Dissertations / Theses on the topic 'Chinese Victoria Music History and criticism'
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Yang, Yuanzheng, and 楊元錚. "Japonifying the qin: the appropriation of Chinese qin music in Tokugawa Japan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40987644.
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The Best PhD Thesis in the Faculties of Architexture, Arts, Business & Economics, Education, Law and Social Sciences (University of Hong Kong), Li Ka Shing Prize, 2007-2008.published_or_final_version
Humanities
Doctoral
Doctor of Philosophy
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Zhang, Shi-gu. "Chinese and Western influences upon piano music in China." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186268.
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This study chronicles the development of piano music in China through seven representative works. An important aspect of this research will be to evaluate how and to what extent the repertoire reflects the diverse influences of Western music, traditional Chinese culture, and Chinese politics. Due to the tumultuous social history of modern China, political factors have dictated and continue to dominate cultural aesthetics in a unique way. As we have seen, at some period, styles closely conformed to the political ideology. When the political climate was freer, however, the composer's creative ideology was allowed to be expressed more openly, and the cultural exchange with the West was freer. Although many Chinese pieces are not of high quality, a number of Chinese composers have successfully devoted themselves to integrating Western musical techniques with their own rich cultural background.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional music and ethnicity : a study of Hakka shange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.
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This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component.
Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.published_or_final_version
Music
Doctoral
Doctor of Philosophy
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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.
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李日康. "考律以求雅 : 萬樹《詞律》研究 = From examination of music to canonization of ci : a research on Wanshu's Cilu." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/714.
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《詞律》二十卷，清初詞家萬樹（字紅友，又字花農，1630¬¬－1688）編撰，成書於康熙二十六年（1687），全書錄六百六十調，一千一百八十餘體，是清初錄調最豐，辨體最詳的詞譜著作。現時《詞律》的研究，就成書背景及撰作原因而言，學者大多以明清易代的政治變故及清初詞壇針對明代詞壇而作出的反響這兩大方面切入，而就《詞律》一書本身的內部情況而言，學者傾向借助萬樹《詞律》中的〈自敘〉及〈發凡〉發微，闡述其體例，批評其得失。以上現況反映《詞律》的研究已經開展，同時基於《詞律》與時代的密切關係，又再一次證明此書對清初詞壇的重要性。然而，以上外緣因素雖然適用於清初詞壇的普遍情況，卻缺乏對《詞律》的針對性分析，而《詞律》的內部分析則又過份倚賴萬樹本人在〈自敘〉及〈發凡〉的現身說法，忽視了書中例詞、旁注、萬樹評點的價值。因此，本研究除緒論及結論，正文凡四章，分上、下篇，嘗試從外緣到內部，為《詞律》研究提供新說。第一章〈緒論〉將就研究動機、文獻回顧、方法論等作基本說明；第二章將重新檢討清初詞壇的尊體策略，析論破體、辨體及時流景貌，重估清初詞壇在尊體此命題下的角力關係，由此，為萬樹《詞律》在清初詞壇的定位提供說法，作為往後論述的基調；第三章則從先秦兩漢論律、論樂的思想傳統、宋代六次更訂樂制及大晟府影響下的詞人生態這三方面溯源，析論萬樹《詞律》將詞律設想為樂律，再藉由樂律之道通往尊體之道的根據，以此分析萬樹《詞律》由「紹述古音」轉出其獨特的「律呂之學」的思路；第四章則轉入《詞律》內部，嘗試於《詞律》的〈自敘〉及〈發凡〉之外，探索其內在理路，藉柳永及周邦彥、方千里、吳文英這兩組在《詞律》中特殊的現象，指出萬樹強調比勘互校，並將此提升至貫穿全書、組織全書的內在理路，由此邁向其「至公大雅」的追求；第五章則借鑑文獻學及西方書籍史研究的觀點，反思詞譜類著作的物質形態，分析《詞律》如何有別於當時一般詞譜，同時兼顧了視覺閱讀及聲音演練兩方面以推動填詞實踐，既解決填詞的操作問題也克服審美的困難，由此，呼應編撰《詞律》以推尊詞體的目標；第六章為結論，除歸納本研究中有關《詞律》的發現，同時亦會就研究方法作出反思。= 20 volumues of CiLu (《詞律》), written and edited by early Qing Dynasty Ci scholar WanShu (萬樹, who also named Hungyou, and known as Huanong) are finished in the year of Kangxi 26 (1687). The whole volume collects 660 kinds of tune (詞調) and more than 1180 kinds of genre (詞體). This makes it the most abundant collection of tune and classification of genre in early Qing. Of studies of CiLu today, from the perspective of writing background and reason, scholars tend to intersect the object through lens of political change during Ming to Qing as well as of the pinpointed response of early Qing Ci literary circle towards Ming Ci literary circle. Moreover, with regard to content of CiLu, scholars tend to decipher the text by interpreting WanShu's self account and introduction, explaining its format and criticizing its good and bad. This shows that research effort towards CiLu has already begun, and, at the same time, has demonstrated its importance to Qing literary circle due to the fact that it has a very close relationship with the era. However, although those external factors raised here are suitable to explain the universal situation of early Qing Ci circle, a target-oriented analysis towards CiLu is absent. Those internal analysis based on content also overly rely on WanShu's self account and introduction yet omit the value of Ci examples, annotations and WanShu's comments. Therefore, in this research, except the parts of introduction and conclusion, the body contains 4 chapters and is divided into former and latter part so as to provide a fresh angle and discourse upon the study of CiLu via an attempt of viewing it from the external to the internal. The first chapter－Introduction－ provides a clean explanation upon the goals, literature review and methodology of the research; the second chapter will review early Qing Ci poetry circle's canonization strategy (尊體策略) to clarify genre integration (破體), genre classification (辨體) and the spectacle of writing trend of the era. It also revaluates the tension among literary parties upon the issue of canonization in early Ching circle so that a new discourse upon the literary status of WanShu's CiLu would be brought forth as the fundamental argument of the thesis. The third chapter will trace traditional influence of CiLu's by reviewing music discussion in Pre-Qin and Han, six times official review of music systems in Song dynasty and Ci lyricists' inhabitation under the influence of Dashengfu (大晟府), and hence, it is analyzed that WanShu's CiLu alludes rules of Ci poetry writing to music theory. Then through the way of music theory, it paves the road to canonization of certain Ci poetry －this also demonstrates how WanShu's CiLu develops its own unique rules of music-lyrics theory (律呂之學) from purely inheriting ancient style (紹述古音) . The forth chapter shifts to the internal textual studies of CiLu. Apart from CiLu's self account and introduction, it tries to explore its inner logic(內在理路): by the unusual phenomenon of juxtaposing LiuYong and ChouBaoyan as well as comparing FangQianli and WuWenyin, it is noted that WanShu's emphasis on comparingly slow reading and parallel proofreading is the inner clue of netting the whole volume as well as the corner stone to his literary pursuit of being "supremely just and grandly noble" (至公大雅). The fifth chapter borrows angles of bibliography and the Cultural History Study of Book to reflect on the material form of Cipu (詞譜)writing, analysing how CiLu differentiates from other common Cipu during the period: it both masters the two facets of visual reading and vocal drill to advocate the practice of Ci poetry writing. This not only solves the problem of writing techniques but also conquers the difficulty of adopting different aesthetics norm. It, hence, echoes CiLu's editing aims which are promotion and canonization of Ci. The sixth chapter is conclusion which induces all the discoveries of this research as well as reflects on the methodology.
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Yang, Shu-mei. "Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331819/.
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This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to utilize Western techniques to create artistic works and compositional styles which are uniquely Chinese. The musical works examined are limited to works for piano solo, as it is believed these are often more immediately revealing of compositional techniques and stylistic idioms.
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Wang, Rong Sheng. "A study of five Chinese piano pieces with a review of the introduction and development of the piano in China." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941578.
