林天惠. / "2009年9月". / "2009 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 115-128). / Abstracts in Chinese and English. / Lin Tianhui. / 論文中文摘要 / 論文英文摘要 / 致謝 / 論文目錄 / Chapter 第一章 --- 論文概述 --- p.1 / Chapter 第一節 --- 研究背景 / Chapter 第二節 --- 研究動機 / Chapter 第三節 --- 研究對象 / Chapter 第四節 --- 與研究題目相關的研究和理論 / Chapter 第五節 --- 研究方法 / Chapter 第六節 --- 論文章節概覽 / Chapter 第二章 --- 阮在中國的歷史及其形制 --- p.18 / Chapter 第一節 --- 阮在中國的歷史 / Chapter 一、 --- 阮與中國古代阮咸的歷史聯繫 / Chapter 二、 --- 阮與奈良正倉院中所藏的阮咸之關係 / Chapter 三、 --- 阮與中國鄰近地區的阮類樂器之關係 / Chapter 第二節 --- 阮在二十世紀以來的發展及應用 / Chapter 一、 --- 阮在中國國内大型中樂合奏團中的歷史及其應用 / Chapter 二、 --- 阮的獨奏音樂 / Chapter 三、 --- 阮的演奏技巧 / Chapter 四、 --- 樂器改革 / Chapter 五、 --- 阮的形制 / Chapter 六、 --- 現今香港流通的阮的形制 / Chapter 第三節 --- 小結 / Chapter 第三章 --- 阮在香港的歷史及發展一演奏及教育層面 --- p.44 / Chapter 第一節 --- 阮在香港的演奏情況 / Chapter 一、 --- 早期大型中樂合奏團 / Chapter 二、 --- 全職大型中樂合奏團一香港中樂團 / Chapter 三、 --- 粤劇、粤曲音樂中的電阮 / Chapter 四、 --- 阮在香港的演奏情況小結 / Chapter 第二節 --- 阮在香港的教育 / Chapter 一、 --- 音樂事務處 / Chapter 二、 --- 香港演藝學院中樂系 / Chapter 三、 --- 香港校際音樂節 / Chapter 四、 --- 中樂考級試 / Chapter 五、 --- 阮的教材與樂譜 / Chapter 六、 --- 阮在香港的教育情況小結 / Chapter 第四章 --- 從實踐經驗中看阮在港的定位及認同 --- p.70 / Chapter 第一節 --- 香港阮合奏組合一無極樂團 / Chapter 第二節 --- 香港阮改革者阮仕春之復原樂器 / Chapter 第三節 --- 阮仕春的樂器改革理念及阮氏阮咸 / Chapter 第四節 --- 阮氏阮咸之應用及阮仕春對阮之影響 / Chapter 第五節 --- 小結 / Chapter 第五章 --- 結論 --- p.95 / 附表 --- p.104 / 參考資料 --- p.115

The guittar, now commonly known as the ‘English guittar’, is a small plucked instrument which was widely used in the British Isles from the middle of the 18th to the beginning of the 19th centuries. Appearing in a variety of shapes and sizes, and having essentially wire strings and an open major tuning, it was more related to the cittern, and quite different from the Spanish guitar. Being cheap, elegant, and relatively easy to play, the guittar quickly became popular among amateur musicians, especially upper-class ladies. In addition, the guittar was at the forefront of mechanical and technical invention, and especially the later types of the instrument were often fitted with several innovative devices that found use on other contemporary or successor instruments. This thesis refines the results of past research concerning the guittar by undertaking a critical review of the relevant literature, and by introducing new data collected during the detailed examination and comparison of numerous surviving guittars in museums and private collections. The results are supported by the investigation of a wide variety of primary sources, including literary references, newspaper advertisements, patent records, legal documents, music scores, and iconographical evidence. The research has led to the establishment of a methodology for the documentation and classification of extant guittars using a prototype template, and to the creation of various reference databases for the future study of the instrument. This thesis is the first complete study of the guittar in the British Isles during the second half of the 18th century. It presents the most important facts and figures related to the origins and development of the instrument, while documenting and highlighting its main historical, musical and technical features, with emphasis on aspects of design, construction and decoration. Additionally, this thesis examines the guittar’s social and cultural role as a predominantly domestic female instrument, and also brings to light new interesting details about the establishment of a guittar trade within and outside the British Isles. Finally, it accounts the main reasons for the decline of the guittar and also identifies its significance in the wider fields of musicology and organology, indicating possible relations and influences with other contemporary musical instruments across Europe.

Instrumentgruppen knäppinstrument är en historiskt sett ny instrumentgrupp i genren svensk folkmusik och har på förhållandevis kort tid blivit en naturlig del i genrens kulturgemenskap. Denna studie syftar till att undersöka hur den svenska folkmusikgenren kan anpassas för att spelas på knäppinstrument och hur genrens praxisgemenskap kan upplevas påverka instrumentalundervisning. Tidigare forskning relaterat till ämnet är begränsad och fokuserar ofta på appropriering av genren, inte på undervisning i genren. Studien utgår från ett sociokulturellt perspektiv och datainsamling skedde via kvalitativa intervjuer som analyserades tematiskt. I resultatet framkommer att instrumentgruppen har en komplex ackompanjerande roll i genren vilket baseras på strukturen av genrens traditionella melodier. Undervisning i genren lämnar dessutom över mycket ansvar på studenten själv, både gällande appropriering av spelteknik och praxisgemenskap. I sista kapitlet diskuteras överlämnande av ansvar till eleven när de undervisar i genren svensk folkmusik. / Plucked instruments in Swedish traditional folk music is from a historical perspective a new instrumental group and has in a relatively short period of time become a natural part of the genre’s cultural community. This study aims to examine how the genre Swedish folk music can be adapted to plucked instruments and how the genre can affect tutoring instrumental lessions. Earlier research within the subject is limited and is often more focused on appropriation of the genre rather than teaching within the genre. The study is done from a sociocultural perspective and data was collected through interviews and the material was analyzed through thematic analyzation methods. The results show that the instrument group has an advanced accompanying musical roll to play in the genre, one that is based on the melodic structure of the traditional melodies. The tutoring in the genre also gives a lot of responsibility to the student itself, both when it comes to technical and cultural appropriation. The last chapter discusses the handover of responsibility to the student during tutoring when teaching within the genre Swedish folk music.

Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.