While China possesses one of the world's richest musical heritages, it remained unaffected by Western music until early in this century. Subsequently, there was a movement of nationalism in music approximately three decades after the introduction of Western music. This movement, aimed at utilizing Western compositional techniques to create musical works that still would be uniquely Chinese, continues even today. Huang's piano concerto was written in 1982, just a few years after the Cultural Revolution. At the time, most Chinese composers were "handicapped" by their lack of knowledge of Western contemporary music and by their limited study of both Western and Chinese traditional forms. Huang Anlun, a composer-in-residence at the Central Opera House in Beijing, traveled to North America to study at the University of Toronto and Yale University. Subsequently his music is widely performed and well received around the world. After presenting background information on Western music in China and an introduction to basic Chinese music theory, this study has analyzed Huang's piano concerto, with a particular focus on identifying, comparing, and analyzing elements of Western and Chinese music. After a survey of the formal structure of the concerto, this study has discussed Chinese modality and Western harmony--the two most important factors in the conception of Huang's concerto. A comparative study between Chinese folk songs and the thematic materials in Huang's concerto is followed by a discussion on "imitations" of Chinese instruments. The study has also examined Western compositional techniques incorporated into this concerto, such as thematic transformation, contrapuntal writing, cyclic procedure, as well as atonal and serial techniques. Through a detailed analysis, this study attempts to demonstrate how Huang has blended Western and Chinese musical syntaxes to create an artistic work that is also uniquely Chinese.

第一章緒論：介紹研究主要內容與範圍。 第二章生平：先簡述家世及生平，討論蘇軾及蘇門四學士等主要交遊，後由詩文來看 其為人。 第三章詩之淵源與思想：因是文學的傳統，如何表現出作家的思想，故可了解作家創 作背景及基礎，更可認識其寫作動機與目的。 第四章技法：由「標新好可」的詩風來深入探討「奪胎換骨」、「拗體」等技法，可 了解其詩形式上的特色及成就。 第五章對後世之影響：先簡述「江西派」之影響，再討論傳播於韓國詩壇之影響，可 知山谷詩在詩歌上的及其地位。 第六章結論：將五章中所討論的研究成果，加以歸納。

Cette thèse porte sur l’analyse des signaux sEMG multicanaux à l’aide de la transformée en ondelettes, de la transformation de Hilbert-Huang et d’autres méthodes d’analyse ou de traitement des signaux, telles que le filtrage de Kalman et de Goertzel, pour détecter, mesurer, filtrer et décomposer les signaux sEMG afin d’identifier des tendances dans le temps et en fréquence des mouvements de flexion-extension des doigts de la main en observant les signaux myoélectriques des muscles superficiels. Le but est de prédire le mouvement des doigts de la main et de minimiser le temps de calcul pour permettre de contrôler des prothèses à l’aide de capteurs superficiels. L’hypothèse est fondée sur l’idée que tous les mouvements de la main sont une réponse active de l’activité myoélectrique des muscles spécifiques et que l’activité électrique peut être mesurée comme un signal associé à une séquence de mouvement des éléments de la main (doigts). Chaque doigt peut effectuer une trajectoire de la position de repos à la position finale, cette trajectoire qui n’est évidemment pas instantanée, engendre un signal myoélectrique lui-même non instantanée. L’activité électrique du muscle est présente sur les signaux enregistrés. Cette activité électrique peut être reconnue par un algorithme à partir d’une base de données de modèles de mouvement. Comparer l’activité électrique des muscles en temps réel par rapport à ces données peut permettre de détecter une tendance du comportement de la main et donc de prévoir le mouvement spécifique avant ou en même temps. Cette prédiction doit autoriser une baisse du temps de réponse de la prothèse / This thesis deals with the analysis of multichannel sEMG signals using wavelet transform, Hilbert-Huang transformation and other signal analysis or processing methods such as Kalman and Goertzel filtering, for detecting, measuring, filtering and decomposing sEMG signals to identify patterns in the time and frequency of flexion-extension movements of the fingers of the hand by analyzing the myoelectric signals of the superficial muscles. The aim is to predict the movement of the fingers of the hand and to minimize the computation time to allow the control of prostheses by means of superficial sensors. The hypothesis is based on the idea that all hand movements are an active response of the myoelectric activity of specific muscles and that electrical activity can be measured as a signal associated with a sequence of motion of the elements of the hand (fingers). Each finger can make a trajectory from the rest position to the final position, this trajectory which is obviously not instantaneous, generates a non-instantaneous myoelectric signal itself. The electrical activity of the muscle is present on the recorded signals. This electrical activity can be recognized by an algorithm from a database of the motion models. Comparing the electrical activity of the muscles in real time with respect to these data can make it possible to detect a tendency in the behavior of the hand and therefore to predict the specific movement before or at the same time. This prediction must allow a reduction in the response time of the prosthesis