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This dissertation is an analytical study of five Chinese piano pieces: Buffalo Boy's Flute by He Lu-ting, Flower Drum by Qu Wei, Xing-jiang Dance No. 1 and No. 2 by Ding Shan-de and Tunes at Sunset by Li Ying-hai. These five pieces represent a specific historical period from the 1930s to the 1950s--a primary phase in the establishment of Chinese piano music. Each piece is analyzed in terms of melody, rhythm, harmony, form and style, in order to ascertain how Chinese composers fused Western compositional techniques with the Chinese musical heritage. A second objective was to provide an historical background of the introduction and development of the piano in China. Through the investigation, this study has traced the channels through which Western music was introduced to China.The study consists of five chapters. Chapter 1 presents introductory information as well as the purpose, significance, procedures and delimitation of the study. Chapter 2, a review of related literature, provides a brief description and evaluation of important sources utilized. Chapter 3 presents a brief history of the piano in China. Chapter 4 provides an analysis of each of the five Chinese piano pieces. Also included are an evaluation of each work, brief biographies, and the historical circumstances surrounding the composition of each piece. Summary and conclusions are reported in Chapter 5.The history of Chinese piano music is relatively short--spanning approximately eighty years. Western music was not introduced to China until the beginning of the twentieth century. The founding of the National Conservatory in 1927 marked the beginning of professional musical higher education in China. Because of the musical training which Chinese musicians received, the German-Russian romantic style exerted a strong influence on the musical development of China. In the past eighty years, Chinese musicians have taken different paths trying to establish a national identity within their musical culture. The five pieces analyzed in this study reflect the accomplishments which Chinese musicians achieved in combining Western compositional techniques with Chinese musical idioms. These innovations have since become common practice among most Chinese composers.School of Music
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Tingle, Joseph Edwin. "The emperor's music : the creation of a poetic tradition from the Han dynasty music bureau." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1443.
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胡又天. "華語流行歌詞的演變= The development of Chinese popular song lyrics (1970-2013) /胡又天." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/343.
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19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.
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Deng, Wei. "Historical and stylistic development in the Chinese four-stringed lute pipa and in pipa music from 1800 to 1995 : with particular reference to "Spring River"." Thesis, Queensland University of Technology, 1996.
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This dissertation is a study of the historical and stylistic development in the pipa and in pipa music from the early nineteenth century to the late twentieth century. Following a brief outline of the historical and stylistic development in the pipa and pipa music prior to the nineteenth century, particular attention is given to the stylistic changes observed in a musical piece for pipa solo, the well-known Chinese composition Chunjiang huayue ye 春江花月夜 (Flower, Moon and Evening in Spring River). This musical piece has also been known as Xiyang xiaoge 夕阳簫歌 (Flute and Song at Sunset), Xiyang xiaogu 夕阳鼓歌 (Flute and Drum at Sunset), Xunyang yeyue 阳夜月 (Evening and Moon in Xunyang), Xunyang yue Xunyang pipa 阳乐 (Music in Xunyang) and 阳琵琶(Pipa in Xunyang). However, Flower, Moon and Evening in Spring River is the established name among contemporary players, and that is the name the writer shall be using in this dissertation, henceforth "Spring River".
"Spring River" has been a constant feature of the pipa repertoire for 150 years, and its development typifies major changes during the past 200 years. Altogether, thirty-nine versions of the piece were collected by the present writer, who has selected nine versions for detailed study. "Spring River" has been transcribed in three different notations during the last two centuries: pipa-gongche, western cipher notation and staff notation. The notational systems and fingering signs used by the transcribers of the nine versions of "Spring River" are described, and the nine chosen versions are transcribed in western staff notation.
This dissertation also presents in the figures and tables a wide range of pictorial and graphical in formation about the pipa, which has never before been collected thoroughly.
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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.
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Fu, Lok-yi Alice, and 傅樂怡. "Contemporary Cantopop: reception of crossovermusic in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634334.
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Go, Kin-ming Joseph, and 吳建明. "Nostalgic musicians in North Point: a survey of Fujian Nanyin activities in Fujian Tiyuhui, from 1957 to thepresent." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227351.
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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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王湖. "沉悶的聲音 : 中國搖滾樂的情感政治 = Sounds of boredom : the affective politics of Chinese rock 'n' roll." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/621.
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Chen, Szu-Wei. "The music industry and popular song in 1930s and 1940s Shanghai : a historical and stylistic analysis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/202.
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In 1930s and 1940s Shanghai, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular song which suggests the beginnings of Chinese popular music in modern times. However, Shanghai popular song has long been neglected in most works about the modern history of Chinese music and remains an unexplored area in Shanghai studies. This study aims to reconstruct a historical view of the Shanghai popular music industry and make a stylistic analysis of its musical products. The research is undertaken at two levels: first, understanding the operating mechanism of the ‘platform’ and second, investigating the components of the ‘products’. By contrasting the hypothetical flowchart of the Shanghai popular music industry, details of the producing, selling and consuming processes are retrieved from various historical sources to reconstruct the industry platform. Through the first level of research, it is found that the rising new media and the flourishing entertainment industry profoundly influenced the development of Shanghai popular song. In addition, social and political changes and changes in business practices and the organisational structure of foreign record companies also contributed to the vast production, popularity and commercial success of Shanghai popular song. From the composition-performance view of song creation, the second level of research reveals that Chinese and Western musical elements both existed in the musical products. The Chinese vocal technique, Western bel canto and instruments from both musical traditions were all found in historical recordings. When ignoring the distinctive nature of pentatonicism but treating Chinese melodies as those on Western scales, Chinese-style tunes could be easily accompanied by chordal harmony. However, the Chinese heterophonic feature was lost in the Western accompaniment texture. Moreover, it is also found that the traditional rules governing the relationship between words and the melody was dismissed in Shanghai popular songwriting. The findings of this study fill in the neglected part in modern history of Chinese music and add to the literature on the under-explored musical area in Shanghai studies. Moreover, this study also demonstrates that against a map illustrating how musical products moved from record companies to consumers along with all other involved participants, the history of popular music can be rediscovered systematically by using songs as evidence, treating media material carefully and tracking down archives and surviving participants.
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Pei, Yushu. "An Analysis of the Attempted Amalgamation of Western and Chinese Musical Elements in Huang Anlun's Piano Concerto in G Minor, Opus 25b, a Lecture Recital, Together with Three Recitals of Selected Works by Bach, Beethoven, Chopin, Liszt, Mozart, Schubert, and Schumann." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935793/.
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While China possesses one of the world's richest musical heritages, it remained unaffected by Western music until early in this century. Subsequently, there was a movement of nationalism in music approximately three decades after the introduction of Western music. This movement, aimed at utilizing Western compositional techniques to create musical works that still would be uniquely Chinese, continues even today. Huang's piano concerto was written in 1982, just a few years after the Cultural Revolution. At the time, most Chinese composers were "handicapped" by their lack of knowledge of Western contemporary music and by their limited study of both Western and Chinese traditional forms. Huang Anlun, a composer-in-residence at the Central Opera House in Beijing, traveled to North America to study at the University of Toronto and Yale University. Subsequently his music is widely performed and well received around the world. After presenting background information on Western music in China and an introduction to basic Chinese music theory, this study has analyzed Huang's piano concerto, with a particular focus on identifying, comparing, and analyzing elements of Western and Chinese music. After a survey of the formal structure of the concerto, this study has discussed Chinese modality and Western harmony--the two most important factors in the conception of Huang's concerto. A comparative study between Chinese folk songs and the thematic materials in Huang's concerto is followed by a discussion on "imitations" of Chinese instruments. The study has also examined Western compositional techniques incorporated into this concerto, such as thematic transformation, contrapuntal writing, cyclic procedure, as well as atonal and serial techniques. Through a detailed analysis, this study attempts to demonstrate how Huang has blended Western and Chinese musical syntaxes to create an artistic work that is also uniquely Chinese.
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Wong, Jum-sum James, and 黃湛森. "The rise and decline of cantopop." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31057330.
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Ng, Lok. "Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/ng_lok/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 21, 2003, Oct. 11, 2004, Oct. 24, 2005, and July 12, 2006. Includes bibliographical references (p. 33-35).
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勞婉莎. "粵語流行曲詞研究 = The study of lyric of Cantonese popular song." Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636194.
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"Becoming Chinese music: guqin and music scholarship in modern China." 2002. http://library.cuhk.edu.hk/record=b5895963.
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Chuen Fung Wong.Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.
Includes bibliographical references (leaves 94-102).
Abstracts in English and Chinese.
