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

This dissertation examines the music subculture in Hong Kong using the two music venues for band performance, Warehouse and Hidden Agenda, as a starting point. It analyzes the relation between space and subculture through looking at the three levels of space for the music subculture: the physical space, the social space, and the cultural space. The physical spaces of Warehouse and Hidden Agenda are examples of appropriated space. By examining the appropriated spaces, it also reflects upon the problems faced by the two venues. The social space uncovers the alternative set of social relations under the music subculture, which transcends the boundary between the producer and the consumer. The affective power of rock music also helps to produce a differential space during band shows. The cultural space is made up by the alternative or even oppositional lifestyles, aesthetics and values of the music subculture. In recent years, the cultural space of the music subculture is becoming less exclusive and forms a third space between the mainstream and the independent, which widens the cultural space of the mainstream popular music in Hong Kong. Through the different levels of space for the music subculture, this dissertation explores the possibilities to seek alternatives and make a difference under the domination of the capitalist culture. / published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

published_or_final_version / Education / Doctoral / Doctor of Philosophy

published_or_final_version / Architecture / Master / Master of Architecture

At the beginning of the twentieth century, when young Chinese scholars looked to Western nations for answers in hope of revitalizing a nation that once dominated the East, musicians and poets embarked on a journey of establishing a new Chinese style of music. Three sets of composer/poet collaborations and three different ways of infusing Western culture with Chinese culture laid the foundation for Chinese choral music today. Chao Yuan-Ren was a brilliant linguist and music lover who thought that to simply implant Western music onto Chinese text would suffice–his HaiYun, set to a poem of the equally brilliant poet Xu Zhi-Mo serves as a good example. Huang Zi believed in Confucius’ teachings that all new things must grow out of tradition. He and the lyricist Wei Huang-Zhang extended a literary tradition started in the Tang dynasty and produced Song of Everlasting Sorrow, which illustrates this philosophy quite well. Yet, for the underprivileged people who also loved music, folk songs provided a fertile ground as seen in the works of Xian Xing-Hai. During the second Sino-Japanese War, the poet Guang Wei-Ran and Xian worked hand-in-hand, producing the Yellow River Cantata that contains folksong-like melodies and many folk-music elements. Chinese choral music today is unavoidably connected to these three pieces. This document traces the early history of Chinese choral music through these three pieces and explains their influences on Chinese choral music today.

Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture