Dissertations / Theses on the topic 'Popular music China History and criticism'
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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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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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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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莫沉. "媒介. 現代性. 粉絲: 香港流行樂在中國內地的研究 (1992-2015)= Media, modernity, fandom: a study of Hong Kong popular music in mainland China (1992-2015)." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/342.
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The influence of Hong Kong popular music, or Cantonese songs, has reached its peak in the 1980s. However, since late 1990s, along with the emergence of a series of historical events, such as the return of Hong Kong to China in 1997, the breakout of financial crisis, and China’s accession to WTO, Hong Kong’s music industry encountered many adverse situations, such as the sharp drop in record sales, and the stagnation of star creation mechanism. As a consequence, many people believed that Hong Kong popular music had “died”. This study investigates the development of Hong Kong popular music in Chinese mainland since 1992 with the research methods of text interpretation, audience analysis, and participant observation by placing Hong Kong popular music in the contexts of China’s official ideology, popular culture industry, mass media and new media. It points out that Hong Kong popular music has demonstrated complex features involving compromise and conflict, unity and split, repression and resistance, while participating in the construction of the identity of “Great China”, the propagation of urban modernity and the production of heterogeneous “noises”. To reveal the complexity of these features, this study analyzes the songs, performances and fans activities of four major Hong Kong popular music figures—— Andy Lau, Faye Wong, Eason Chan and Anthony Wong. During 1990s, when the official media was the mainstream propagation channel, Hong Kong singers could only realize their commercial interests by first participating in the construction of the identity of “Great China”. In Hong Kong’s handover ceremony, Andy Lau performed the song “Chinese People” and sang folk songs with Cantonese lyrics. These performances clearly show how the highly-mature Hong Kong idol industry flexibly used the localization strategy to win the mainland market. Faye Wong and her creative group demonstrate the advantages of the modern urban language: the globalized human resources, the diversified musical styles and the collaged post-modern images; they interprets what the concepts of “urbanity”, “modernity” and “personality” are. Since the new millennium, the popularity of Internet greatly shocks the dominance of official discourse, and the development of market economy brings tremendous opportunities for the public to appreciate, consume and evaluate Hong Kong popular music. Meanwhile, the fans culture has been gradually flourishing. During this period, Eason Chan, relying on a large number of non-love songs and superb live performances, obtains great business success, but keeps a distance away from the aesthetic attitude of “Great China”. Such self-consciousness is spread in the new media era when singers like “Anthony Wong” produce heterogeneous “noises” with cross-regional, cross-media, mainstream and independent styles. These styles are neither “mainland songs” nor individualism; they reveal the non-commercial facet of Hong Kong popular music. This study argues that it is inadequate to judge the rise and fall of Hong Kong popular music if only focusing on its commercial success. The hybridity of Hong Kong popular music should be discussed in specific social and cultural contexts. This study suggests that Hong Kong popular music is not only a leader of the modern urban culture, but also a main force of constructing “Chinese identity”. When the commercial myth disappears, the alternative side of Hong Kong popular music, characterized by questioning, reflection and criticism, becomes prominent. This kind of trend not only creates new connections for the independent music in mainland, but also provides a historic opportunity for the reconstruction of Hong Kong identity = 香港流行音樂，或稱粵語歌的影響力，曾在上世紀八十年代達到頂峰。然而，在一九九零年代後期，伴隨著九七回歸、金融危機、內地加入WTO組織等歷史事件的推進，香港音樂產業出現了唱片銷量銳減，明星魅力減退，造星機制更新遲滯等不良現狀，導致人們認為，香港流行樂風光不再，「粵語歌已死」。本文將以1992年至今在中國內地的香港流行樂作為研究對象，採用文本解讀、受眾分析、參與式觀察等研究方法，將香港流行樂置於中國內地的官方意識形態、流行文化產業、大眾媒介以及新媒體等多重分析語境之中，指出香港流行樂在參與「大中國」身份建構、傳播都市現代性、發出異質「噪音」等方面，呈現出妥協與衝突、同一與分裂、壓制與抵抗的複雜面貌。為了展開這一面貌的複雜性，文章主體將通過對四位重要的香港流行樂人物——劉德華、王菲、陳奕迅、黃耀明——他們的歌曲、表演、歌迷活動等進行論述。在官方媒介為主流傳播途徑的一九九零年代，香港歌手的商業利益，首先需要參與「大中華」的同一性身份建構才可實現。劉德華在九七回歸慶典中唱響「中國人」，以及對粵語填詞的民歌演繹，無一不彰顯高度成熟的香港偶像工業，如何靈活運用「在地化」策略來贏得內地市場。而王菲及相關的創意團體，則體現了都市現代性語言的優勢：全球化的人力資源、多變的音樂風格、拼貼的後現代影像，書寫出何為「都市」、「摩登」、「個性」等概念。踏入新千年，互聯網的普及動搖了官方話語的壟斷地位，市場經濟的發展為人們聆聽、消費、評價香港流行樂帶來了更多可能，歌迷文化也隨之逐漸興盛。在這一時期，陳奕迅憑藉大量的非情歌和精湛的現場演出，在贏得商業成功的同時，卻跟「大國崛起」的音樂審美態度保持了距離。這一疏離的自我意識在新媒體時代得以散播——「黃耀明們」在跨地域、跨媒介、主流與獨立風格之間發出異質噪音，這種既不是「大路情歌」，也並非個人主義的成功歌頌，展現出香港流行樂非商業性的另類一面。本文認為，由單一的商業成功與否，來評判香港流行樂的興衰是遠遠不夠的，而香港流行樂的混雜多元性也需要放置於特定的社會文化語境中才具備意義。經過論證，香港流行樂既是都市現代文化的引領者，也是「中國人」身份建構的中堅力量之一。但當商業神話消失之際，香港流行樂中質疑、反思、批判的另類一面得以凸顯，這一趨勢不僅為內地獨立音樂創造新的聯結，也為香港重構本土身份提供了歷史契機。
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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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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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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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Fung, Wai-man Iris, and 馮慧敏. "The use of English in canto-pop songs in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2684333X.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.