Abstract --- p.i
Abstract (Chinese Translation) --- p.iii
Acknowledgements --- p.v
Table of Contents --- p.vi
List of Figures and Tables --- p.viii
Romanization and Translation --- p.ix
Chapter 1. --- Introduction --- p.1
Beyond Ethnomusicology and Music History --- p.1
Music Scholarship and Historiography in Modern China --- p.3
Modern Research on Guqin: Becoming a Chinese Instrument --- p.8
On Methodology --- p.11
Chapter 2. --- The Making of Modern Notation: Reformation Models of Guqin Notation in the Twentieth Century --- p.14
Introduction --- p.14
Guqin Notation --- p.16
Traditional Notation/Pre-Modern: An Imagined Tradition --- p.18
Modern Changes --- p.20
Notation Model in Oinxue Rumen --- p.21
Notation Model in Qinjing --- p.23
Wang Guangqi's Model --- p.25
Yang Tinliu's Reformation Proposal --- p.28
Gong Yi´ةs Guqin Yamoufa --- p.31
Concluding Remarks: The Making of a Modern Notation --- p.35
Chapter 3. --- Between Creativity and Reconstruction: Dapu and Its Changing Concept --- p.38
Introduction --- p.38
Defining Dapu --- p.40
"Between Ancient and Modern, Historical and Creative" --- p.41
The Power of Silk String --- p.46
Dapu in Modern China and Its Practical Uses --- p.48
Concluding Remarks: Dapu and Modernity in China --- p.51
"Epilogue: A Brief Report on the Fourth National Dapu Conference,19-26 August 2001, Changshu" --- p.56
Chapter 4. --- Becoming a Chinese Music history: Guqin and Music Historiography --- p.60
Introduction --- p.60
Music Historiography and the Work-Concept in China --- p.63
Guqin and Musical Works --- p.66
Situating Guqin Music into History: The Irony of Meihua Sannong --- p.68
The Tactics of Historicization: The Case of Lisao --- p.72
Werktreue and Chinese Music Historiography: A Conceptual Imperialism --- p.76
Chapter 5. --- Conclusion: Guqin and Postcolonial Modernity in China --- p.80
Introduction --- p.80
A Postcolonial Reading --- p.82
The Quest for Modernity --- p.83
Final Remarks: On Translation and Chinese Music Scholarship --- p.86
Appendix A Chinese Dynasties and Historical Periods --- p.88
"Appendix B Map of China, Hong Kong, and Taiwan" --- p.89
Appendix C General Histories of Chinese Music --- p.90
Reference Cited --- p.94
Glossary of Chinese Terms --- p.103
23
"Three case studies of "Chineseness" in Chinese rock." 2013. http://library.cuhk.edu.hk/record=b5549328.
Full textAbstract:
如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端，中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者，中國搖滾樂並沒有簡單複製西方搖滾樂史；作為一種流行次文化現象，中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷，而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史，筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。作為中國搖滾樂的先驅者，在崔健的音樂作品中保留著一種「紅色情結」，一些革命年代的印記依舊會在他的歌曲中顯現；另外，崔健的一句「一無所有」喊出了那一代青年人的心聲，這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意，也因此使中國搖滾樂的命運同西方搖滾樂一樣，最先以一種反叛的不安分子形象示人；唐朝樂隊是中國搖滾樂「黃金時代」的代表，對中國古代輝煌歷史時期的追憶，加之重金屬音樂風格的衝擊力，使其再造了一個理想的中國陽剛之氣──「文武雙全」；創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩， 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比，本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。
Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on “Chineseness“ in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000.
Widely regarded as the forerunner of Chinese rock, Cui Jian’s music has a “red“ ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock’s “golden age“. Through invoking a glorious period in China’s ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of “Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians’ attitudes toward an “ideal“ conceptualization of China have likewise also gradually changed.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Ren, Shaoren.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references and discographies.
Abstracts also in Chinese.
Abstract --- p.ii
Table of Contents --- p.iv
List of Figures --- p.v
Chapter Chapter I --- Introduction --- p.1
Initial Research and Methodology --- p.2
Chinese Rock in Historical Context --- p.5
The “Chinese in Chinese Rock --- p.6
Literature Review --- p.9
Limits of This Study --- p.16
Thesis Outline --- p.17
Chapter Chapter II --- Cui Jian and Chinese Rock’s First On the New Long March --- p.19
Alternative Military Song on the New Long March --- p.20
“On a Stretch of Exhausted Earth, We Harvest Meager Hopes“ --- p.28
Chapter Chapter III --- Tang Dynasty and Chinese Masculinity --- p.39
China Calling for Heavy Metal --- p.40
Tang Dynasty and Chinese Masculinity --- p.43
Patriotism and Idealism --- p.57
Chapter Chapter IV --- Second Hand Rose and Ironic Aesthetic --- p.62
Spring Festival Gala and Twirling Duet --- p.64
Twirling Duet Rock --- p.68
“Big Bro, You’re Playing Rock, But What the Heck For?“ --- p.72
Chapter Chapter V --- Conclusion --- p.83
Maintaining Chineseness --- p.83
Shifting Styles of Chineseness and Understanding “Ideals“ --- p.86
Bibliography --- p.89
24
"The function of western music in the eighteenth-century Chinese court." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074369.
Full textAbstract:
During the reign of Kangxi (r. 1662-1722), the second Manchu emperor of the Qing dynasty (1644-1911), Western music began to take root in the Manchu court. There is abundant evidence that the missionaries performed Western music before Kangxi and the emperor looked upon the Jesuits Ferdinand Verbiest (1623-1688) and Tomas Pereira (1645-1708) as his music tutors. In 1713, Kangxi commissioned a treatise on music, Yuzhi Lulu zhengyi (A True Doctrine of Music, by Imperial Authority), which was completed in 1714. Begun by Pereira but completed by the Italian Lazarist Paolo Felipe Teodorico Pedrini (c. 1670-1746), the third part of this musical treatise Xieyun duqu, is devoted exclusively to Western music theory. This treatise is the earliest official Chinese source concerning Western music theory.Evidence that Western theoretical writings were included in Lulu zhengyi raises an important question: why did Kangxi demand that Western music theory be incorporated within his imperial treatise? There are only a limited number of studies on Western music in the early Qing court, and this research fills in a serious lacuna. This study will argue that it is not simply due to Kangxi's open mind and fondness for European knowledge that leads to the incorporation of Western music theory in Lulu zhengyi. Kangxi's goal was to use Western music as a tool to restore the lost Chinese ancient music.
The reign of Kangxi witnessed the elevation of Western music in the Qing court. After the reign of Kangxi, Western music continued to be performed at the court, however, its prestige diminished, and it served solely as entertainment for the emperors. Indeed, in Yongzheng's preface to Luli yuanyuan (1723), Western music theory was regarded as that of the Western barbarian. Later, when Qianlong ordered the compilation of the sequel to Lulu zhengyi in 1741, no Western music was included.
Chiu, Wai Yee Lulu.
"May 2007."
Adviser: Michael Edward McClellan.
Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0020.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (p. 186-219).
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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in English and Chinese.
School code: 1307.
25
"香港地水南音初探." 1998. http://library.cuhk.edu.hk/record=b5896292.
Full textAbstract:
李潔嫦.論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998.
參考文獻: leaves 99-106.
Li Jiechang.
撮要 --- p.iii
Chapter 第一章 --- 地水南音源流槪說
Chapter 一´Ø --- 引言 --- p.一
Chapter 二´Ø --- 南音的起源和發展 --- p.二
Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四
Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代）
Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八
Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九
Chapter 三´Ø --- 七十年代 --- p.二五
Chapter 四´Ø --- 八十年代至今 --- p.二八
Chapter 第三章 --- 地水南音的音樂風格
Chapter 一´Ø --- 引言 --- p.四三
Chapter 二´Ø --- 唱詞結構 --- p.四四
Chapter 三´Ø --- 板面及過序的處理 --- p.四八
Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四
Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八
Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣
Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八
Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三
Chapter 三´Ø --- 結論 --- p.九十
Chapter 第五章 --- 結論 --- p.九四
參考書目 --- p.九九
附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七
附錄二 《霸王別姬》的唱腔分析 --- p.一一七
附錄三《客途秋恨》的唱腔分析 --- p.一三一
表目
表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五
表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七
表2-3 八十至九十年代南音演出和講座資料 --- p.三九
表3-1 --- p.五五
表3-2 --- p.五七
表3-3 --- p.六五
表3-4 --- p.六九
表3-5 --- p.七二
表4-1杜煥生平年表 --- p.八二
表4-2唐健垣生平年表 --- p.八八
26
"Zheng music: the reception of post-1949 Chinese tradition in Hong Kong." 2007. http://library.cuhk.edu.hk/record=b5896537.
