This study first narrates on the importance of theory of lü-lü (theory of tone generation) in the history of Chinese music from the Chou Dynasty (ca. 400 B.C.) to the Chin Dynasty (ca. end of 19th century), its symbolism and ramification. The main body of this study is devoted to critical translation of Huang Ti-Pei's Perspectives of Chinese Music, particularly those sections which give chronological narratives and comparative critiques of major theories of lü-lü, in order to provide the western scholarship with documents toward understanding the evolution of tone system of Chinese music. The study concludes with a comparison of Chinese tone systems from ancient time to present, and offers comments on comparison of tone systems between the eastern and western musics.

Harrison, Alissa May. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 184-194). / Abstracts in English and Chinese. / Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Intonation´ؤlexical tone transfer --- p.3 / Chapter 1.2 --- Unresolved issues of intonation-lexical tone transfer --- p.8 / Chapter 1.3 --- Objectives of this study --- p.10 / Chapter 1.4 --- Hypotheses of intonation-lexical tone transfer in L2 Mandarin --- p.12 / Chapter 1.5 --- Methodology and experimental results --- p.13 / Chapter 1.6 --- Major findings and conclusions --- p.15 / Chapter 1.7 --- Outline of the thesis --- p.16 / Chapter 2 --- "Background of Mandarin, English, and Japanese prosody" --- p.18 / Chapter 2.1 --- Prosodic phonology --- p.19 / Chapter 2.1.1 --- Defining the components of prosody --- p.19 / Chapter 2.1.2 --- Theoretical basis for intonation and lexical tone inter- action --- p.23 / Chapter 2.2 --- Mandarin prosody --- p.32 / Chapter 2.3 --- English prosody --- p.41 / Chapter 2.4 --- Japanese prosody --- p.49 / Chapter 2.5 --- Summary of prosodic similarities and differences --- p.54 / Chapter 3 --- Previous studies of intonation and lexical tone acquisition --- p.61 / Chapter 3.1 --- Second language acquisition --- p.62 / Chapter 3.1.1 --- Interlanguage --- p.62 / Chapter 3.1.2 --- Defining transfer --- p.63 / Chapter 3.1.3 --- Theories of L2 phonological acquisition --- p.66 / Chapter 3.2 --- Comparison of first and second language acquisition --- p.71 / Chapter 3.2.1 --- Lexical tone --- p.71 / Chapter 3.2.2 --- Intonation --- p.74 / Chapter 3.3 --- L1 intonation transfer in Mandarin L2 lexical tone acquisition --- p.77 / Chapter 3.3.1 --- Initial hypotheses of intonation-lexical tone transfer --- p.77 / Chapter 3.3.2 --- Experimental studies claiming intonation-lexical tone transfer --- p.85 / Chapter 3.3.3 --- Unaddressed issues of previous studies --- p.91 / Chapter 4 --- Methodology of production and perception experiments --- p.94 / Chapter 4.1 --- Hypotheses --- p.94 / Chapter 4.2 --- Design --- p.97 / Chapter 4.3 --- Subjects --- p.101 / Chapter 4.4 --- Procedures --- p.102 / Chapter 4.5 --- Data transcription and statistical analysis --- p.105 / Chapter 5 --- Results of production and perception experiments --- p.108 / Chapter 5.1 --- Production experiment results --- p.108 / Chapter 5.1.1 --- Effect of lexical tone category on pitch production --- p.109 / Chapter 5.1.2 --- Effect of sentence type on pitch production --- p.119 / Chapter 5.1.3 --- Summary of tone production results --- p.126 / Chapter 5.2 --- Perception experiment results --- p.128 / Chapter 5.2.1 --- Effect of lexical tone category on lexical tone identifi- cation --- p.128 / Chapter 5.2.2 --- Effect of sentence type on lexical tone identification --- p.136 / Chapter 5.2.3 --- Summary of tone perception results --- p.143 / Chapter 6 --- Discussion of experimental results and intonation-lexical tone transfer hypothesis --- p.146 / Chapter 6.1 --- Analysis of experimental results --- p.147 / Chapter 6.1.1 --- Lack of postlexical tone transfer --- p.148 / Chapter 6.1.2 --- Postlexical tone prior to lexical tone acquisition --- p.156 / Chapter 6.1.3 --- Factors in lexical tone errors --- p.166 / Chapter 6.2 --- Limitations of methodological design --- p.170 / Chapter 6.2.1 --- Size of experimental data sample --- p.170 / Chapter 6.2.2 --- Proficiency levels and testing --- p.172 / Chapter 6.2.3 --- Method of elicitation --- p.173 / Chapter 7 --- Conclusions --- p.177 / Chapter 7.1 --- Summary --- p.177 / Chapter 7.2 --- Implications --- p.178 / Chapter 7.2.1 --- Prosodic phonology --- p.178 / Chapter 7.2.2 --- Second language acquisition --- p.180 / Chapter 7.3 --- Future Work --- p.181 / Chapter A --- Production Experiment Materials --- p.195 / Chapter A.l --- Wordlist --- p.195 / Chapter A.2 --- Sentences --- p.196 / Chapter B --- Perception Experiment Materials --- p.199 / Chapter B.l --- Wordlist --- p.199 / Chapter B.2 --- Sentences --- p.200 / Chapter C --- F0 contours of target word productions --- p.203

