Hwang Yau-Tai the scholar and his music philosophy present the characteristics of emphasizing on social function and traditional Chinese literary men¡¦s thinking about beauty. Besides, his devotion to integrating Chinese music with Western music not only makes his composing style creative and peculiar, but makes he himself and his masterpieces have a status of continuing the tradition and starting a new era in Chinese modern music developing history. Therefore, in my research paper I will analyze his music philosophy and style. The paper is divided into five chapters. The first one is an account for my research motive and purpose, its strategy, and the sources of the information. The second one is the introduction of the musician¡¦s living stages and how they affect his style and philosophy. The third one is about the musician¡¦s particular time background and his two major music philosophy: social responsibility of musicians from Confucianism and nationalization of Chinese modern music from patriotism. The forth one is about his three stages of transformation in style and his composing background. I will discuss and analyze one of his most important masterpieces of per stage. The fifth one is the conclusion of his music philosophy, style, and his contribution to Chinese music. From Mr. Hwang Yau-Tai we can see the effort of a senior musician in keeping national style and in trying to save the nation by music education. He transferred the conflicts between Chinese and Western cultures into an aid to his creating. Furthermore, he tries to achieve the ideal of whole-personality education with music. No matter how Chinese and Western cultures develop, music education is the subject that presents its social function best and should be given more respect and support.

Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 51-54).

Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 51-54). Also available in print.

ABSTRACT This thesis focuses on Bakhtinian¡¦s three approaches, chronotope, carnivalesque and heteroglossia in David Henry Hwang¡¦s M. Butterfly. Since it is released, most critics mainly emphasize on the relationship between Gallimard and Song Liling. Gay issue becomes an underlying theme when readers study this play. Therefore, my thesis, based on Mikhail Bakhtin¡¦s theory, will analyze the parodic functions produced by Hwang to oppose to the empirical ideology in Madame Butterfly. The introduction, Chapter one, begins with a short summary of M. Butterfly and an overview of the theoretical frame of Bakhtin¡¦s theory as well as an explanation of the connection between Bakhtinian approach and M. Butterfly. In Chapter two, I discuss how chronotope, time and space, affects Gallimard. Chronotope represents changing concepts that appear in different situations. From Gallimard¡¦s prison to Song Liling¡¦s apartment, each event is considered a crucial form-shaping ideology. Chapter three chiefly deals with Song Liling¡¦s transvestism and Bakhtin¡¦s carnivalesque. Song Liling, like a carnival clown, turns over the western authority by masquerading her/himself and brings forth the concept of equality of all races. Chapter four aims to manifest a multiple constructed society. Bakhtin¡¦s heteroglossia designates to destroy the unification and centralization that colonialists use to dominate the non-white. Heteroglossia helps reveal the centrifugal discourses saturated in the society to secure the oppressed voice in this play. In the concluding chapter, I reiterate the analysis of M. Butterfly and Bakhtin¡¦s three approaches as well as describe the consequence of western ideology.

The purpose of this research is to record Professor Hwang¡¦s lifetime story, and to confer his music educational ideals. In order to let the splendor of the sage obvious for ever, and set an example for next generation to act up to. For this reason, this research applied qualitative research by using two ways of interviews and document analysis. So as to go on a pilgrimage to Professor Hwang¡¦s plentiful and applausive life, and explore his erudite and amiable music educational ideals. The main results of this study concluded five chapters: Chapter One is a preface to illustrate research motive, purpose, method, and thesis framework. Chapter Two and Three is to display Professor Hwang¡¦s lifetime story, and music educational conduct. Chapter Four is to confer Professor Hwang¡¦s music educational ideals. Chapter Five is to draw conclusions. According to this research, we can find Professor Hwang¡¦s life course is like a developing history of Chinese contemporary music, and his music educational ideals, seeming so amiable but remarkable, are blended into his regular life.

The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (1996/1997), making use of the composer's sketches, interviews and other scholarship, to illustrate how the composer blends Western instrumentation and formal structure with elements of traditional Chinese music and philosophy. The analysis reveals how Pan uses modern European compositional techniques such as symmetrical pitch structure, arch forms, and avant-garde performance practices in the Concerto. The author also discusses performance techniques required of the solo violist and other orchestral instruments in order perform the style of Chinese heterophonic music evoked in the Concerto and to realize the ornaments and special performance effects that Pan borrows from traditional Chinese instruments, such as the lute-like pipa.

