述 --- p.225-230 / 註釋 --- p.231 / Chapter 3. --- 當代有關屈原「同姓」問題論爭辨疑 --- p.232-254 / 註釋 --- p.255-256 / Chapter 四、 --- 「同姓無相去之義」源流考 --- p.257-308 / 註釋 --- p.309-317 / Chapter 五、 --- 「異姓有去國之義」論 --- p.318-326 / 註釋 --- p.327-329 / Chapter 六、 --- 據「同姓無相去之義」定《楚辭章句》 / 序文作者辨謬 --- p.330-334 / 註釋 --- p.335 / Chapter 第六章： --- 屈原待放及放逐考 --- p.366-354 / Chapter 1. --- 待放 / Chapter 2. --- 放逐 / Chapter 3. --- 居夷與水死 / 註釋 --- p.355-357 / 附圖 --- p.358-359 / Chapter 第七章： --- 屈原精合真人考 --- p.360-375 / 註釋 --- p.376-378 / 附圖 --- p.379 / Chapter 第八章： --- 結語 --- p.380-381 / 註釋 --- p.380-382 / 參考書目及論文目錄 --- p.383-410 / 附錄：《楚辭章句》序文作者新說駁議 --- p.411-443 / 註釋 --- p.444-453

梁建輝. / 稿本(據電腦打印本複印) / Thesis (M.A.)--香港中文大學硏究院中國語文學部. / Gao ben (Ju dian nao da yin ben fu yin) / Includes bibliographical references (leaves 305-323). / Liang Jianhui. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu wen xue bu. / Chapter 第一章 --- 緒論 --- p.1-26 / Chapter 第一節 --- 硏究本題的目的 --- p.1-11 / Chapter 第二節 --- 硏究本題的困難 --- p.11-15 / Chapter 第三節 --- 硏究本題的方法 --- p.15-18 / 注釋 --- p.19-26 / Chapter 第二章 --- 王充、劉勰論文的基本前提 --- p.27-78 / Chapter 第一節 --- 「文」的意義 --- p.27-54 / 注釋 --- p.55-60 / Chapter 第二節 --- 「文」的功能 --- p.61-76 / 注釋 --- p.77-78 / Chapter 第三章 --- 王充、劉勰的文體論 --- p.79-155 / Chapter 第一節 --- 論「武頌」 --- p.79-105 / 注釋 --- p.106-110 / Chapter 第二節 --- 論「史傳」 --- p.111-123 / 注釋 --- p.124-126 / Chapter 第三節 --- 論「諸子」 --- p.127-135 / 注釋 --- p.136-139 / Chapter 第四節 --- 論「論¨®Ơ」 --- p.140-153 / 注釋 --- p.154-155 / Chapter 第四章 --- 王充、劉勰的創作論 --- p.156-245 / Chapter 第一節 --- 論「模擬」 --- p.156-178 / 注釋 --- p.179-183 / Chapter 第二節 --- 論「言意」 --- p.184-193 / 注釋 --- p.194 / Chapter 第三節 --- 論「夸飾」 --- p.195-220 / 注釋 --- p.221-227 / Chapter 第四節 --- 論「繁簡」 --- p.228-242 / 注釋 --- p.243-245 / Chapter 第五章 --- 王充、劉勰的批評論 --- p.246-297 / Chapter 第一節 --- 論「奇」 --- p.246-267 / 注釋 --- p.268-272 / Chapter 第二節 --- 論「古」、「今」 --- p.273-292 / 注釋 --- p.293-297 / Chapter 第六章 --- 結語 --- p.298-304 / Chapter 第一節 --- 綜論王充、劉勰論文觀點的異同 --- p.298-301 / Chapter 第二節 --- 對漢魏六朝文論發展的一些假設 --- p.301-303 / 注釋 --- p.304 / 參考書目 --- p.305-323

黃學明. / 據稿本複印 / 論文(哲學碩士)--香港中文大學中國文學系,1992. / 參考文獻: leaves 394-414 / Huang Xueming. / 前言 --- p.1 / 前言註釋 --- p.5 / Chapter 一 --- «史記» 單用« 國語» 之部分 --- p.7 / 第一部分註釋 --- p.156 / Chapter 二 --- « 史記» 兼用« 國語» 、« 左傳» 之部分 --- p.175 / 第二部分註釋 --- p.355 / 結論 --- p.386 / 引用書目 --- p.394