Thesis (Ph. D.)--University of California, San Diego, 2010. / Title from 1st page of PDF file (viewed July 8, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: Leaves 147-154.

published_or_final_version / abstract / Speech and Hearing Sciences / Doctoral / Doctor of Philosophy

No description available.

No description available.

Globalization, cultural flow, and crossfertilization are terms that now appear in many conversations, articles, and research studies. The contemporary world becomes more and more complex while the exchange of information, business development, media, and cultural events are promoted and welcomed. The models of response to globalization may vary between countries and their cultures. This study depicts the response of Moscow’s choral world to globalization. The choral art form is one of many layers of national identity that have been developing over centuries. Performance practices, choral vocal methodologies, and choral music education have undergone influences and changes and have continued their evolution into the 21st century. The purpose of this study was to explore, through in-depth interviews, Russian choral conductors’ perceptions and reflections on contemporary Russian choral sound and whether it has been affected by globalization in recent decades. Using grounded theory, I examined the impact of globalization on Russian choral culture, specifically focusing on the choral sound. Goodenough’s (1981) cultural theory served as the framework for this research, providing a strong understanding of what culture is and the methods of its transmission as well as the explanation of the role of individuals in a social process of constructing its evolution. The current relationship between traditional Russian choral pedagogy and performance practice and the innovations introduced by globalization demonstrates that the deeply-embedded traditions continue to be an important aspect of Russian choral culture. Nevertheless, lifelong informal learning in a global choral community was an impetus for the transformation of choral culture, choral performance, and choral music education.

No description available.

by Siu Wah Lau. / Thesis (Ph.D.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (p. 146-153). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web.

Michael Praetorius was one of the most prolific and innovative Lutheran composers of the early seventeenth century. His Megalynodia Sionia ("The Magnificats of Zion") is a collection of fourteen Magnificats for use in Vespers services. The compositions in the collection present a series of complicated issues that modern editors and performers must unravel to be able to perform this music. The most common method for performing Magnificats at this time was alternatim, in which different musical groups alternated in performing verses. For eleven of the Magnificats in Megalynodia, only six of the twelve verses are supplied by Praetorius. Appropriate sources for the other verses must be identified. Also, there was a tradition in the Lutheran church of inserting chorales between the verses of the Magnificat on feast days. The chorales would be songs associated with the occasion, for example Christmas or Easter. Praetorius gives important instructions to prospective performers as to how these insertions should be chosen and performed. Eleven of the Magnificats are parodies of works by other composers, Orlando di Lasso in particular. Parody technique is the use of polyphonic music by another composer as source material for a new composition. It was a very typical compositional method of the sixteenth century. Lasso started a Continental tradition of using parody technique in the Magnificat; in this collection Praetorius follows in his footsteps. One must take all these issues into account in attempting to create modern performing editions of this music. The study culminates in performing editions of two Magnificats from the collection.