The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written by Deh-I Liu. This translation offers a perspective to understand the concept of l-pitch names from the ancient points of view in relation to philosophy, education, religion, and science.

黃志偉. / 手稿本影印本. / Thesis (M.A.)--香港中文大學傳播學部, 1991. / Shou gao ben ying yin ben. / Includes bibliographical references (leaves i-iv). / Huang Zhiwei. / Thesis (M.A.)--Xianggang Zhong wen da xue Chuan bo xue bu, 1991. / Chapter 壹 --- 導　論 --- p.1 / Chapter 貳 --- 文獻參閱 --- p.11 / Chapter (一) --- MISC´ؤ小國音樂工業研究計劃 --- p.11 / Chapter (二) --- 媒介帝國主義 --- p.33 / Chapter (三) --- 跨國公司 --- p.41 / Chapter (四) --- 其他有關文獻 --- p.54 / Chapter 参 --- 研究方法 --- p.66 / Chapter (一) --- 研究目的 --- p.66 / Chapter (二) --- 基本概念 --- p.73 / Chapter (三) --- 研究方法 --- p.80 / Chapter 肆 --- 歐美流行音樂與五大國際唱片集團 --- p.99 / Chapter (一) --- 歐、美流行音樂發展概況 --- p.101 / Chapter (二) --- 五大唱片集團壟斷下之國際唱片業 --- p.115 / Chapter 伍 --- 跨國唱片公司的發展、業績及組織結構 --- p.131 / Chapter (一) --- 五大跨國唱片公司在香港之發展 --- p.131 / Chapter (二) --- 跨國唱片公司的組織結構及其輸入外國流行音樂信息之模式 --- p.158 / Chapter (三) --- 五大跨國唱片公司壟斷下之粤語流行樂壇 --- p.183 / Chapter (四) --- 跨國唱片公司組織結構對粤語流行曲改編歌曲之影響 --- p.202 / Chapter 陸 --- 香港粤語流行曲的外來成份 --- p.216 / Chapter (一) --- 五、六十年代作品分析 --- p.228 / Chapter (二) --- 七、八十年代作品分析 --- p.248 / Chapter 柒 --- 總結 --- p.271 / Chapter (一) --- 研究成果摘要 --- p.271 / Chapter (二) --- MISC　互動模型的分析結果 --- p.285 / Chapter (三) --- 討論 --- p.305 / 參考書目 --- p.i / Chapter 附錄 --- 附件(一)：香港電台中文歌曲龍虎榜 一九七七年至八九年 每周榜首歌曲名單 --- p.v / 附件(二)：歷屆十大中文金曲入選作品（1978-1989） --- p.xii / 附件(三)：個人訪問之基本問題(1)´ؤ作曲家、樂評人、電台工作者 --- p.xviii / 附件(四)：個人訪問之基本問題(2)´ؤ跨國唱片公司國際部行政人員 --- p.xx

Li Wai Chung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 91-104). / Abstracts in English and Chinese. / List of Photos --- p.iv / List of Tables --- p.v / Abstract --- p.vi-vii / Acknowledgements --- p.viii / Note on Cantonese Translations and Transliterations --- p.ix / Chapter Chapter 1 --- "Introduction: Studies, Methodology, and Overview" --- p.1-17 / Chapter Chapter 2 --- History of Hong Kong Hip Hop Culture and Rap Music Since the 1980s --- p.18-25 / Chapter Chapter 3 --- Hong Kong Hip Hop as a Social Phenomenon and Its Categorization --- p.26-43 / Chapter Chapter 4 --- “Imagined Hybridization´ح of Hong Kong Hip Hop Culture --- p.44-54 / Chapter Chapter 5 --- Re-defining the Aesthetics of Hong Kong Hip Hop --- p.55-71 / Chapter Chapter 6 --- Exploring the Origins of “Hip Hop Rap´ح and “Non-Hip Hop Rap´ح in Hong Kong --- p.72-86 / Chapter Chapter 7 --- Deducing Localization within the Globalized Hip Hop Culture and Rap Music in Hong Kong --- p.87-90 / Bibliography --- p.91-98 / Discography --- p.99-102 / Online References --- p.103-104 / Appendices / Appendix 1 List of Questions for Interviews --- p.105 / Appendix 2 Name List of Hong Kong Hip Hop Artists --- p.106-111