Full textAbstract:
Lau, Shui Chung Jason.Thesis submitted in: November 2006.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 122-127).
Abstracts in English and Chinese.
Abstract --- p.i
Abstract (Chinese Translation) --- p.iii
Acknowledgements --- p.iv
Table of Contents --- p.v
"List of Figures, Tables and Examples" --- p.viii
Romanization and Translation --- p.ix
Chapter Chapter One --- Introduction --- p.1
Returning to their Homelands ´ؤContemporary Ethnomusicological Research --- p.2
Background and Issues --- p.5
Methodology and Approach --- p.8
Sources and Related Studies on Zheng Music --- p.9
Study of Zheng Music in Hong Kong --- p.10
Chapter Chapter Two --- The Development of Zheng in Hong Kong Since the 1940s --- p.14
Important Years in the Colonial History of Hong Kong --- p.14
History of Zheng in Hong Kong --- p.15
Chapter 1. --- 1940s and 1950s --- p.15
Chapter 2. --- 1960s --- p.18
Chapter 3. --- 1970s --- p.22
Chapter 4. --- 1980s --- p.26
Chapter 5. --- 1990s --- p.30
Chapter 6. --- 2000s --- p.34
Practical Examinations for Zheng --- p.36
Zheng in Hong Kong Today --- p.38
Chapter Chapter Three --- Hong Kong Zheng School? --- p.41
"The ""Hong Kong Zheng School""" --- p.41
The Basic Criteria for Establishing a Regional School --- p.43
Chapter 1. --- So Chun-bo's Criteria for Establishing a Regional School --- p.44
Chapter 2. --- He Baoquan's Criteria for Establishing a Regional School --- p.44
"Does the ""Hong Kong Zheng School"" Stand?" --- p.46
Fengshouge - the First Composed Zheng Piece in Hong Kong --- p.49
Huangcheng Laike - the First Zheng Solo Piece Composed by So Chun-bo --- p.55
Conclusion --- p.58
Chapter Chapter Four --- Regional Schools - A Post-1949 Invention --- p.59
A Brief History of Zheng --- p.59
Chapter 1. --- Zheng Notation in the 20th Century --- p.60
Chapter 2. --- Different Models of Zheng --- p.61
Chapter 3. --- Change of Tuning System for Zheng Music --- p.62
Chapter 4. --- Controversy over the Origin of the Zheng --- p.66
Chapter 5. --- Problems in Regional Zheng Schools --- p.67
Zheng Schools in China --- p.69
Development of Zheng in the PRC after1949 --- p.72
Manuscripts of Guqin and Pipa --- p.76
Manuscripts of Zheng --- p.78
Differences Between Guqin and Zheng --- p.81
Contents of the Early Published Zheng Scores in the 20th Century --- p.84
Chapter 1. --- Nizhengpu and Guzheng Duzouqu Written by Liang Tsai-ping --- p.84
Chapter 2. --- Guzheng Tanzhoufa Written by Cao Zheng --- p.88
Fundamental Problems in Zhejiang and Shaanxi Schools --- p.91
Chapter 1. --- The Zhejiang School --- p.91
Chapter 2. --- The Shaanxi School --- p.95
Chapter 3. --- Reasons for their Success --- p.97
Chapter 4. --- The Jiao School --- p.98
Conclusion --- p.99
Chapter Chapter Five --- Conclusion --- p.100
Introduction --- p.100
Construction of a Regional School - A Mainland Chinese Conception --- p.101
"The ""Invented Tradition""" --- p.102
Epilogue --- p.104
Chapter Appendix I --- Total Number of Participants in Chinese Instrument Classes in the HKSMF --- p.106
Chapter Appendix II --- Total Number of Participants in Zheng Solo Classes in the HKSMF --- p.107
Chapter Appendix III --- List of Set Pieces for Zheng Solo Classes in the HKSMF --- p.109
Chapter Appendix IV --- List of Own Choice Pieces for Open or Advanced Zheng Solo Classes --- p.111
Chapter Appendix V --- Syllabus of the Practical Examinations for Zheng Organized by So Chun-bo --- p.113
Character List and Glossary --- p.115
Bibliography --- p.122
Websites --- p.128
27
"《昭代簫韶》與清代宮廷演劇研究: A study of the glorious music of a brilliant age (Zhaodai xiaoshao) and the court theatre in the Qing dynasty." 2014. http://library.cuhk.edu.hk/record=b6115620.
Full textAbstract:
本文以清代宮廷演劇制度的完善與興替、宮廷大戲《昭代簫韶》的創作與演出為中心，探討其中帝王性情、意識形態的投射與帝國形象的建構；試圖對宮廷演劇繁盛與變遷的原因、《昭代簫韶》文本與演出的意涵、宮廷與民間演劇的交流與影響等問題，作出新的解釋。現有研究強調清朝帝后喜好戲曲娛樂、宮廷舞臺壯麗輝煌，以及晚清宮廷演劇變革等等。本文認為，清代宮廷演劇實有更多豐富的內涵有待更深入的研討。帝后的倡導及參與，自是推動清代宮廷演劇繁盛的重要原因，但在滿足帝后娛樂的同時，宮廷演劇也用於朝廷儀典；戲曲教化與國家儀式的功能相互結合。
清代宮廷演劇，在元明清雜劇傳奇及亂彈之外，還有適應現實需要而奉旨編演的大戲與節戲。宮廷大戲，規模龐大，情節複雜，排場繁縟，在中國戲曲史上十分獨特。創作於乾嘉之際的《昭代簫韶》，取材於明代演義小說《北宋志傳》，鋪寫楊家將輔宋抗遼事。通過特定情節與人物穿戴，《昭代簫韶》參與了清代正統華夷的論述，並含有重評歷史與訓諭臣民的深意。此部大戲將褒忠誅奸的昇仙入地與軍陣鬥法的神道描寫，與觀劇現場的君臣秩序相結合，形成舞臺上、下戲曲與現實的呼應，道德教化寓意明顯。
本文對清代宮廷演劇制度變遷與宮廷大戲《昭代簫韶》演出史的考察，還特別關注戲曲在宮廷與民間的流動與影響。尤其是外學伶人進入與退出宮廷，使得宮廷伶人的規模與組成發生改變，這不僅影響到大戲的演出形式與藝術呈現，也使得宮廷演劇處於對外開放與吸收融合的狀態。清代戲劇便在宮廷、文人與民間三方面，均臻繁盛。
Theatrical performance played an important role in the Qing court culture. This thesis discusses the evolution and change of the court theatre institution throughout the Qing Dynasty. In the contexts of court entertainment, political activities and cultural policy, the creation and performance history of the grand theatre piece, Zhaodai xiaoshao, or The Glorious Music of a Brilliant Age, from the Qianlong-Jiaqing to the Guangxu period serve as an adequate example. In this case study, we can explore the nature of the Qing emperors and Empress Dowager Cixi, state ideology and the construction of the Empire’s image.
Most existing research in Qing court drama and theatre focuses on the Qing emperors’ great passion for theatre, the three-tiered grand stage in the imperial palace and the wealth of props and costumes, as well as the repertoire change in the late Qing, especially the formation and development of Jingju or Peking Opera. This thesis arguesthat given its rich contents and relevant contexts, the Qing court theatre deserves far more research both in breadth and in depth. The participation of the imperial power undoubtedly promoted court theatre. Theatrical performances at court became not only private entertainment for the imperial family; they also appeared in state ceremonies with special ritual significance. In addition, the grand plays like the 240-scened Glorious Music of a Brilliant Age projected the images and instructions of the emperorsto enlighten the subjects, for particular needs in political circumstances.
The Glorious Music of a Brilliant Age was based on the story of the Yang Family Generals in the Northern Song Dynasty. Usingthe concept of destiny, the grand play established the plot in which Song defeated Liao and the Taizong of Song completed the unification of the Hans and non-Hans. This is not the real history. However, the play reflected the transition from the early Qing of the northern ethnic-group regime to the mid-Qing of the unified Chinese dynasty. It showed the Manchu emperors’ intent to construct a political orthodox position for their empire. Through the specific costumesof its characters, this history play revealed the ethnic and identity issues among the audience in the Qing court. It teaches the audience and later, readers to be loyal subjects.