游韻玲. / "2000年8月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 ([15] leaves) / 附中英文摘要. / "2000 nian 8 yue" / You Yunling. / Lun wen (zhe xue shuo shi)--Xianggang zhong wen da xue, 2000. / Can kao wen xian ([15] leaves) / Fu Zhong Ying wen zhai yao. / 提要 --- p.i / Abstract --- p.ii / Chapter 1.0 --- 緒論 / Chapter 1.1 --- 歷來硏究槪況 --- p.1 / Chapter 1.2 --- 歷來對皮日休詩歌的評價 --- p.5 / Chapter 1.3 --- 皮日休的著述 --- p.15 / Chapter 1.4 --- 硏究旨趣 --- p.20 / Chapter 1.5 --- 硏究範圍與方法 / Chapter 1.5.1 --- 硏究範圍與所據版本 --- p.21 / Chapter 1.5.2 --- 硏究方法 --- p.22 / Chapter 1.6 --- 硏究局限 --- p.23 / Chapter 2.0 --- 皮日休生平與其詩風的關係 / Chapter 2.1 --- 小引 --- p.24 / Chapter 2.2 --- 皮日休的生平 --- p.25 / Chapter 2.3 --- 皮日休生平與其詩風的關係 --- p.32 / Chapter 2.4 --- 小結 --- p.43 / Chapter 3.0 --- 皮日休的文學思想 / Chapter 3.1 --- 小弓1 --- p.44 / Chapter 3.2 --- 及第前的文學思想 --- p.45 / Chapter 3.3 --- 及第後的文學思想 --- p.56 / Chapter 3.4 --- 文學思想略評 / Chapter 3.4.1 --- 及第前後在文學思想上的分歧 --- p.64 / Chapter 3.4.2 --- 文學思想轉變的原因 --- p.65 / Chapter 3.4.3 --- 文學思想於晚唐的獨創性 --- p.67 / Chapter 3.5 --- 小結 --- p.70 / Chapter 4.0 --- 及第前詩歌研究（一）´ؤ綜論：淵源、題材、 技巧、風格 / Chapter 4.1 --- 小引 --- p.71 / Chapter 4.2 --- 及第前的詩歌淵源 --- p.71 / Chapter 4.3 --- 及第前的詩歌題材 --- p.76 / Chapter 4.4 --- 及第前的詩歌修辭技巧 --- p.87 / Chapter 4.5 --- 及第前的詩歌風格 --- p.97 / Chapter 5.0 --- 及第前詩歌研究（二）´ؤ專題探討：〈正樂府〉 研究 / Chapter 5.1 --- 小引 --- p.98 / Chapter 5.2 --- 「正樂府」解題 --- p.98 / Chapter 5.3 --- 正樂府溯源 --- p.102 / Chapter 5.4 --- 〈正樂府〉特色 / Chapter 5.4.1 --- 〈正樂府〉的題材 --- p.108 / Chapter 5.4.2 --- 〈正樂府〉的修辭技巧 --- p.112 / Chapter 5.4.3 --- 皮日休〈正樂府〉、元白新樂府作品 與元結〈系樂府〉比較 --- p.120 / Chapter 5.5 --- 〈正樂府〉的風格與評價 --- p.126 / Chapter 6.0 --- 及第後詩歌（唱和詩）研究（一）一綜論:淵源、 題材、技巧、風格 / Chapter 6.1 --- 小引 --- p.129 / Chapter 6.2 --- 唱和詩析義與簡介 --- p.133 / Chapter 6.3 --- 唱和詩溯源 --- p.136 / Chapter 6.4 --- 唱和詩的詩歌題材 --- p.147 / Chapter 6.5 --- 唱和詩的詩歌修辭技巧 --- p.165 / Chapter 6.6 --- 唱和詩的的詩歌風格 --- p.192 / Chapter 7.0 --- 及第後詩歌（唱和詩）研究（二）一專題探討： 雜體詩研究 / Chapter 7.1 --- 小引 --- p.195 / Chapter 7.2 --- 雜體詩析義 --- p.196 / Chapter 7.3 --- 雜體詩溯源 --- p.201 / Chapter 7.4 --- 雜體詩 / Chapter 7.4.1 --- 皮日休對雜體詩的見解 --- p.203 / Chapter 7.4.2 --- 雜體詩的創作背景 --- p.209 / Chapter 7.4.3 --- 雜體詩的創作動機 --- p.211 / Chapter 7.4.4 --- 雜體詩特色 / Chapter 7.4.4.1 --- 體裁 --- p.215 / Chapter 7.4.4.2 --- 題材 --- p.217 / Chapter 7.4.4.3 --- 修辭技巧 --- p.221 / Chapter 7.5 --- 雜體詩的風格與評價 --- p.227 / Chapter 8.0 --- 總結 --- p.228 / 參考書目 / 附表： / Chapter (i) --- 皮日休年表 / Chapter (ii) --- 元結〈系樂府〉、元白新樂府作品與皮日休〈正樂府〉 題目一覽表 / Chapter (iii) --- 皮日休唱和詩一覽表