Lau, Shui Chung Jason. / Thesis submitted in: November 2006. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 122-127). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.iv / Table of Contents --- p.v / "List of Figures, Tables and Examples" --- p.viii / Romanization and Translation --- p.ix / Chapter Chapter One --- Introduction --- p.1 / Returning to their Homelands ´ؤContemporary Ethnomusicological Research --- p.2 / Background and Issues --- p.5 / Methodology and Approach --- p.8 / Sources and Related Studies on Zheng Music --- p.9 / Study of Zheng Music in Hong Kong --- p.10 / Chapter Chapter Two --- The Development of Zheng in Hong Kong Since the 1940s --- p.14 / Important Years in the Colonial History of Hong Kong --- p.14 / History of Zheng in Hong Kong --- p.15 / Chapter 1. --- 1940s and 1950s --- p.15 / Chapter 2. --- 1960s --- p.18 / Chapter 3. --- 1970s --- p.22 / Chapter 4. --- 1980s --- p.26 / Chapter 5. --- 1990s --- p.30 / Chapter 6. --- 2000s --- p.34 / Practical Examinations for Zheng --- p.36 / Zheng in Hong Kong Today --- p.38 / Chapter Chapter Three --- Hong Kong Zheng School? --- p.41 / "The ""Hong Kong Zheng School""" --- p.41 / The Basic Criteria for Establishing a Regional School --- p.43 / Chapter 1. --- So Chun-bo's Criteria for Establishing a Regional School --- p.44 / Chapter 2. --- He Baoquan's Criteria for Establishing a Regional School --- p.44 / "Does the ""Hong Kong Zheng School"" Stand?" --- p.46 / Fengshouge - the First Composed Zheng Piece in Hong Kong --- p.49 / Huangcheng Laike - the First Zheng Solo Piece Composed by So Chun-bo --- p.55 / Conclusion --- p.58 / Chapter Chapter Four --- Regional Schools - A Post-1949 Invention --- p.59 / A Brief History of Zheng --- p.59 / Chapter 1. --- Zheng Notation in the 20th Century --- p.60 / Chapter 2. --- Different Models of Zheng --- p.61 / Chapter 3. --- Change of Tuning System for Zheng Music --- p.62 / Chapter 4. --- Controversy over the Origin of the Zheng --- p.66 / Chapter 5. --- Problems in Regional Zheng Schools --- p.67 / Zheng Schools in China --- p.69 / Development of Zheng in the PRC after1949 --- p.72 / Manuscripts of Guqin and Pipa --- p.76 / Manuscripts of Zheng --- p.78 / Differences Between Guqin and Zheng --- p.81 / Contents of the Early Published Zheng Scores in the 20th Century --- p.84 / Chapter 1. --- Nizhengpu and Guzheng Duzouqu Written by Liang Tsai-ping --- p.84 / Chapter 2. --- Guzheng Tanzhoufa Written by Cao Zheng --- p.88 / Fundamental Problems in Zhejiang and Shaanxi Schools --- p.91 / Chapter 1. --- The Zhejiang School --- p.91 / Chapter 2. --- The Shaanxi School --- p.95 / Chapter 3. --- Reasons for their Success --- p.97 / Chapter 4. --- The Jiao School --- p.98 / Conclusion --- p.99 / Chapter Chapter Five --- Conclusion --- p.100 / Introduction --- p.100 / Construction of a Regional School - A Mainland Chinese Conception --- p.101 / "The ""Invented Tradition""" --- p.102 / Epilogue --- p.104 / Chapter Appendix I --- Total Number of Participants in Chinese Instrument Classes in the HKSMF --- p.106 / Chapter Appendix II --- Total Number of Participants in Zheng Solo Classes in the HKSMF --- p.107 / Chapter Appendix III --- List of Set Pieces for Zheng Solo Classes in the HKSMF --- p.109 / Chapter Appendix IV --- List of Own Choice Pieces for Open or Advanced Zheng Solo Classes --- p.111 / Chapter Appendix V --- Syllabus of the Practical Examinations for Zheng Organized by So Chun-bo --- p.113 / Character List and Glossary --- p.115 / Bibliography --- p.122 / Websites --- p.128

