published_or_final_version / Music / Master / Master of Philosophy

Beixinzhuang village, with a population o f about one thousand, is located in the suburbs of Beijing, about twenty-five kilometres to the southeast of the city centre. In 1951, some youths of the village organized a music association and started to learn Bei]ing yinyue (jingyinyue "Beijing music") from a monk living in the village. Over the past half century, the main goal of the Association has been to maintain this music tradition, its most important activity being the performance of music for funeral ceremonies. There has been great change over this period, and the Association has been struggling to keep its tradition. In order to survive, it has had to enlarge its repertoire to fit the changing society. Today, although their repertoire has been greatly expanded, with many different styles o f music added, the most important pieces are of two types: Beijing yinyue pieces learned from the monk, and popular songs adopted mainly from the media. The present work is a study of the Beixinzhuang Music Association and its repertoire as influenced by Confucianism, the predominant traditional ideology o f China, and in terms of the fundamentals of traditional Chinese music theory. Chapter I introduces the cultural background and existing research of Beijing yinyue. Chapter II reviews Confucian belief in theory and practice. Chapter III addresses the organization o f the Association and its activities, and Chapter IV introduces its material culture. Chapter V analyzes the local repertoire and Chapter VI examines the integration of this music into the funeral rituals. A postscript attempts to explain the reasons for change in the repertoire.

Beixinzhuang village, with a population o f about one thousand, is located in the suburbs of Beijing, about twenty-five kilometres to the southeast of the city centre. In 1951, some youths of the village organized a music association and started to learn Bei]ing yinyue (jingyinyue "Beijing music") from a monk living in the village. Over the past half century, the main goal of the Association has been to maintain this music tradition, its most important activity being the performance of music for funeral ceremonies. There has been great change over this period, and the Association has been struggling to keep its tradition. In order to survive, it has had to enlarge its repertoire to fit the changing society. Today, although their repertoire has been greatly expanded, with many different styles o f music added, the most important pieces are of two types: Beijing yinyue pieces learned from the monk, and popular songs adopted mainly from the media. The present work is a study of the Beixinzhuang Music Association and its repertoire as influenced by Confucianism, the predominant traditional ideology o f China, and in terms of the fundamentals of traditional Chinese music theory. Chapter I introduces the cultural background and existing research of Beijing yinyue. Chapter II reviews Confucian belief in theory and practice. Chapter III addresses the organization o f the Association and its activities, and Chapter IV introduces its material culture. Chapter V analyzes the local repertoire and Chapter VI examines the integration of this music into the funeral rituals. A postscript attempts to explain the reasons for change in the repertoire. / Arts, Faculty of / Music, School of / Graduate

published_or_final_version / Chinese / Master / Master of Arts

Recent music educational reforms in Hong Kong stress the need to cultivate students??? understanding toward Chinese music. However, research indicates that Hong Kong music teachers lack sufficient confidence and valuing to teach Chinese music. Based on this background, the purpose of this study was to address the need to train teachers with the confidence and skills to teach Chinese music. An indigenous genre, Chaozhou xianshi music was introduced as a focus of study because the genre is considered to be a useful mediator for teachers and their students to understand and appreciate Chinese music. The study comprised two inter-related parts. Part I included fieldwork in xianshi music, semi-structured interviews with xianshi musicians and literature review that investigated the theory, teaching and learning of xianshi and Chinese music. Based on the findings of Part I, Part II involved a Pilot and Main Study that were designed to trial a pre-service teacher education programme at the Hong Kong Institute of Education that would prepare trainees to undertake the teaching of xianshi and Chinese music. A xianshi music ensemble was formed to expose the trainees to practical experiences of the genre. During their final teaching practice session, the trainees were asked to design and teach xianshi and Chinese music in schools. Qualitative data were collected from interviews and an analysis of video-recordings of their teaching. Findings revealed that a sequenced exposure in xianshi music was advantageous for the trainees to develop their potential and competence to teach Chinese music, as was evident in these trainees??? teaching approaches and implementation. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study. Importantly, music teachers should demonstrate their role as transmitters of musical heritage and be capable to design and implement effective lessons, to involve their students to practical experiences in traditional Chinese music, and to develop their students intellectually and artistically so that they become informed consumers of their own and other musical traditions. In the long run, these approaches may help to increase the valuing of Chinese music and culture among students and citizens in the society more generally.

Bibliography: leaves 195-203.

Two "old melodies" (guqu) from traditional Cantonese instrumental repertoire, "The Grief of Zhaojun" (Zhaojun Yuan) and "Autumn Moon Overlooking the Han Palace" (Hangong Qiuyue) are assigned contrasting moods by Cantonese musicians: the former is associated with sorrowful sentiments; the latter, with bright and/or lively qualities. This study attempts to show that affective elements in Cantonese instrumental music intergrate ancient socio-philosophical theories with aspects of traditional performance practice. Chapter 1 presents the similarities between Confucian functionalist ideology and a number of heterophonic features. Chapter 2 introduces the manifestation of Daoist metaphysical philosophy through principles of heterophonic variation and a number of melodic characteristics. Chapter 3 contains some general aspects of traditional Cantonese instrumental music and the musical analysis. The musical analysis looks, within the context of Confucianism and Daoism, at the affective role of melodic embellishment techniques associated with heterophonic practices.

Recent music educational reforms in Hong Kong stress the need to cultivate students??? understanding toward Chinese music. However, research indicates that Hong Kong music teachers lack sufficient confidence and valuing to teach Chinese music. Based on this background, the purpose of this study was to address the need to train teachers with the confidence and skills to teach Chinese music. An indigenous genre, Chaozhou xianshi music was introduced as a focus of study because the genre is considered to be a useful mediator for teachers and their students to understand and appreciate Chinese music. The study comprised two inter-related parts. Part I included fieldwork in xianshi music, semi-structured interviews with xianshi musicians and literature review that investigated the theory, teaching and learning of xianshi and Chinese music. Based on the findings of Part I, Part II involved a Pilot and Main Study that were designed to trial a pre-service teacher education programme at the Hong Kong Institute of Education that would prepare trainees to undertake the teaching of xianshi and Chinese music. A xianshi music ensemble was formed to expose the trainees to practical experiences of the genre. During their final teaching practice session, the trainees were asked to design and teach xianshi and Chinese music in schools. Qualitative data were collected from interviews and an analysis of video-recordings of their teaching. Findings revealed that a sequenced exposure in xianshi music was advantageous for the trainees to develop their potential and competence to teach Chinese music, as was evident in these trainees??? teaching approaches and implementation. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study. Importantly, music teachers should demonstrate their role as transmitters of musical heritage and be capable to design and implement effective lessons, to involve their students to practical experiences in traditional Chinese music, and to develop their students intellectually and artistically so that they become informed consumers of their own and other musical traditions. In the long run, these approaches may help to increase the valuing of Chinese music and culture among students and citizens in the society more generally.

Thesis (Ph. D.)--University of Texas at Austin, 1992. / Vita. Includes bibliographical references.

Thesis (D.M.A.)--University of North Texas, 1991. / Text of a lecture recital presented June 3, 1991, at the Recital Hall, University of North Texas. Photoreproductions of printed programs of the lecture recital and recitals given June 29, 1987, April 18, 1988, and August 2, 1990: leaves v-viii. Author's name on eye-legible microfiche caption: Fan-Long, Chun Grace. "92-01514." Includes bibliographical references (leaves 45-47).