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by Law Bing Kuen Anthony. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 100-105). / Discography: p. 107. / Abstracts in English and Chinese. / List of Tables --- p.iii / Abbreviations --- p.iv / Introduction --- p.1 / Concepts --- p.5 / Previous Studies on Xianshiyue --- p.6 / Fieldwork --- p.10 / PART ONE: CULTURAL AND SOCIAL BACKGROUND --- p.19 / Chapter Chapter One: --- Hong Kong --- p.20 / The Rise of Modern Hong Kong: Hong Kong in the Nineteenth Century --- p.21 / Formation of Norms and Values --- p.27 / Chapter Chapter Two: --- The Chaozhou Community of Hong Kong --- p.30 / The Name --- p.30 / The Area --- p.31 / The People and Culture --- p.32 / Migration of Chaozhou People to Hong Kong --- p.35 / Social Organization of the Chaozhou Community --- p.41 / The Chiu Chow Merchants Mutual Assistance Society --- p.43 / PART TWO: XIANSHIYUE --- p.48 / Chapter Chapter Three: --- Xianshiyue in Hong Kong --- p.49 / "The Music Division of the Hong Kong Chiu Chow Merchants Mutual Assistance Society (the ""MD"")" --- p.51 / From Waijiang Traditions to Chaozhou Traditions --- p.56 / Performances in the Music Club Context --- p.61 / Performances in the Concert Hall Context --- p.72 / Performances in the Chaoju Context --- p.76 / Performances in the Gatherings of the Parent Organization --- p.80 / Summary of the Performance Contexts of Xianshiyue in Hong Kong --- p.82 / Chapter Chapter Four: --- The Music of Xianshiyue --- p.84 / Setting Up the Temperament --- p.86 / Tuning Process as Social Process --- p.90 / Conclusion --- p.93 / Glossary of Chinese Characters --- p.96 / Bibliography --- p.100 / Appendix A: An Inquiry on the Place of Origin of Hong Kong Chinese People --- p.109 / Appendix B: Newspaper cutting Showing Ethnic Stereotypes --- p.110

For many people music is an important aspect of their daily life. Music preference is a complex subject tied to social identity, personality, leisure activities, religion, family and friends, and so forth. Music is also a form of expression, which is communicated to the public over various mediums and formats. The themes depicted in music media (music in the form of television, radio, and internet sources, both auditory and visually presented) are vast owing to the array of different artists and their individual worldviews that they put on offer for the public. The lyrical content and/or imagery put forward by musicians depicts an array of different themes, which are contextualised by individuals in their personal conception of their favourite music. The meaning that listeners/viewers attach to their music is equally related to their own background and life experience, including their belief system (religion). There has been a controversial increase in the sexualisation and explicitness of music media; however, there is a gap in the intersection between music, sex, and religiosity as a field of study. Understanding the influence of music media requires an understanding of the people who are experiencing this content. Taking a cybernetic approach and the position of the listener who determines the meaning of an utterance, as put forward by cyberneticist Heinz von Foerster, this study is a reflexive contextual enquiry into how people are experiencing and interpreting their music media and whether this media challenges their view on religion (if they consider themselves aligned to a religion). To address this broad research question, a two-part study was conducted. The first part consisted of a quantitative study of 459 students from the University of Johannesburg to obtain a snapshot of a young adult demographic in terms of their music media, sexuality, and religiosity choices. Thereafter, using the results from this first part of the study, a qualitative interview-based study was conducted. Together the quantitative and qualitative studies provide a basis for answering the main research question. The results show that the young adults in the study are thinking beings, not just manipulated by mainstream music media; rather, they decide what is right for them often motivated by their views on religion. Methodologies used in religious studies have been subject to criticism. One specific aspect is the lack of acknowledgment of epistemology within research designs. In addressing this critique, a second- order cybernetic study was conducted. By introducing a cybernetic approach to qualitative religious study, a new approach is thus also presented which is called A Reflexive Recursive Learning Approach to Religious Studies. / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

Looking at current African music studies, one notices an interesting shift from the `norm' to a fresh engagement and analysis. Fresh perspectives are increasingly being presented to position African music dialogue in the arena of the so-called `established music fields'. While these developments are noticeable, the unmentioned, unsung and uncelebrated indigenous African music practitioners, composers, performers, poets, praise singers and so forth must not be forgotten. This work does not claim novelty in terms of the latter gap, but takes the debate further to highlight, though in a small way, such a need. Mme Rangwato Magoro, from Malatane village in the greater Ga-Seloane community, is included as the main research collaborator in this brief piece of work. The work may come as a shock to any established researcher in music and music science. The author could not help but attempt to allow the voice of Mme Magoro to determine the format and content of this piece of work. In addition, the Maila-go-fenywa performance group is linked with the compositional and performance work and the praise poems of Mme Magoro. In conclusion, discussions and debates on musical arts education are addressed in terms of implementation, with examples drawn from the work of Maila-go-fenywa. / Art History, Visual Arts & Musicology / M.A. (Musicology)

