Abstract This thesis discusses the music idea, music aesthetics and writing skills of the author¡¦s composition JING. The music idea and aesthetics of the JING are inspired by Confucianism, Buddhism and Taoism. The common important issue that these three isms concern about and also the point inspires the author is Nature. The author uses Repetition as the music writing skills to represent the constancy of the nature. In other words, music repetition and the variation of the repetition is what the author wants to experiment in the composition JING. In order to learn how the repetition used and represents the Nature in the three isms, the author also studies and analyzes important ritual music for the rites of Confucianism, Buddhism and Taoism. Furthermore the author discusses how repetition works and means in western music. Concluding the discussions on the three pieces of ritual music and the western music, the author comes out her own point of view which becomes the important material and creating process in JING. JING is consisted of three movements. The first movement is JI, the second is ZHI, and the third is JIE. Although the three movements are titled differently, the points that the author wants to present are all the same and is about Constant Nature. The author experiments the skills of repetition in the piece throughout to show her intention for understanding Constancy of Nature.

This thesis deals with relationship of music and theology. It stems from history of development of the philosophic judgement on the notion of ?musica? in antiquity as well as from the contemporary conceptions and definitions of music. Subsequently it proceeds to the presentation of selected writings of both historical and contemporary theologists? dealing with the subject of the art of music. Based on their analysis this thesis comes to the conclusion that a relationship between theology and music indeed exists and their dialog mutually enriches both of these disciplines. Music transcends the limited capabilities of speech and with its own instruments it speaks about the infinite God. This central thought at which the thesis arrives, is concretely documented in musical activities and pieces of work by selected composers of classical music.