China's role in Western music is ever-expanding. Echoing the growth of classical music in China is the importance of Chinese musicians in the global music world. However, it is easy to forget that Western classical music is a foreign import to China, one that has been resisted for most of its history. The intent of this study is to evaluate the role of Chinese music in the Western classical world. This includes Western education, Western repertoire, and also a historical exploration into the mutual influence of the two styles. One Chinese composition in particular, Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57, is selected to analyze the Western and Chinese elements present in the work. This analysis will shed light on the relationship of the two styles and how they amalgamate in modern Chinese music. Although Western classical music today has a strong foothold in China, Chinese contributions to piano literature are largely unknown to the West. China possesses one of the richest musical histories in the world, one which until the twentieth century has largely remained unaffected by Western elements. Its musical heritage extends over thousands of years, deeply rooted in tradition and nationalism. Over the last century, Chinese composition began to incorporate Western musical ideas while still holding on to its own heritage and traditions. This synthesis of Western and Chinese musical elements created a new compositional sound founded on Chinese roots. Huang An-lun, one of China's most prominent living composers, embodies this style in his compositions. Chinese composition is no longer something that is exotic or alien to Western music. Instead, it integrates many Western ideas while still being founded in Chinese heritage, creating a new style that has much to offer the Western classical world.

本論文共一冊，八章，都二十萬言。 第一章：緒論。說明研究之動機與目的，檢討以往研究之成果，並陳述研究之步驟與 論述之程序。 第二章：皇侃所處之時代。說明南北朝之政治現象與學術風尚。 第三章：皇侃之生平與著作。旨在參證皇侃之生平，考辨皇侃之著作。 第四章：皇侃之禮記學。對輯佚諸本提出檢討，析論禮記義疏佚文之形式與內容，並 評論其得失。 第五章：皇侃之考經學。重探敦煌本孝經鄭氏解義疏之作者，考辨與析論考經義疏之 佚文。 第六章：皇侃之論語學（上）。旨在探研論語義疏之流傳、板本、真貌三者。 第七章：皇侃之論語學（下）。旨在探研論語義疏之體例、思想，並加以評論。 第八章：結論。簡述本題之要點，皇侃治經之特色與經學之貢獻，並說明本題研究之 不足及今後研究之方向。

