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Thesis (Ph.D.)--Indiana University, Dept. Religious Studies, 2008. / Title from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0639. Adviser: Robert F. Campany.

Thesis (Ph. D.)--University of Southern California, 2001. / Adviser: Charlotte Furth. Includes bibliographical references (leaves 460-474)

Treatise (D.M.A.)--University of Texas at Austin, 2004. / Supervisors: Rebecca A. Baltzer and Eugene A. Gratovich. Vita. Includes bibliographical references. Also available from UMI.

Thesis--(Ph.D.)--University of Wisconsin--Madison, 1977. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 405-425).

abstract: ABSTRACT The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece. / Dissertation/Thesis / Doctoral Dissertation Music 2017

As a reputed naval general in modern China, Chen Shaokuan expressed interest in navy at a young age: he began his study of naval matters in Fuzhou Naval College in 1903, and continued his study at Jiangnan Naval College in 1905. Graduating from Jiangnan Naval Academy in 1908, he became a sub- lieutenant in 1909 and was promoted as lieutenant in 1911. After successfully recapturing the Zhaohe cruiser, Chen was promoted as the captain and the commander of the vessel Zhaohe in 1915, marking a remarkable advancement in his naval career. Moreover, Chen had been since his early years in the Chinese navy, interested in and preparing for a visit to Western countries to observe their naval development, which eventually he did from 1916 to 1921 when he visited the United States and supervised naval student groups in France and Italy. Upon returning to China, Chen's naval career continued to advance. He was initially appointed commander of the training cruiser Yingrui and quickly became the leader of Navy Department after his achievements during the Northern Expedition (1926-1928). Appointed as vice-admiral and nominated as head of the newly established Navy Board, Chen gained power as a policymaker of China's naval development in 1929, stimulating not only his strong desire to initiate reforms in hopes of strengthening China's naval power, but further opening a new breakthrough in China's naval development. Existing studies of Chen Shaokuan and China's naval development under the Nationalist government, though not rare, carry profound limitations. While there are a number of publications that discuss naval development during the Republican era, few have specifically touched on the issue of naval development under the Nationalist Government. In addition, the establishment of the Ministry of Navy requires more than attention that existing works cover: the financial difficulties, for instance, was a crucial hinderance in China's naval development yet remains neglected in academic discussion. There is no doubt that Chen Shaokuan naval ideology is highly praised and my thesis aims to fill in the gaps by constructing a more complete picture that traces the origins of Chen's naval development. In further understanding his ideas and China's naval development as a whole, this proposed thesis further puts weight on crucial and less discussed names as Du Xigui, Lin Jianzhang and Yang Shuzhuang, all of whom have considerable standing in propelling China's naval progress.

Chinese contemporary composer Qigang Chen describes himself as "a Chinese tree replanted in France." His piano solo work Instants d'un Opéra de Pékin presents both Eastern and Western elements equally. While the main motives and melodic ideas are based on Chinese modes and scales, Chen incorporates many Western compositional techniques, particularly those of Olivier Messiaen, such as fragmentation and elimination, rhythmic augmentation and diminution, octave displacement among others. In this dissertation, I review the historical development of Peking Opera. Through the musical examples, I also illustrate the incorporation of two fundamentally different musical backgrounds and compositional styles that interact, express, and present themselves as equally relevant in both Eastern and Western musical language.

Thesis advisor: Sarah Gwyneth Ross / This study investigates the political thoughts of two thinkers, Niccolò Machiavelli (1469-1527) from Renaissance Italy and Chen Liang (1143-1194) from Song China. Both thinkers argue against the popular of moral philosophy in state politics. They tried to use the idea of consequentialism, statecraft, and public interest to create their own utilitarian philosophy. This micro-comparison study will parallel two thinkers’ views on history, politics, and military in a similar historical context. These views are essential to the modernization of two civilizations. / Thesis (MA) — Boston College, 2022. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.

Chen Qigang (b. 1951) is one of today's most representative and prolific Chinese composers. His works are regarded as setting a standard of excellence among Chinese composers in the twenty-first century. Like many Chinese composers of his generation, Chen combines in his works the traits of both Chinese traditional music and Western musical language. La joie de la souffrance (The Joy of Suffering) for violin and orchestra, composed for the Shanghai Isaac Stern International Violin Competition in 2016–17, is one of his mature works that not only represents one of the great achievements of fusing Chinese and Western musical languages, but is also a major addition to the venerable tradition of Chinese concertos. By analyzing La joie de la souffrance as the nexus of old and new, East and West, I hope to provide not only insight into a valuable work of the twentieth-century violin concerto repertoire, but also a glimpse into some of the musical influences of a Chinese composer working in France in the late twentieth and early twenty-first centuries. By extension, I hope to shed light on some of the factors, trends, and developments that have influenced Chinese composers in the early twenty-first century.