In the performance history of The Glorious Music of a Brilliant Age, it is also important to note the institutional evolution of the court theatre, especially the folk actors flowing inside and outside the court. These actors’ movement created opportunities for exchange between the court theatre and the public theatre. For instance, during the Hundred Days Reform, Zhaodai xiaoshao was adapted from its original Kun-Yi music to the Pihuang music under the command of the Empress Dowager Cixi to be performed by the eunuch actors and famous celebrities from the capital theatre. The adaptation and performances of this play, when closely examined, expressed the "ideal" parent-child and monarch-subject relationship which the Empress desired Emperor Guangxu to observe, given the reality of tension between the two at that time. In other words, the performances at court theatre often serve the political purpose of communication, indoctrination, as well as integration.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
胡光明.
Thesis (Ph.D.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 255-281).
Abstracts also in English.
Hu Guangming.
28
"粤劇敲擊音樂初探." 馬曼霞], 1996. http://library.cuhk.edu.hk/record=b5895689.
Full textAbstract:
馬曼霞.論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996.
參考文献 : leaves 218-231.
Ma Manxia.
Chapter 第一章： --- 論文槪述 --- p.1
Chapter 第一節： --- 論文題目簡介 --- p.1
Chapter 第二節： --- 硏究動機與目的 --- p.3
Chapter 第三節： --- 與本論文有關的粤劇音樂硏究 --- p.5
Chapter 第四節： --- 硏究方法 --- p.8
Chapter 第五節： --- 硏究範圍 --- p.10
Chapter 第六節： --- 採訪對象及劇目取例 --- p.11
Chapter 第二章： --- 粤劇敲擊音樂的發展及結構 --- p.16
Chapter 第一節： --- 粤劇敲擊樂器溯源 --- p.16
Chapter 第二節： --- 樂器簡介 --- p.25
Chapter 第三節： --- 樂器使用的歷時流變 --- p.31
Chapter 第四節： --- 樂部編制 --- p.39
Chapter 第五節： --- 鑼鼓點記譜法 --- p.46
Chapter 第六節： --- 鑼鼓點分類 --- p.68
Chapter 第七節： --- 鑼鼓點結構 --- p.80
Chapter 第三章： --- 粤劇敲擊音樂的功能 --- p.87
Chapter 第一節： --- 開始´ؤ束戲劇 --- p.87
Chapter 第二節： --- 作爲演出前的「通告」 --- p.99
Chapter 第三節： --- 爲「例戲」作拍和 --- p.101
Chapter 第四節： --- 作正本戲的拍和 --- p.105
Chapter 第四章： --- 敲擊音樂於劇場內外的溝通方式 --- p.143
Chapter 第一節： --- 「敲擊樂部」內部溝通方式 --- p.144
Chapter 第二節： --- 與「旋律樂部」的溝通方式 --- p.177
Chapter 第三節： --- 與演員及觀眾的溝通方式 --- p.192
Chapter 第五章: --- 總結 --- p.203
Chapter 第一節： --- 敲擊音樂的溝通條件 --- p.203
Chapter 第二節： --- 掌板在劇場中擔當的角色 --- p.207
Chapter 第三節： --- 結語 --- p.216
參考資料 --- p.218
29
"香港西貢及其鄰近地區歌謡硏究." 1989. http://library.cuhk.edu.hk/record=b5887244.
Full textAbstract:
葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ...稿本(據電腦打印本複印)
Thesis (M.A.)--香港中文大學, 1989.
Gao ben (ju dian nao da yin ben fu yin)
Includes bibliographical references (leaves 253-262).
Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ...
Thesis (M.A.)--Xianggang Zhong wen da xue, 1989.
嗚謝 --- p.i
序 --- p.iii
地圖索引 --- p.v
歌謠譜例索引 --- p.vi
歌詞例子索引 --- p.viii
圖表索引 --- p.x
音樂例子索引 --- p.xiii
照片索引 --- p.xiv
Chapter 第一部分： --- 論文
Chapter 第一章 --- 前言
Chapter 第一節 --- 研究地區之讓擇 --- p.1
Chapter 第二節 --- 過去及目前之研究 --- p.2
Chapter 第三節 --- 研究目標 --- p.5
Chapter 第四節 --- 資料來源 --- p.6
Chapter 第二章 --- 歌謠之概念及分類
Chapter 第一節 --- 歌謠之定義及概念 --- p.10
Chapter I --- 過往學者對「民歌」所下之定義 --- p.11
Chapter II --- 筆者對西貢地區歌謠所作之定義 --- p.14
Chapter III --- 粤省與西貢地區歌謠之稱謂問題 --- p.16
Chapter 甲 --- 「粤謳」 --- p.16
Chapter 乙 --- 「粤風」 --- p.17
Chapter 丙 --- 「粤歌」 --- p.18
Chapter 第二節 --- 歌謠分類之概念及分類方法 --- p.22
Chapter I --- 歌謠分類的一些概念 --- p.22
Chapter II --- 台灣歌謠之一般分類方法 --- p.24
Chapter III --- 過往國內歌謠之「三分法」 --- p.25
Chapter IV --- 近期國內歌謠「色彩區」之劃分 --- p.26
Chapter V --- 廣東省（粤）歌謠的分類 --- p.29
Chapter VI --- 本港歌謠之分類 --- p.30
Chapter VII --- 筆者對西貢歌謠之分類方法 --- p.32
Chapter 甲 --- 歌謠劃分之層次 --- p.32
第一級分類： 體系 --- p.33
第二級分類： 歌謠方言色彩區 --- p.33
第三級分類： 體裁 --- p.34
第四級及五級分類歌類及歌目 --- p.35
第六級分類： 歌名 --- p.37
Chapter 第三章 --- 西貢歌謠尋根
Chapter 第一節 --- 西貢地區人口組成的一些資料 --- p.42
Chapter 第二節 --- 本地人與蛇歌 --- p.45
Chapter I --- 「輋」字，「畬」字及類似字之字義 --- p.46
Chapter II --- 目前國內及廣東省畬族的狀況 --- p.47
Chapter III --- 西貢地區蛇歌之特色 --- p.49
Chapter IV --- 福建畬歌之特色 --- p.54
Chapter V --- 浙江畬歌之特色 --- p.56
Chapter VI --- 西貢「九龍蛇話山歌」命名之推想 --- p.59
Chapter 甲 --- 源出於浙江九龍山龍泉縣？ --- p.60
Chapter 乙 --- 源出於粤北九連（龍）山一帶地區？ --- p.60
Chapter 丙 --- 源出於粤北九峰山以南之瑤區？ --- p.61
Chapter 丁 --- 源出於本港九龍城附近一帶地區？ --- p.62
Chapter 第三節 --- 客家人與客家歌謠 --- p.65
Chapter I --- 客籍人士之遷徙過程 --- p.66
Chapter II --- 西貢客家山歌的特色 --- p.68
Chapter III --- 梅縣地區客家山歌之特色 --- p.71
Chapter 第四節 --- 蛋家與蛋家歌謠 --- p.77
Chapter I --- 西貢地區漁民之狀況 --- p.77