Korean Canadian composer Serra Miyeun Hwang (1962-) has written three compositions for cello- Beckoning, Presence, and Hundredth View- inspired by Korean culture and traditional music. She infuses each piece with Korean elements, including special rhythmic patterns, text, and tone color, which are influenced and motivated by traditional Korean percussion music, religions, culture, combined with techniques of Western instrumental performance. The purpose of this study is to introduce Hwang’s music to other cellists and help them incorporate the historical and cultural aspects of Korean traditional music to their performance practices. By analyzing Hwang’s compositions in greater detail, this essay will provide cellists practice guidelines to achieve the desired tone and interpretive gestures of new cello repertoire. This essay contains Hwang’s biography and her philosophy of music and a description of the Korean influences on her music, including the genres of traditional music in Korea, their cultural background, music in Shaman ceremonies, Buddhist music, and p’ungmul (folk drumming and dance). There is also a performance guide of Beckoning for Cello and two Korean Drums; Presence for Soprano, Cello, and Piano; and Hundredth View for Solo Cello with my own interpretation. Learning Hwang’s pieces will bring cellists new experiences that are a mixture of music, culture, thoughts, and methods from Western and Eastern influences.

A Study of Hwang-Hai's Works Yi-jin Lin Abstract In the study, Hwang-hai's science fiction is researched with various definition by the east and western scholars. Ttracing back his life and writing experience results in the deep comprehension of his writing theme ¡X the reflection upon science and civilization. The research range includes Hwang-hai's writing art and skills of science fiction, such as fantastic time and space, characters and plots arrangements, and styles with the reference of western narrative theories, traditional literary theories, and science fiction theories. Hwang-hai's writing pioneering creativities are the fairy tales characteristics between the children literature and adult. That can be helpful to distinguish Hwang-hai from other science fiction writers in Taiwan with the viewpoints of education and literary sociology. The relative multi-pronged research can bring out not only the prospective future of science fiction in Taiwan but also the meaning of Hwang-hai's science fiction in our days, by the concepts of the literary artistic worth to social educational function from his works. Keywords: Hwang-hai, Science fiction, Children Literature, Black Comedy.

After developing for a century, science fictions and movies are becoming huge culture enterprises in Europe and America. But in Taiwan, the audiences and readers are only interested in special effect Hollywood movies or comics, science fictions are still considered deduction novels and being put aside. Writers don¡¦t want to invest their time to initiate a science fiction, but Hwang-Hai does. Hwang-Hai had TB since he was young. He dropped out from school at grade 8 to fight the disease. Beyond his sickness, he kept learning and practicing writing, and making a profit from payment of written to improve his family finance. He started his science fiction writing when he was 26 years old, and kept on writing until now, for 40 years. His creation list is just like an epitome of Taiwan science fiction literature history. He was an ascetic monk of science fiction writing, walking haltingly, alone on his way, kept standing on and became evergreen of science literature among Taiwan writers. TB like the shadow following Hwang-Hai during his adolescent, but he kept on learning and writing. At age 31, he passed high school educational authenticate exam and joint college entrance examination, accomplished his dream on college study. After age 40, he won a lot award on literature and his achievement is approved by literary circles. Hwang-Hai¡¦s writing includes literary novels, prose, columns, science articles, and adult and children science fictions. The author wants to build up the interaction between science evolutions and the developing history of science fictions by historical analysis, and tries to establish the relationship among scientific hermeneutics, sociology, arts, psychology and philology by theoretical research, and studies the details of his creations one by one on literature text, to posit his role in science literature history of Taiwan. Keywords: Science fiction, Hwang-Hai, Robot, UFO, time machine, Scientific Hermeneutics.

O objetivo desta dissertação é questionar a legitimidade de convicções sexuais e de gênero profundamente arraigadas, através da análise de M. Butterfly de David Henry Hwang e Cat on a Hot Tin Roof de Tennessee Williams. Argüindo a respeito do determinismo biológico imposto e do sistema binário restritivo, eu tento testar o valor e o significado de antigos dualismos construídos, tais como mentira e verdade, masculino e feminino. Nesta tarefa, sou auxiliada pela existência de personagens enriquecedores como Brick Pollitt, Maggie, René Gallimard e Song Liling, cujas subjetividades são centrais para minha dissertação. Enquanto os dois primeiros são cruciais para a discussão sobre a mentira, os outros são fundamentais para exemplificar as possibilidades de sexualidades e expressões de gênero transgressoras / The purpose of this thesis is to question the legitimacy of deeply rooted sexual and gender beliefs through the analysis of both David Hwangs M. Butterfly and Tennessee Williamss Cat on a Hot Tin Roof. Being inquisitive regarding the imposed biological determinism and the restrictive binary system, I try to test the value and the meaning of ancient constructed dualisms such as mendacity and truth, masculine and feminine. In this ask, I am supported by the existence of enriching characters like Brick Pollitt, Maggie, Rene Gallimard and Song Liling, whose subjectivities are the core of my thesis. While the two first are crucial for the discussion on mendacity, the others are fundamental to exemplify possibilities of transgressive sexualities and gender expressions.