周奕輝. / 手稿本, 複本據稿本複印. / Thesis (M.A.)--香港中文大學, 1989. / Shou gao ben, fu ben ju gao ben fu yin. / Includes bibliographical references: leaves i-vii (3rd group) / Zhou Yihui. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1989. / 論文提要 --- p.i-ii / Chapter 一 --- 前言 --- p.1 / Chapter 二 --- 原「原」──黃宗羲處理政治哲學的方法 --- p.3 / Chapter 三 --- 原「政治」──談黃宗羲政治哲學中的人類關注點（Human Interest） --- p.9 / Chapter 四 --- 理想的君主 --- p.20 / Chapter i) --- 以「格君心之非」為本 --- p.21 / Chapter ii) --- 黃宗羲政治哲學的形而上基礎 --- p.25 / Chapter iii) --- 君主的公心即仁心 --- p.28 / Chapter iv) --- 沒有約束力的提醒 --- p.32 / Chapter 五 --- 理想的官僚 --- p.38 / Chapter i) --- 官僚的職分 --- p.38 / (附)黃宗羲的臣道思想背叛師門之教 --- p.42 / Chapter ii) --- 理想的官僚體系 --- p.47 / Chapter iii) --- 內廷官僚問題的解決方法 --- p.54 / Chapter iv) --- 下級官僚問題的解決方法 --- p.56 / Chapter v) --- 黃宗羲發出現代管理學的光芒 --- p.58 / Chapter vi) --- 幾點評議 --- p.62 / Chapter 六 --- 理想的法制 --- p.65 / Chapter i --- ̐ơج原法̐ơخ的討論對象 --- p.65 / Chapter ii --- 法與非法 --- p.66 / Chapter a) --- 無法之法 --- p.66 / Chapter b) --- 非法之法 --- p.73 / Chapter iii) --- 祖宗法的常與變 --- p.76 / Chapter iv) --- 有治法而後有治人 --- p.79 / Chapter v) --- 對黃宗羲的理想法制的評價 --- p.83 / Chapter a) --- 寓教於法不切實際 --- p.84 / Chapter b) --- 法則的約束力未見保障 --- p.85 / Chapter 七 --- 理想的學校及取士制度 --- p.87 / Chapter i) --- 學校的議政功能 --- p.87 / Chapter a) --- 知識分子議政之理據 --- p.87 / Chapter b) --- 議政傳統之史底發展 --- p.90 / Chapter c) --- 學校議政的制度及權力 --- p.94 / Chapter ii) --- 學校培養官僚及教化的功能 --- p.98 / Chapter a) --- 學校培養官僚的功能 --- p.98 / Chapter b) --- 學校的教化功能 --- p.99 / Chapter iii) --- 對學校功能的評價 --- p.102 / Chapter a) --- 學校議政的得失 --- p.103 / Chapter b) --- 學校培養官僚的功能評議 --- p.106 / Chapter c) --- 學校的教化功能評議 --- p.106 / Chapter iv) --- 官僚的選派 --- p.108 / Chapter 八 --- 總評：「格君心之非」的思想犯上「要求完美」的謬誤？ --- p.115 / 註釋 --- p.124 / 參考書目 --- p.i-vii

康寶文. / 手稿本, 複本據手稿本影印. / Thesis (M.A.)--香港中文大學. / Shou gao ben, fu ben ju shou gao ben ying yin. / Includes bibliographical references (leaves 827-840). / Kang Baowen. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 秦始皇帝統一以前秦國古文字概述 / Chapter 第一節 --- 秦公鐘、簋與石鼓文 --- p.1 / Chapter 第二節 --- 詛楚文 --- p.31 / Chapter 第三節 --- 雲夢秦簡 --- p.57 / Chapter 第二章 --- 秦始皇刻石溯原 / Chapter 第一節 --- 巡行封禪 --- p.69 / Chapter 第二節 --- 刻石之形狀 --- p.77 / Chapter 第三節 --- 刻石之書者 --- p.85 / Chapter 第三章 --- 始皇刻石銘辭考釋 / Chapter 第一節 --- 繹山刻石考釋 始皇廾八年 --- p.90 / Chapter 第二節 --- 泰山刻石考釋 始皇廾八年 --- p.264 / Chapter 第三節 --- 琅邪臺刻石考釋 始皇廾八年 --- p.405 / Chapter 第四節 --- 之眾刻石考釋始 皇廾九年 --- p.502 / Chapter 第五節 --- 之眾東觀刻石考釋 始皇廾九年 --- p.530 / Chapter 第六節 --- 碣石門刻石考釋 始皇卅二年 --- p.551 / Chapter 第七節 --- 會稽刻石考釋 始皇卅七年 --- p.608 / Chapter 第八節 --- 其他秦始皇刻石存目 --- p.817 / Chapter 附錄一 --- 引用書目簡稱表 --- p.825 / Chapter 附錄二 --- 參考書目 --- p.827

At the beginning of the twentieth century, when young Chinese scholars looked to Western nations for answers in hope of revitalizing a nation that once dominated the East, musicians and poets embarked on a journey of establishing a new Chinese style of music. Three sets of composer/poet collaborations and three different ways of infusing Western culture with Chinese culture laid the foundation for Chinese choral music today. Chao Yuan-Ren was a brilliant linguist and music lover who thought that to simply implant Western music onto Chinese text would suffice–his HaiYun, set to a poem of the equally brilliant poet Xu Zhi-Mo serves as a good example. Huang Zi believed in Confucius’ teachings that all new things must grow out of tradition. He and the lyricist Wei Huang-Zhang extended a literary tradition started in the Tang dynasty and produced Song of Everlasting Sorrow, which illustrates this philosophy quite well. Yet, for the underprivileged people who also loved music, folk songs provided a fertile ground as seen in the works of Xian Xing-Hai. During the second Sino-Japanese War, the poet Guang Wei-Ran and Xian worked hand-in-hand, producing the Yellow River Cantata that contains folksong-like melodies and many folk-music elements. Chinese choral music today is unavoidably connected to these three pieces. This document traces the early history of Chinese choral music through these three pieces and explains their influences on Chinese choral music today.