Chapter II --- 「蛋家」與「蛋名」沿革 --- p.79
Chapter III --- 「蜑」乃「龍蛇」之後？ --- p.81
Chapter IV --- 廣東蛋民的分佈 --- p.82
Chapter V --- 西貢漁民所採用之方言 --- p.83
Chapter VI --- 西貢蛋歌之特色 --- p.84
Chapter VII --- 客家及鶴佬漁民漁歌之特色 --- p.89
Chapter 第四章 --- 歌唱場合
Chapter 第一節 --- 歌唱場合之概念 --- p.94
Chapter 第二節 --- 本地及客家山歌之歌唱場合 --- p.98
Chapter I --- 戶外及田間之山歌 --- p.99
Chapter II --- 攔路歌 --- p.100
Chapter III --- 情歌及艷情歌 --- p.102
Chapter IV --- 老人山歌 --- p.106
Chapter V --- 鬥歌 --- p.107
Chapter 第三節 --- 圍頭歌之歌唱場合 --- p.110
Chapter I --- 月令歌 --- p.111
Chapter 甲 --- 唱古人 --- p.113
Chapter 乙 --- 唱節氣 --- p.117
Chapter 丙 --- 唱花木、茶菓及字眼 --- p.120
Chapter 丁 --- 唱魚名鳥名及十二生肖 --- p.123
Chapter 戊 --- 唱過番 --- p.124
Chapter II --- 猜謎歌 --- p.125
Chapter 甲 --- 猜字眼 --- p.126
Chapter 乙 --- 猜古人 --- p.127
Chapter III --- 圍名歌 --- p.127
Chapter IV --- 節日吉慶 --- p.129
Chapter 甲 --- 祝壽 --- p.129
Chapter 乙 --- 中秋 --- p.130
Chapter 丙 --- 過年 --- p.132
Chapter 第四節 --- 本地及客家「歌堂歌」及「靈堂歌」之歌唱場合 --- p.135
Chapter I --- 哭嫁與坐歌堂 --- p.136
Chapter 甲 --- 開口喊天喊地 --- p.138
Chapter 乙 --- 第一次哭辭 --- p.139
Chapter 丙 --- 坐凳頭 --- p.141
Chapter 丁 --- 上頭 --- p.143
Chapter 戊 --- 第二次哭辭 --- p.144
Chapter 己 --- 出閣 --- p.146
Chapter II --- 「靈堂歌」之歌唱場合 --- p.150
Chapter 第五節 --- 蛋家之歌唱場合 --- p.153
Chapter I --- 捕魚及行船歌 --- p.153
Chapter II --- 蛋家風俗歌謠及其歌唱場合 --- p.158
Chapter 甲 --- 哭嫁 --- p.159
Chapter 乙 --- 迎娶 --- p.161
Chapter 丙 --- 耍歌堂 --- p.164
Chapter III --- 咸水歌 --- p.166
Chapter 甲 --- 咸水字眼歌 --- p.167
Chapter 乙 --- 歎姑妹 --- p.169
Chapter 丙 --- 艇仔歌 --- p.170
Chapter 第五章 --- 西貢歌謠音樂及歌詞結構的固定因素與非固定因素
Chapter 第一節 --- 歌謠中「歌詞」之「固定」與「非固定」因素 --- p.175
Chapter I --- 歌謠「歌詞」中的「固定」因素、格式、條數規限 --- p.176
Chapter II --- 有「固定格式歌謠」中的「非固定」因素 --- p.182
Chapter 甲 --- 七言四句、三句半及五句板的例子 --- p.182
Chapter 乙 --- 七言四句變五言四句的例子 --- p.186
Chapter 丙 --- 月令歌的例子 --- p.188
Chapter 丁 --- 長篇歌謠的例子 --- p.188
Chapter III --- 「沒有固定格式歌謠歌詞」中之「固定」與「非固定」因素 --- p.198
Chapter 甲 --- 漁民歌謠的例子 --- p.198
Chapter 乙 --- 風俗歌謠的例子 --- p.202
Chapter IV --- 歌謠固定與非固定「襯字」、「襯詞」、及「襯句」 --- p.205
Chapter 甲 --- 客家歌謠例子 --- p.205
Chapter 乙 --- 本地歌謠例子 --- p.209
Chapter 丙 --- 蛋家歌謠例子 --- p.212
Chapter 第二節 --- 歌謠在「音樂」上的「固定」與「非固定」因素 --- p.215
Chapter I --- 有固定曲調歌謠的固定與非固定因素 --- p.215
Chapter 甲 --- 單句式的歌謠例子 --- p.215
Chapter 乙 --- 雙句式的歌謠例子 --- p.218
Chapter 丙 --- 三句半、四句式及五句板例子 --- p.222
Chapter 丁 --- 歌詞次序調換的例子 --- p.225
Chapter 戊 --- 詩詞句法與音樂句法的配合情況 --- p.228
Chapter II --- 「沒有基本曲調」中的固定與非固定因素 --- p.234
Chapter III --- 「襯字」 、「襯詞」、「襯句」與「音樂」之配合 --- p.239
Chapter 甲 --- 歌謠中「不重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 乙 --- 歌謠中「重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 第三節 --- 固定與非固定因素於歌謠中之作用及意義 --- p.243
Chapter I --- 「基本曲調」對歌謠流傳之重要性 --- p.243
Chapter II --- 「襯字」的功能 --- p.245
Chapter III --- 歌謠的「版本」問題 --- p.246
Chapter 第六章 --- 結語 --- p.248
中文參考書目 --- p.253
英文參考書目 --- p.261
第二部份：地圖及歌謠譜例 --- p.262-336
30
"泉州南音: 一個福建民間音樂傳統與文化認同的研究 = Nanyin in Quanzhou : a study of a folk musical tradition and cultural identity in Fujian." 2002. http://library.cuhk.edu.hk/record=b5891409.
Full textAbstract:
吳瑞珠."2002年7月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 152-156).
附中英文摘要.
"2002 nian 7 yue".
Wu Ruizhu.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 152-156).
Fu Zhong Ying wen zhai yao.
致謝 --- p.iv
摘要（中文） --- p.v
摘要（英文） --- p.vi
Chapter 第一章 --- 導論 --- p.1
人類學與民族音樂學 --- p.6
音樂傳統與文化認同 --- p.12
研究問題與理論架構 --- p.18
研究地點和研究方法 --- p.22
本文章節安排 --- p.25
Chapter 第二章 --- 福建泉州南音 --- p.27
何謂南音? --- p.27
歷史沿革 --- p.30
曲譜類別、樂器及音樂特色 --- p.39
南音和閩南風俗及其音樂功能
從名稱上看南音的發展 --- p.46
南音裡的男女現象 --- p.48
南音面對的困難 --- p.49
Chapter 第三章 --- 地方組織與表演 --- p.53
泉州市工人文化宮南樂社 --- p.54
泉州南音樂團 --- p.61
浮橋仙景南音學校 --- p.67
南音表演裡的男女角色 --- p.74
地方組織和南音的保存 --- p.75
Chapter 第四章 --- 傳統與改革 --- p.81
南音的演變 --- p.82
傳統南音的局限和新南曲的特點 --- p.88
動態的傳統 --- p.91
新南音的弱點 --- p.95
傳統文化與文化認同 --- p.101
Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106
閩南移民和跨國網絡的建立 --- p.106
境外華人和泉州的南音組織 --- p.110
境內外南音團體的聯繫 --- p.111
傳統的被利用 --- p.114
音樂傳統和懷舊情懷、文化認同 --- p.122
Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127
國際組織和世界文化遺產的保護 --- p.128
泉州南音申報世遺的背景 --- p.129
各界的表現 --- p.132
世遺的價值 --- p.137
世遺和文化認同 --- p.139
Chapter 第七章 --- 結語 --- p.144
附錄（新南曲唱詞） --- p.149
參考書目 --- p.152
31
"貴州省從江縣高增鄉侗族多聲部民歌: 大歌的探索." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895582.
Full textAbstract:
李允協.論文(碩士) -- 香港中文大學硏究院音樂學部, 1995.
參考文獻: leaves 129-143.
Li yunxie.
