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published_or_final_version / abstract / toc / English Studies / Master / Master of Arts

published_or_final_version / Music / Master / Master of Philosophy

No description available.

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.

published_or_final_version / Chinese Historical Studies / Master / Master of Arts

In 1930s and 1940s Shanghai, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular song which suggests the beginnings of Chinese popular music in modern times. However, Shanghai popular song has long been neglected in most works about the modern history of Chinese music and remains an unexplored area in Shanghai studies. This study aims to reconstruct a historical view of the Shanghai popular music industry and make a stylistic analysis of its musical products. The research is undertaken at two levels: first, understanding the operating mechanism of the ‘platform’ and second, investigating the components of the ‘products’. By contrasting the hypothetical flowchart of the Shanghai popular music industry, details of the producing, selling and consuming processes are retrieved from various historical sources to reconstruct the industry platform. Through the first level of research, it is found that the rising new media and the flourishing entertainment industry profoundly influenced the development of Shanghai popular song. In addition, social and political changes and changes in business practices and the organisational structure of foreign record companies also contributed to the vast production, popularity and commercial success of Shanghai popular song. From the composition-performance view of song creation, the second level of research reveals that Chinese and Western musical elements both existed in the musical products. The Chinese vocal technique, Western bel canto and instruments from both musical traditions were all found in historical recordings. When ignoring the distinctive nature of pentatonicism but treating Chinese melodies as those on Western scales, Chinese-style tunes could be easily accompanied by chordal harmony. However, the Chinese heterophonic feature was lost in the Western accompaniment texture. Moreover, it is also found that the traditional rules governing the relationship between words and the melody was dismissed in Shanghai popular songwriting. The findings of this study fill in the neglected part in modern history of Chinese music and add to the literature on the under-explored musical area in Shanghai studies. Moreover, this study also demonstrates that against a map illustrating how musical products moved from record companies to consumers along with all other involved participants, the history of popular music can be rediscovered systematically by using songs as evidence, treating media material carefully and tracking down archives and surviving participants.

This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.

by Wong Siu Ling, Gabriella. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves 64-69). / Chapter CHAPTER ONE --- INTRODUCTION --- p.1 / Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6 / Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15 / Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23 / Chapter CHAPTER FIVE --- METHODOLOGY --- p.37 / Chapter CHAPTER SIX --- FINDINGS --- p.44 / Chapter CHAPTER SEVEN --- DISCUSSION --- p.52 / BIBLIOGRAPHY --- p.64 / Chapter APPENDIX 1 --- List of Big Corporations and Independents --- p.70 / Chapter APPENDIX 2 --- Production cost of a Standard L.P. record --- p.74 / Chapter APPENDIX 3 --- Categories of song types --- p.75 / Chapter APPENDIX 4 --- Comparison of songs from Big Corporations and the Indies by year --- p.78 / Chapter APPENDIX 5 --- Comparison of songs from Big Corporations and the Indies from 1980- 1985 (51) 1986 -1991 (52) --- p.91