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Abstract The Hai-Wai-Chi Society, an overseas organization derived from the ¡§Chi Society¡¨ based in Shanghai, was initiated and founded by Hsu Fu-Yuan, one of the six poets of the Chi Society. Towards the end of the Hung Kung reign of the late Ming dynasty, in the wake of the defeat of the Sungchiang uprising staged by the society, Hsu continued to work for the recovery of the Ming legacy against the ruling Qing regime. At first, he left Shanghai to follow Emperor Lungwu in Fujian. After Emperor Lungwu was defeated, he proceeded to Choushan to follow King Lu and cooperated with Chang Huang-Yen. Later on, after Choushan was seized by the Qing army, Hsu accompanied King Lu under the shelter of Koxinga in Xiamen. It was at this point that the society came to its apex. When Koxinga took hold of Taiwan following his defeat at Nanjing battle, the society members began to enter the island along with the soldiers. Therefore, the literature of Hai-Wai-Chi Society is viewed as the beginning of Han Taiwanese literature. Taiwan Shih Cheng by Lien Heng refers to Hsu Fu-Yuan, Chang Huang-Yen, Lu Jo-Teng, Sheng Chuan-Chi, Chao Tsung-Lung, Chen Shih-Ching as ¡§The Six Poets of Hai-Wai-Chi Society.¡¨ This paper, entitled A Study of Three Poets in the Hai-Wai-Chi Society, is intended to follow the same way of thinking in its exploration of Hsu Fu-Yuan, Chang Huang-Yen, and Lu Jo-Teng through the existing anthology of the society. Meanwhile, the relevant literature concerning the other three poets will be reviewed for necessary references. The Hai-Wai-Chi Society is characterized by its composition of core members, mainly loyalists to King Lu, who followed Koxinga to Taiwan as a consequence of the fall of Choushan. Mourning over the end of the Ming empire, intellectuals of high morality and talent assembled to form a society of poetry to express their emotions toward the fatherland. The members of the Hai-Wai-Chi Society were actively involved in the fight against the Qing court. In spite of successive defeats, they would live and die in exile overseas rather than surrender as subjects of the Qing regime. The Introduction aims to explain the motivation of this study, the meaning and formation of The Hai-Wai-Chi Society, with a literature review of the three poets. The first chapter explores the public opinions of The Dong-Lin Party¡]ªFªLÄÒ¡^ and the Restoration Society¡]´_ªÀ¡^ in the Late Ming period, and the poetry of patriotism by Chen Tzu-Lung and Hsia Wang-Chun of The Hai-Wai-Chi Society, to be defined in this study as two typical kinds of heritage of The Hai-Wai-Chi Society. The second chapter gives an analysis of the historical background of South Ming royalists fighting against the Qing regime and the formation and development of The Hai-Wai-Chi Society. The third chapter is focused on the Tiao-Huang-Tang Manuscript by Hsu Fu-Yuan to study his overseas poems that express his uncompromising anti-Qing mentality and noble patriotic integrity. The fourth chapter represents the social reality of war-ridden Kinmen during the Koxinga period based on Niao-Yi Poetry and Liu-An Anthology by Lu Jo-Teng. The fifth chapter deals with Chi-Ling Grass, Ping-Tsa Collection, and Tsai-Wei Recitation by Chang Huang-Yen to distinguish him as a great noble Ming loyalist who had fought against the Qing power for 19 years overseas. The Conclusion sums up the poetry by the three poets as: (1) a reflection of history with a national concern, (2) an expression of opposition against invasion with a firm anti-Qing determination, and (3) a kind of oceanic literature with a universal sympathy.