It is known in the literature on Automated Highway Systems that information flow can significantly affect the propagation of errors in spacing in a collection of vehicles. This thesis investigates this issue further for a homogeneous collection of vehicles. Specifically, we consider the effect of information flow on the propagation of errors in spacing and velocity in a collection of vehicles trying to maintain a rigid formation. The motion of each vehicle is modeled using a Linear Time Invariant (LTI) system. We consider undirected and connected information flow graphs, and assume that that each vehicle can communicate with a maximum of q(n) vehicles, where q(n) may vary with the size n of the collection. The feedback controller of each vehicle takes into account the aggregate errors in position and velocity of the vehicles, with which it is in direct communication. The controller is chosen in such a way that the resulting closed loop system is a Type-2 system. This implies that the loop transfer function must have at least two poles at the origin. We then show that if the loop transfer function has three or more poles at the origin, and if the size of the formation is sufficiently large, then the motion of the collection is unstable. Suppose l is the number of poles of the transfer function relating the position of a vehicle with the control input at the origin of the complex plane, and if the number (q(n)l+1)/(nl) -> 0 as n -> (Infinity), then we show that there is a low frequency sinusoidal disturbance with unity maximum amplitude acting on each vehicle such that the maximum errors in spacing response increase at least as much as O (square_root(n^l/(q(n)^(l+1)) ) consequence of the results presented in this paper is that the maximum of the error in spacing and velocity of any vehicle can be made insensitive to the size of the collection only if there is at least one vehicle in the collection that communicates with at least O(square_root(n)) other vehicles in the collection.

This study is concerned with the style (as opposed to the function) of English vocal polyphony during the period ca.1525 - ca.1575. It focusses on the sacred works of Thomas tallis (ca.1505-1585); but the aim is as much to come nearer to a full understanding of mid-Tudor stylistic evolution as it is to define the place of Tallis' music within the broad context. Tallis is therefore viewed both as an individual and as a representative of his time, and his music is assessed analytically rather than critically. The study takes as its premise the view that English music of the period is too often examined according to useful but unrealistic categories - sacred or secular, Catholic or Protestant, institutional or domestic, Henrician, Edwardian, Marian or Elizabethan - and that a sympathetic understanding of the evolution can only be reached when the period is considered in a broad, comprehensive and chronological sweep. It also argues that the evolution was largely stimulated by influence from abroad (the place of foreign music and musicians in mid-Tudor England is studied in detail), and that these influences can be sensed first and most deeply in secular music of the second half of Henry VIII's reign, rather than in contemporary liturgical music (the study includes a detailed discussion and full transcription of the late Henrician partsong repertory). The close stylistic identity between secular chamber style and that of Edwardian church music is emphasized, in particular their common reliance upon stretto lattices of declamatory imitation. Using Tallis' works as a touchstone, subsequent developments in musical substance and structure are investigated; and the study closes by demonstrating how Tallis' imitative practice changed rapidly and radically during the third quarter of the century, again almost certainly under the influence of foreign music.

This thesis examines the three Requiem Masses for five, eight and nine voices of Juan de Herrera (c. 1670-1738), chapelmaster of the Santa Fe de Bogota Cathedral from 1703 until his death. I present biographical data on Herrera, who seems to have been the most prolific and talented colonial musician born in Bogota and also review his musical output, consisting mostly of sacred villancicos, Vespers settings, Lamentations and Masses. I offer a modern edition of Herrera's Requiem Masses and provide a musical analysis of these, as well as a study of the relevant manuscripts, which date from the 1740s to 1770s. I also look into the history of mus1c-mak1ng at the cathedral, wh1ch was an 1mportant center for the performance and composition of European sacred music during colonial times, and include a list of the cathedral's music collection, considered one of the richest in sacred Spanish music in the New World. The manuscripts of Herrera's Requiem Masses show some musical and textual errors, as well as numerous copying inconsistencies. I believe these peculiarities are the result of the carelessness and lack of education of the copyists employed at the cathedral during the 1740s to 1770s, a period during which the level of music had begun to decline. The Requiem Masses display versatility and sophistication in the use of multiple choruses, but too often lack formal and tonal coherence. I believe Herrera's limitations are the result of a lack of formal musical training. He was a self-taught composer who spent his life in Bogota, a small and isolated city in colonial Spanish America.

No description available.

Valentin Roeser’s Essai d’instruction à l’usage de ceux qui composent pour la clarinette et le cor is the earliest treatise on instrumentation and the first theoretical study of the clarinet. Comparisons are drawn with other eighteenth-century instructional materials, e.g. Francoeur’s Diapason général, La Borde’s Essai sur la musique, and Vanderhagen’s Méthode nouvelle et raisonnée pour la clarinette. A history of the chalumeau and two-keyed clarinet is presented, along with a biographical sketch of Roeser and an English translation of the first section of the Essai. Appendices include a checklist of Roeser’s writings and a list of eighteenth-century music using the chalumeau.

No description available.