by Wong Yan Chau, Christina. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 175-186). / Chapter I. --- Introduction --- p.2 / Chapter II. --- Historical Background --- p.5 / Chapter III. --- A Review of the Related Literature --- p.14 / Chapter A. --- The Culture Industry Approach --- p.15 / Chapter B. --- The Liberal-Pluralist Approach --- p.26 / Chapter C. --- The Technological Approach --- p.31 / Chapter IV. --- The Theoretical Perspective --- p.36 / Chapter V. --- Methodological Approach to Study --- p.42 / Chapter A. --- Content Analysis of Lyrical Messages --- p.42 / Chapter 1. --- Method --- p.42 / Chapter 2. --- Data --- p.43 / Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45 / Chapter B. --- Analysis of Rock Music within Hegemony --- p.48 / Chapter 1. --- Method --- p.48 / Chapter 2. --- Data --- p.50 / Chapter VI. --- Meanings in Rock Music --- p.52 / Chapter A. --- Themes in each fictional mode --- p.52 / Chapter B. --- Thematic content of Rock Music --- p.54 / Chapter 1. --- The Ironic Mode --- p.54 / Chapter 2. --- The Mimetic Mode --- p.64 / Chapter a. --- Phenomena of Identity Crisis --- p.64 / Chapter i. --- Loss of direction --- p.65 / Chapter ii. --- Roots-seeking --- p.68 / Chapter iii. --- Alternating identity --- p.69 / Chapter iv. --- Alienation --- p.71 / Breakaway --- p.71 / A Stranger in the City --- p.74 / Chapter b. --- Outlook on Life --- p.76 / Chapter c. --- Social Problems --- p.79 / Chapter i. --- War --- p.79 / Chapter ii. --- Incivility --- p.81 / Chapter d. --- The Experience of Growing Up --- p.82 / Chapter i. --- Anti-patriarchism --- p.82 / Chapter ii. --- Wandering --- p.83 / Chapter iii. --- The Loss of Childhood --- p.84 / Chapter e. --- Love --- p.85 / Chapter i. --- Yearning for love --- p.85 / Chapter ii. --- Frustrations with love --- p.86 / Chapter iii. --- Wild love --- p.88 / Chapter iv. --- Inauthentic love --- p.90 / Chapter 3. --- The Leadership Mode --- p.93 / Chapter a. --- The Exploratory Spirit --- p.93 / Chapter b. --- Individuality and Non-Conformity --- p.96 / Chapter c. --- The Authentic Self --- p.98 / Chapter 4. --- The Romantic Mode --- p.102 / Chapter a. --- Nostalgia for a Glorious Past --- p.102 / Chapter b. --- Anarchy in the Demonic World --- p.105 / Chapter c. --- Union with nature --- p.107 / Chapter d. --- The Pastoral Utopia --- p.111 / Chapter e. --- Fictional Characters and Objects Speaking --- p.112 / Chapter 5. --- The Mythic Mode --- p.117 / Chapter C. --- The World View of Rock Music --- p.120 / Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125 / Chapter A. --- Messages of Rock and the Hegemony --- p.125 / Chapter B. --- Music as a Contested Terrain --- p.130 / Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130 / Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140 / Chapter VIII. --- Conclusion --- p.155 / Chapter IX. --- Limitations of the Study --- p.158 / Chapter X. --- Future Studies on Rock Music --- p.161 / Notes --- p.165 / Bibliography --- p.175 / Discography --- p.185 / Appendix 1. The Sample of Rock Songs --- p.187

余詠宇. / 論文(博士)--香港中文大學, 1999. / 附參考文獻(p. 210-222)及索引. / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Yu Yongyu. / Lun wen (bo shi)--Xianggang Zhong wen da xue, 1999. / Fu can kao wen xian (p. 210-222) ji suo yin. / Zhong Ying wen zhai yao.

This thesis explores the complexities of race relations in the nineteenth century American West. The groups considered here are African Americans, Anglo Americans, Chinese, Mexican Americans, and Native Americans. In recent decades historians of the West have begun to tell the narratives of racial minorities. This study adopts the aims of these scholars through a new lens--music. Ultimately, this thesis argues that historians can use music, both individual songs and broader conceptions about music, to understand the complex and contradictory race relations of the nineteenth century west. Proceeding thematically, the first chapter explores the ways Anglo Americans used music to exert their dominance and defend their superiority over minorities. The second chapter examines the ways racial minorities used music to counter Anglo American dominance and exercise their own agency. The final chapter considers the ways in which music fostered peaceful and cooperative relationships between races. Following each chapter is a short interlude which discusses the musical innovations that occurred when the groups encountered the musical heritage of one another. This study demonstrates that music is an underutilized resource for historical analysis. It helps make comprehensible the complicated relations between races. By demonstrating the relevance of music to the history of race relations, this thesis also suggests that music as a historical subject is ripe for further analysis.

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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.