在香港，若逝世者生前沒有宗教信仰或指定的喪葬儀式，家人通常都會為他舉行道教葬禮。黎志添教授認為道教葬儀在香港已經習俗化。事實上，在一般情況下，進行道教葬儀根本不能反映死者生前信奉的宗教信仰。為何道教葬儀在香港會成為大部份香港人的習俗？我認為，道教葬儀音樂已成為香港人不言而喻的一種身份。 / 港人一般不會關心葬儀，就算舉辦也不會深究儀式內容。但他們卻認為儀式中的音樂代表了他們的身份。在實地考察中，我發現道教葬儀音樂包含了不少廣東音樂的元素，曲牌《一錠金》就是其中的例子；事實上，採用道教儀式是香港人認同本土中國人身份的表現。 / 在實地考察中，我發現研究道教殯儀音樂可有多個視角，其音樂及宗教元素更蘊含多層意義。本文以樂師的活動為切入點，以政治身份角力的角度，研究香港道教殯儀音樂。 / In Hong Kong, a Taoist funeral is usually held for a deceased person by his or her family if the deceased did not have any religious belief or preference. In most cases, a Taoist funeral is a mere convention rather than a reflection of choice or religious affiliation of the deceased. To explore the reason of this ritual popularized in this particular region, I would like to suggest that the music played in a Taoist funeral is part of Hong Kong people’s identities. / Most Hong Kong people, in fact, would avoid the idea of death, not to mention death rituals. When they do, they usually have little knowledge of the Taoist ritual. Most, however, consider the music to be an essential part of the ritual, which reflects to a great extent, their identity. They do, however, consider that the music played represent their identity. / During the fieldwork for this thesis, I identified a number of traditional Cantonese music pieces in the ritual. For example, the Cantonese tune “Yi-ding jin“一錠金has been playing a significant role. Ordinary Chinese people, as a matter of fact, accept that the music in Taoist funeral rituals represent their identity. / I have come to understand that there are many layers in a Taoist funeral. The musicians, the ritual, and the Taoist philosophy are part and parcel of the funeral other than the music. Through extensive fieldwork and interviews, I attempt to draw a clear picture of Taoist funeral music activities in the Hong Kong community and explore the entwined relationship between politics and identity dynamics within Hong Kong Taoist funeral music. For a long time, perhaps even today, the identity of the Hong Kong people has remained a controversial issue, given that Hong Kong was a British colony before the return of its sovereignty to China. My research, however, shows that the Hong Kong people are keen to adopt a death ritual that demonstrates their Chinese identity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Chi Chun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 101-108). / Abstracts also in Chinese. / Acknowledgements --- p.v / Table of Contents --- p.ix / List of Figures --- p.x / Romanization and Translation --- p.xi / A Note on Photography --- p.xii / Chapter Chapter 1 --- : Introduction / Introduction and Background --- p.1 / Literature Review --- p.5 / Methodology and Approaches --- p.8 / Organization of the thesis --- p.13 / Chapter Chapter 2 --- : Funeral Music in Hong Kong / An Introduction to Funeral Parlours in Hong Kong --- p.15 / The Quanzhen School and the Zhengyi School in Hong Kong Funeral Parlours --- p.26 / Funeral Music in Hong Kong Society --- p.30 / Chapter Chapter 3 --- : Musical Practice of the Zhengyi School / Introduction --- p.38 / Musical Instruments in the Zhengyi school --- p.38 / Transmission --- p.49 / Changes? The Debate Between the Local Jiaoshi and the Non-local Jiaosh --- p.51 / Chapter Chapter 4 --- : Identity beyond the “Dead“ and the Hybridity of the Ritual / Introduction --- p.67 / Influence of Commercialization --- p.67 / Hybridity of Different Elements in Funeral Rituals --- p.75 / Chinese Identity of the Relatives and the Diseased --- p.78 / Chapter Chapter 5 --- : Conclusions --- p.83 / Appendices --- p.92 / Appendices A --- p.92 / Appendices B --- p.98 / Appendices C --- p.99 / Appendices D --- p.100 / References --- p.101

Law Ying Kin. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report." / Synopsis --- p.BOOK0:3 / Chapter BOOK 1 : --- "FORM, MUSIC & ARCHITECTURE" / Introduction --- p.BOOK1:5 / Formal Exploration --- p.BOOK1:6 / PROJECT 1 : Music Academy --- p.BOOK1:7 / Chapter BOOK 2 : --- "EVENT, MUSIC & ARCHITECTURE" / Site Studies --- p.BOOK2:13 / Art in EveryDay's Life --- p.BOOK2:14 / Bun Festival --- p.BOOK2:15 / Tourism Invasion --- p.BOOK2:18 / Tourist Behaviour --- p.BOOK2:21 / Urban Design Strategy --- p.BOOK2:23 / PROJECT 2 : Music School / Programme --- p.BOOK2:27 / Drawings & Renderings / Chapter 1 --- PLANS --- p.BOOK2:29 / Chapter 2 --- ELEVATIONS --- p.BOOK2:34 / Chapter 3 --- SECTIONS --- p.BOOK2:36 / Chapter 4 --- PERSPECTIVES --- p.BOOK2:41 / Chapter BOOK 3 : --- APPENDIX / Chapter 1 --- Study Report on Form. Music and Architecture --- p.BOOK3:45 / Chapter 2 --- Basic Informaion of Cheung Chau --- p.BOOK3:50

Chan Ka Chun. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2002-2003, design report." / Includes bibliographical references (p. 57). / Chapter 01 --- Introduction --- p.01 / Chapter 02 --- Translate Music into Architecture --- p.03 / Chapter 03 --- Music as a Metaphor --- p.07 / Chapter 04 --- Design a program for music --- p.09 / Chapter 05 --- Acoustic of performance --- p.11 / Chapter 06 --- Study of street music performance --- p.13 / Chapter 07 --- Site Analysis --- p.15 / Chapter 08 --- Design Intention --- p.17 / Chapter 09 --- Design Development 01-04 --- p.25 / Chapter 10 --- Final Design --- p.43 / Chapter 11 --- Reference --- p.57 / Chapter 12 --- Acknowledgement --- p.58

Cheng Ling Yan. / Thesis submitted in: June 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 86-90). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgement --- p.iii / Table of Contents --- p.iv / List of Figures --- p.vi / Romanization and Translation --- p.vii / Introduction --- p.1 / Chapter Chapter One --- Original Scoring 原創音樂： Compositional Practice in the Present-Day Hong Kong Film Music Industry --- p.6 / "How Original is “Original Scoring"" ？" --- p.8 / Originality in Previous Practice? --- p.9 / ~Film Music from the 1960s to the 1990s --- p.9 / ~“Chinese´ح Music in the Huang Mei Diao Film --- p.9 / ~Canned Music in the 1960s and 1970s --- p.11 / ~The Composer in 1970s Film Music --- p.12 / Film Music of the 2000s --- p.12 / Time Limitations --- p.13 / Budget --- p.15 / Technology in Use --- p.18 / "Close Relationships between the Director, Composer, and Mixer" --- p.21 / Chapter Chapter Two --- Film Music Functions and Formulaic Uses of Instruments --- p.24 / Function of Film Music --- p.25 / Formulaic Uses of Instruments --- p.26 / Re-Occurrence of Music in a Film --- p.30 / Chapter Chapter Three --- Imagined Scoring of Chinese Music --- p.33 / Chinese Instruments --- p.34 / Authenticity In Scene and Out of Scene --- p.35 / Imagined Scoring -- Creative Listening Experience --- p.36 / Cultural Correctness --- p.38 / Listening Experiences Formed in Daily Life --- p.39 / Music for the Elders in Hong Kong --- p.41 / Conclusion --- p.41 / Chapter Chapter Four --- Crossover of Pop Singers Into Films --- p.43 / Hong Kong Pop Singers as Film Actor/Actress or Vice Versa --- p.44 / Diegetic and Non-Diegetic Music --- p.50 / Popular Song In Film and Film Theme Song --- p.53 / The Crossover of Popular Music Composers Into Film Music --- p.54 / Pop Songs and Listening Experience --- p.56 / Change in the Practice - Problems of Overlapping Identities --- p.59 / Chapter Chapter Five --- Conclusion: Musically Illiterate in Pop but Fluent in Chinese? --- p.62 / The Hong Konger is Musically Not Chinese --- p.63 / The Hong Konger is Musically Fluent in Pop --- p.64 / Questions for Further Study --- p.64 / Appendix 1 (Wong Fook Ling ) --- p.66 / Appendix 2 ( Frankie Chan ) --- p.71 / "Appendix 3 (List of United States, Taiwan and Hong Kong Film Music Awards)" --- p.80 / Appendix 4 ( Film Titles ) --- p.81 / "Appendix 5 (Directors, Composers, Lyricists, Actors/Actresses and Singers )" --- p.84 / References Cited --- p.86 / Glossary --- p.92

published_or_final_version / Music / Master / Master of Philosophy

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