黎美倫. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1995. / 參考文獻: leaves 139-142. / Li Meilun. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 佛敎在中國之發展槪況 --- p.5 / Chapter 第一節 --- 佛敎之傳入 --- p.5 / Chapter 第二節 --- 佛敎在各朝代之發展槪況 --- p.6 / Chapter 1. --- 漢代佛敎 --- p.6 / Chapter 2. --- 魏晉佛敎 --- p.7 / Chapter 3. --- 南北朝佛敎 --- p.8 / Chapter 4. --- 隋唐佛敎 --- p.9 / Chapter 5. --- 宋明佛敎 --- p.13 / Chapter 6. --- 晚淸及民國年間之佛敎 --- p.14 / Chapter 第三章 --- 佛敎在香港之發展槪況 --- p.17 / Chapter 第一節 --- 發展歷史 --- p.17 / Chapter 第二節 --- 香港佛敎寺院分佈及分類 --- p.21 / Chapter 第四章 --- 佛敎儀式之介紹 --- p.23 / Chapter 第一節 --- 佛敎儀典 --- p.23 / Chapter 第二節 --- 道場懺法 --- p.26 / Chapter 第三節 --- 朝暮課誦 --- p.27 / Chapter 1. --- 早晚課的意義 --- p.27 / Chapter 2. --- 早晚課常用的經文 --- p.27 / Chapter 3. --- 早晚課進行的程序 --- p.47 / Chapter 4. --- 早晚課中使用之法器 --- p.48 / Chapter 5. --- 早晚課誦的記譜法 --- p.49 / Chapter 第五章 --- 實地考察：志蓮淨苑之朝暮課誦 --- p.52 / Chapter 第一節 --- 志蓮淨苑簡介 --- p.52 / Chapter 1. --- 位置 --- p.52 / Chapter 2. --- 歷史 --- p.52 / Chapter 3. --- 寺內位置分佈 --- p.54 / Chapter 4. --- 寺內佛事活動 --- p.56 / Chapter 5. --- 寺內僧人活動 --- p.59 / Chapter 6. --- 寺內所採用之法器 --- p.60 / Chapter 第二節 --- 志蓮淨苑的早課程序 --- p.65 / Chapter 1. --- 儀式目的 --- p.65 / Chapter 2. --- 儀式進行日期 --- p.65 / Chapter 3. --- 儀式進行時間 --- p.65 / Chapter 4. --- 儀式進行地點 --- p.65 / Chapter 5. --- 儀式參予人數 --- p.66 / Chapter 6. --- 儀式中採用語言及聲音 --- p.66 / Chapter 7. --- 儀式中使用物件 --- p.67 / Chapter 8. --- 儀式中參予者的動作 --- p.67 / Chapter 第三節 --- 志蓮淨苑的晚課程序 --- p.72 / Chapter 1. --- 儀式目的 --- p.72 / Chapter 2. --- 儀式進行日期 --- p.72 / Chapter 3. --- 儀式進行時間 --- p.12 / Chapter 4. --- 儀式進行地點 --- p.72 / Chapter 5. --- 儀式參予人數 --- p.72 / Chapter 6. --- 儀式中採用語言及聲音 --- p.72 / Chapter 7. --- 儀式中使用物件 --- p.73 / Chapter 8. --- 儀式中參予者的動作 --- p.73 / Chapter 第六章 --- 朝暮課誦之音樂分析 --- p.79 / Chapter 第一節 --- 梵唄的定義及功能 --- p.79 / Chapter 第二節 --- 早課的曲目分析 --- p.80 / Chapter 1. --- 《爐香讚》的音樂分析 --- p.86 / Chapter 2. --- 《佛號》的音樂分析 --- p.89 / Chapter 3. --- 《回向偈》的音樂分析 --- p.92 / Chapter 4. --- 《彌陀偈》的音樂分析 --- p.96 / Chapter 5. --- 《繞佛》的音樂分析 --- p.100 / Chapter 6. --- 《念聖號》的音樂分析 --- p.103 / Chapter 7. --- 《三皈依》的音樂分析 --- p.107 / Chapter 8. --- 《彌陀讚》的音樂分析 --- p.112 / Chapter 第三節 --- 晚課的曲目分析 --- p.115 / Chapter 1. --- 《四生登於寶地》的音樂分析 --- p.117 / Chapter 2. --- 《普賢警眾偈》的音樂分析 --- p.120 / Chapter 3. --- 《伽藍讚》的音樂分析 --- p.125 / Chapter 第四節 --- 早晚課音樂的分析結果 --- p.128 / Chapter 1. --- 調式方面 --- p.128 / Chapter 2. --- 音域方面 --- p.130 / Chapter 3. --- 旋律方面 --- p.130 / Chapter 4. --- 曲式結構方面 --- p.132 / Chapter 5. --- 節奏方面 --- p.132 / Chapter 6. --- 唱法方面 --- p.133 / Chapter 7. --- 表情方面 --- p.133 / Chapter 8. --- 異音性和聲方面 --- p.134 / Chapter 9. --- 演唱方式方面 --- p.134 / Chapter 10. --- 法器伴奏方面 --- p.135 / Chapter 第五節 --- 音樂在早晚課儀式中之運用及功能 --- p.136 / Chapter 1. --- 音樂與信仰的關係 --- p.136 / Chapter 2. --- 音樂與訊息的關係 --- p.136 / Chapter 3. --- 音樂與調節氣氛的關係 --- p.136 / Chapter 第七章 --- 結語 --- p.138 / 參考書目 --- p.139 -142 / 附錄一.香港佛敎聯合會´ؤ九九二年度法事表 --- p.143 / Chapter 二. --- 香港佛光協會一九九三年法事表 --- p.144 / Chapter 三. --- 香港的佛學講座時間表 --- p.145