鳴謝 --- p.´þ
前言 --- p.(3)
Chapter 1 --- 侗族概況與音樂述略 --- p.1
Chapter 1.1 --- 侗族概況 --- p.1
Chapter 1.1.1 --- 地理環境及人口分佈 --- p.1
Chapter 1.1.2 --- 語言 --- p.3
Chapter 1.1.3 --- 簡史與族源 --- p.10
Chapter 1.1.4 --- 家庭和社會組織 --- p.17
Chapter 1.1.5 --- 信仰和崇拜 --- p.21
Chapter 1.1.6 --- 風俗習慣 --- p.28
Chapter 1.1.7 --- 節會要覽 --- p.32
Chapter 1.2 --- 音樂述略 --- p.37
Chapter 1.2.1 --- 民間歌曲 --- p.37
Chapter 1.2.2 --- 樂器與器樂 --- p.45
Chapter 1.2.3 --- 侗戲音樂 --- p.52
Chapter 1.2.4 --- 曲藝 --- p.56
Chapter 2 --- 侗族大歌概貌 --- p.58
Chapter 2.1 --- 分類 --- p.58
Chapter 2.2 --- 唱大歌的場合 --- p.60
Chapter 2.3 --- 大歌的结構 --- p.62
Chapter 2.4 --- 歌詞韵律结構 --- p.66
Chapter 3 --- 侗歌的傳承與社會功能 --- p.68
Chapter 3.1 --- 承傳 --- p.69
Chapter 3.2 --- 社會功能 --- p.73
Chapter 4 --- 多聲部民歌曲目研究分析 --- p.78
Chapter 4.1 --- 田野工作簡況 --- p.78
Chapter 4.2 --- 多聲部民歌曲目分析 --- p.84
Chapter 4.2.1 --- 曲目介紹 --- p.84
Chapter 4.2.2 --- 曲目綜合分析 --- p.89
Chapter 4.2.3 --- 譜例個案分析 --- p.112
Chapter 5 --- 總结 --- p.123
附錄
Chapter 1 --- 參考書目 --- p.129
Chapter 1.1 --- 外文參考書目 --- p.129
Chapter 1.2 --- 中文參考書目及論文目錄 --- p.130
Chapter 2 --- 附圖
附圖一中國民族分佈概圖 --- p.144
附圖二 侗族的分佈 --- p.145
附圖三 侗語方言區域圖 --- p.146
附圖四 侗族蘆笙 --- p.147
附圖五 侗族蘆笙筒 --- p.147
32
"粤劇音樂的調式." 2007. http://library.cuhk.edu.hk/record=b5896705.
Full textAbstract:
周仕深."2007年5月".
論文(哲學碩士)--香港中文大學, 2007.
參考文獻(leaves [189]-202).
"2007 nian 5 yue".
Abstracts in Chinese and English.
Zhou Shishen.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (leaves [189]-202).
前言´ؤ´ؤ有關粤劇音樂調式的硏究 --- p.i
Chapter 一´Ø --- 引言 --- p.i
Chapter 二´Ø --- 過往硏究 --- p.i
Chapter 三´Ø --- 章節結構 --- p.vi
Chapter 四´Ø --- 硏究方法 --- p.vii
Chapter 五´Ø --- 小結 --- p.viii
Chapter 第一章 --- 音階和調式槪論 --- p.1
Chapter ´ؤ´Ø --- 引言 --- p.1
Chapter 二´Ø --- 西方古典音樂的調式 --- p.3
Chapter 三´Ø --- 中國傳統音樂的音階和調式 --- p.5
Chapter 四´Ø --- 東南亞國家傳統音樂調式簡介 --- p.15
Chapter 五´Ø --- 潮州及客家音樂調式簡介 --- p.18
Chapter 六´Ø --- 小結 --- p.20
Chapter 第二章 --- 粤劇音樂的音階 --- p.22
Chapter 一´Ø --- 粤劇歷史簡介 --- p.22
Chapter 二´Ø --- 粤劇音樂的音階 --- p.24
Chapter 三´Ø --- 粤樂傳統七律 --- p.27
Chapter 四´Ø --- 小結 --- p.41
Chapter 第三章 --- 粤劇曲牌中的「線」和調式 --- p.44
Chapter 一´Ø --- 曲牌的「線」與調式的關係 --- p.44
Chapter 二´Ø --- 曲牌調式分類 --- p.46
Chapter 三´Ø --- 曲牌中有關「線」的處理 --- p.59
Chapter 四´Ø --- 曲牌的調式處理 --- p.61
Chapter 五´Ø --- 小結 --- p.65
Chapter 第四章 --- 板腔音樂唱腔的調式基礎 --- p.67
Chapter 一´Ø --- 唱腔旋律與粤音的關係 --- p.67
Chapter 二´Ø --- 板腔唱腔的調式交替原則 --- p.80
Chapter 三´Ø --- 粤劇粤曲唱腔設計´ؤ´ؤ「度腔」 --- p.85
Chapter 四´Ø --- 反線中板唱腔的調式變化 --- p.86
Chapter 五´Ø --- 小結 --- p.92
Chapter 第五章 --- 乙反線 --- p.94
Chapter 一´Ø --- 乙反線簡介 --- p.94
Chapter 二´Ø --- 乙反線行腔及其調式結構 --- p.98
Chapter 三´Ø --- 從乙反二黃慢板行腔看粤劇唱腔設計 --- p.101
Chapter 四´Ø --- 唱詞聲調對乙反線「乙」音的影響 --- p.112
Chapter 五´Ø --- 小結 --- p.115
Chapter 第六章 --- 士工線 --- p.116
Chapter 一´Ø --- 板腔中的士工線 --- p.116
Chapter 二´Ø --- 王粤生的士工線小曲創作 --- p.117
Chapter 三´Ø --- 士工線、乙反線與反線「合一乙」音程之比較 --- p.120
Chapter 四´Ø --- 小結 --- p.123
Chapter 第七章 --- 南音和木魚唱腔調式分析 --- p.124
Chapter 一´Ø --- 南音和木魚歷史簡介 --- p.124
Chapter 二´Ø --- 南音和木魚唱詞結構 --- p.125
Chapter 三´Ø --- 木魚唱腔分析 --- p.127
Chapter 四´Ø --- 南音唱腔分析 --- p.142
Chapter 五´Ø --- 小結 --- p.150
Chapter 第八章 --- 結論 --- p.153
Chapter 附錄一 --- 把式圖 --- p.159
Chapter 附錄二 --- 記譜 --- p.161
Chapter 附錄三 --- 測音步驟 --- p.184
Chapter 一´Ø --- 音高測定槪念 --- p.184
Chapter 二´Ø --- 硏究方法及步驟 --- p.185
參考資料 --- p.189
33
"The soundscape of China: the role of HUGO CDs in Chinese cultural memory." 2005. http://library.cuhk.edu.hk/record=b5896411.
Full textAbstract:
Wong King-chung.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 66-78).
Abstracts in English and Chinese.
Abstract --- p.i
Abstract (Chinese) --- p.ii
Acknowledgement --- p.iii
Table of Contents --- p.v
List of Figures and Tables --- p.vii
Chapter Chapter 1´ؤ --- Introduction
A New Age of Sound --- p.1
Academic Background and Related Studies --- p.2
Chinese Music and the Media --- p.4
The Present Study and Methodology --- p.5
Chapter Chapter 2´ؤ --- SoundScape of China: The Influence of Ethnomusicology in China in the 1980´ةs
Introduction --- p.8
From Comparative to Cultural: Chinese Music Scholarship in the Twentieth Century Mainland China --- p.10
Revealing a Soundscape of Chinese Music´ؤDevelopment of Musical Genre Study --- p.13
Concluding Remarks --- p.18
Chapter Chapter 3´ؤ --- Mapping a Soundscape: Analyzing the HUGO CD Catalogue(s)
Introduction --- p.20
"Classification, Category and Catalogue" --- p.20
Recording Industry in Hong Kong --- p.22
Aik Yeh-goh and HUGO Production (HK) Ltd --- p.28
HUGO'S Label Division --- p.29
Statistical Analysis of HUGO CD Catalogues --- p.31
An Aural Map´ؤSoundscape of China --- p.38
Concluding Remarks --- p.42
Chapter Chapter 4´ؤ --- Whose Music? The Role of the HUGO CD Catalogue in Chinese Cultural Memory
Introduction --- p.44
Communication Theory in Studying Recording Industry --- p.46
Lasswell's 5-W Formula as a System --- p.46
Lewin's Gatekeeping Theory --- p.50
The Role of HUGO CD: Imagination of Chinese Music outside Mainland China --- p.52
Concluding Remarks --- p.54
Appendix A: Name List of Record Companies in Hong Kong before the 1990's --- p.56
Appendix B: The Catalogue of the HUGO CDs --- p.58
Selected Bibliography --- p.66
34
"Study of the music tradition and its contemporary change of the Theravada Buddhist Festival ritual performance of Dai ethnic nationality in Yunnan (Chinese text)." 2002. http://library.cuhk.edu.hk/record=b6073828.
Full textAbstract:
論文(哲學博士)--香港中文大學, 2002.參考文獻 (p. 341-355).
中英文摘要.
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.
Zhong Ying wen zhai yao.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (p. 341-355).
35
"Uncovering a tradition for the dead: politics and identity dynamics in Taoist funeral parlour music in Hong Kong." 2012. http://library.cuhk.edu.hk/record=b5549223.
Full textAbstract:
在香港，若逝世者生前沒有宗教信仰或指定的喪葬儀式，家人通常都會為他舉行道教葬禮。黎志添教授認為道教葬儀在香港已經習俗化。事實上，在一般情況下，進行道教葬儀根本不能反映死者生前信奉的宗教信仰。為何道教葬儀在香港會成為大部份香港人的習俗？我認為，道教葬儀音樂已成為香港人不言而喻的一種身份。港人一般不會關心葬儀，就算舉辦也不會深究儀式內容。但他們卻認為儀式中的音樂代表了他們的身份。在實地考察中，我發現道教葬儀音樂包含了不少廣東音樂的元素，曲牌《一錠金》就是其中的例子；事實上，採用道教儀式是香港人認同本土中國人身份的表現。
在實地考察中，我發現研究道教殯儀音樂可有多個視角，其音樂及宗教元素更蘊含多層意義。本文以樂師的活動為切入點，以政治身份角力的角度，研究香港道教殯儀音樂。
In Hong Kong, a Taoist funeral is usually held for a deceased person by his or her family if the deceased did not have any religious belief or preference. In most cases, a Taoist funeral is a mere convention rather than a reflection of choice or religious affiliation of the deceased. To explore the reason of this ritual popularized in this particular region, I would like to suggest that the music played in a Taoist funeral is part of Hong Kong people’s identities.
Most Hong Kong people, in fact, would avoid the idea of death, not to mention death rituals. When they do, they usually have little knowledge of the Taoist ritual. Most, however, consider the music to be an essential part of the ritual, which reflects to a great extent, their identity. They do, however, consider that the music played represent their identity.
During the fieldwork for this thesis, I identified a number of traditional Cantonese music pieces in the ritual. For example, the Cantonese tune “Yi-ding jin“一錠金has been playing a significant role. Ordinary Chinese people, as a matter of fact, accept that the music in Taoist funeral rituals represent their identity.
I have come to understand that there are many layers in a Taoist funeral. The musicians, the ritual, and the Taoist philosophy are part and parcel of the funeral other than the music. Through extensive fieldwork and interviews, I attempt to draw a clear picture of Taoist funeral music activities in the Hong Kong community and explore the entwined relationship between politics and identity dynamics within Hong Kong Taoist funeral music. For a long time, perhaps even today, the identity of the Hong Kong people has remained a controversial issue, given that Hong Kong was a British colony before the return of its sovereignty to China. My research, however, shows that the Hong Kong people are keen to adopt a death ritual that demonstrates their Chinese identity.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Chan, Chi Chun.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 101-108).
Abstracts also in Chinese.
Acknowledgements --- p.v
Table of Contents --- p.ix
List of Figures --- p.x
Romanization and Translation --- p.xi
A Note on Photography --- p.xii
Chapter Chapter 1 --- : Introduction
Introduction and Background --- p.1
Literature Review --- p.5
Methodology and Approaches --- p.8
Organization of the thesis --- p.13
Chapter Chapter 2 --- : Funeral Music in Hong Kong
An Introduction to Funeral Parlours in Hong Kong --- p.15
The Quanzhen School and the Zhengyi School in Hong Kong Funeral Parlours --- p.26
Funeral Music in Hong Kong Society --- p.30
Chapter Chapter 3 --- : Musical Practice of the Zhengyi School
Introduction --- p.38
Musical Instruments in the Zhengyi school --- p.38
Transmission --- p.49
Changes? The Debate Between the Local Jiaoshi and the Non-local Jiaosh --- p.51
Chapter Chapter 4 --- : Identity beyond the “Dead“ and the Hybridity of the Ritual
Introduction --- p.67
Influence of Commercialization --- p.67
Hybridity of Different Elements in Funeral Rituals --- p.75
Chinese Identity of the Relatives and the Diseased --- p.78
Chapter Chapter 5 --- : Conclusions --- p.83
Appendices --- p.92
Appendices A --- p.92
Appendices B --- p.98
Appendices C --- p.99
Appendices D --- p.100
References --- p.101
36
"香港「兒歌」與香港社會文化研究(一九八零-)." 2007. http://library.cuhk.edu.hk/record=b5893396.
Full textAbstract:
杜綺明."2007年12月".
論文(哲學碩士)--香港中文大學, 2007.
參考文獻(leaves 90-96).
"2007 nian 12 yue".
Abstract also in English.
Du Qiming.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (leaves 90-96).
摘要 --- p.iii
目錄 --- p.iv
Chapter 第一章 --- 導論 --- p.1-10
Chapter 第二章 --- 民族音樂學與香港「兒歌」的硏究 --- p.11-19
Chapter 第三章 --- 從歷史看「幼童時期」Childhood的槪念與香港「兒歌」 的關係 --- p.20-35
Chapter 第四章 --- 中國兒童歌謠與香港電視「兒歌」 --- p.36-48
Chapter 第五章 --- 香港電視廣播有限公司與香港「兒歌」的發展 --- p.49-73
Chapter 第六章 --- 校園裡兒歌與兒童生活及成長 --- p.74-81
Chapter 第七章 --- 總結 --- p.82-89
書目 --- p.90-96
37
"Chaozhou Xian shi yue in Hong Kong: a case study of the music division of the Hong Kong Chiu Chow Merchants Mutual Assistance Society, Ltd." 2002. http://library.cuhk.edu.hk/record=b5891232.
Full textAbstract:
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
38
"排瑤"歌堂儀式"音聲研究." Thesis, 2008. http://library.cuhk.edu.hk/record=b6074472.
Full textAbstract:
Firstly, while the Yao people inhabit in wide geographic regions stretching across Southern China and South East Asia, even overseas, the Paiyao, a branch of the Yao who inhabits only in the Liannan district of the Guangdong province, is unique not only in their geographical inhabitancy but also cultural characteristics.Secondly, while Yao people's Getang ritual is a wide spread ritual practice with local variations, there has not been any in-depth study on the Getang ritual of the Paiyao people.
The significance of this study are Three-fold.
The thesis aims to study the soundscape of Paiyao ethnic nationality's "Getang Ritual" in Guangdong Province.
Thirdly, with a musicological concern, this thesis approaches its subject from the perspective of "soundscape of the ritual enactment", (Tsao Penyeh 2006: 81) and aspires to reach an understanding of the wider meaning of the Getang ritual among the Paiyao people and their society.
This study consists of the following three processes: (1) Fieldwork to investigate and compile ethnographic texts from both the researcher's observation and insiders' oral narrations and relating to actions in the makings of the ritual soundscape. (2) Analysis of the ritual "sounds", in terms of themselves and their extra-musical factors. (3) Interpretation of the meaning of ritual sounds and their soundscape of Paiyao's Getang ritual within the framework of the belief system that consists of a trinity of sounds and soundscape, ritual enactment and belief.
This thesis has seven chapters, with its theoretical and methodological reverences indebted to ritual studies by Tsao Penyeh (his research of ritual and ritual soundscape of China's belief systems) and Clifford Geertz (his many writings on anthropological theory and methodology, as well as his study of "reinterpretation to other's interpretation").
周凱模.
Adviser: Pen-Yeh (Poon-Yee) Tsao.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2945.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 289-317) and indexes.
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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Zhou Kaimo.
39
"雲南劍川白族道敎儀式音樂硏究." 1998. http://library.cuhk.edu.hk/record=b6073782.
Full textAbstract:
羅明輝 = The Taoist ritual music study of Yunnan Jian-chuan Bai people / Ming-hui Luo.論文(博士)--香港中文大學, 1998.
參考文獻 (p. 272-275).
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.
Luo Minghui = The Taoist ritual music study of Yunnan Jian-chuan Bai people / Ming-hui Luo.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 1998.
Can kao wen xian (p. 272-275).
Zhong Ying wen zhai yao.
40
"殖民地後期環境的音樂認同: 香港政府音樂事務處青年中樂團團員個案研究." 2005. http://library.cuhk.edu.hk/record=b6073895.
Full textAbstract:
林詠璋.呈交日期: 2004年7月
論文(哲學博士)--香港中文大學, 2005.
參考文獻 (p. 307-323).
Cheng jiao ri qi: 2004 nian 7 yue
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.
Abstracts also in English.
Lin Yongzhang.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (p. 307-323).
41
"鄂西土家族哭嫁歌之音樂特徵與社會涵義." 1999. http://library.cuhk.edu.hk/record=b6073779.
Full textAbstract:
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.