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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.
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Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.
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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ultimately the exegesis serves to problematize larger issues in scholarly work on popular music, particularly the dominance of the paradigms of rupture, rebellion, and authenticity in relation to the historiography and criticism of the formation known as "rock".
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.
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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Wong, Chi-chung Elvin, and 黃志淙. "Making and using pop music in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.
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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.
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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
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Polychronakis, Ioannis. "Song odyssey : negotiating identities in Greek popular music." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.
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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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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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Micic, Peter 1965. "School songs and modernity in late Qing and early republican China." Monash University, School of Asian Languages and Studies, 1999. http://arrow.monash.edu.au/hdl/1959.1/7654.
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Drewett, Michael. "An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.
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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.
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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
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白雲開 and Wan-hoi Anthony Pak. "Literature and the masses in China at the time of the MayFourth Movement." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B3120885X.
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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.
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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process.
Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
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Lang, Xiaoming. "He Zhanhao and Chen Gang: "The Butterfly Lovers" violin concerto." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185865.
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Musical study of The Butterfly Lovers violin concerto by He Zhanhao and Chen Gang. Tracing its cultural background in China, analyzing in terms of the concerto's form, melody, scale, mode, harmony, and orchestration and discussing the more unusual technical demands of violin playing made by this concerto.
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Chen, Chen. "Development of the western orchestra in China." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118237.
Full textAbstract:
The subject of this study is the historical development of a vehicle for a form of western art (the orchestra) in China from 1840 to the present. The writer was primarily concerned with how the orchestra developed in broad socio-economical, political-cultural, and historical contexts with an emphasis on elaborating certain conditions responsible for the specific features of this development. The following major aspects of the development of the orchestra in China are discussed:1)The uniqueness of China's culture before accepting western culture;2)Reason and procedures by which China accepted western music and its orchestra;3)The social change in the 1950s which affected the function of the orchestra in China;4)The influence of political movements and individual roles on the development of the orchestras in China;5)The emergence of the orchestra as a cultural symbol during China's modernization;6)The fact in which the orchestra become a cultural symbol during China's modernization;7)Roles and functions of the orchestra during the cultural merging of China and the West;8)The future of the orchestra in China.The purpose of this study is to confirm the cultural assimilation of the western orchestra as a world-wide trend, one in which East and West enrich one another.School of Music
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Da, Veiga Jardim Neto Oswaldo. "The role of the military and municipal bands in shaping the musical life of Macau, ca.1820 to 1935." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B2994739X.
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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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Shen, Yipeng. "In the Heat of Sentiments: Nationalism, Postsocialism, and Popular Culture in China, 1988-2007." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10846.
Full textAbstract:
xi, 284 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation delves into the recent articulation of popular nationalism in Mainland China, with particular emphasis on the changes that globalization and transnationalism have brought about to the representation of the Chinese nation in sentimental terms. Complementing the rich existing literature of Chinese nationalism that focuses mainly on the pre-1949 period, my study explores the less-treaded contemporary era characterized by the new historical condition of postsocialism, which features a residual of the socialist past as well as its reinvention under new overwhelming trends of globalization. Postsocialism and its consequences-the deepening of a neoliberalist economic refonn, the state-intellectual promotion of cultural economy, the emergence of a dominant consumer culture, etc.-have produced new issues existing scholarship on Chinese nationalism has yet to address. One such issue is how the paradoxical entity of the "nation" in time and space has been fragmented by the accretion of diversified voices from a wide spectrum of Chinese society. In postsocialist China, the agents imagining the nation include not only regulars like the state and intellectuals, but also new players like mass-media elites and netizens (wangmin). I argue that these voices of different social forces that break up the hegemony of the state in representing the nation-the result of which being not that the state is excluded from this enterprise but that it now tells only part of the story-become expressed as modes of national sentiments (minzu qinggan) when the nation is imagined under the historical condition of postsocialism. My study then explores in detail the fashioning and refashioning of contemporary Chinese subjectivity, as it relates through the joining of national sentiments to the literal and figurative body of the nation and the social power structure, by analyzing these specific voices in a broad range of popular texts from TV, film, and the Internet. The detailed examination includes four chapters dealing with specific modes of national sentiments articulated by the intellectuals, the state, the mass-media elites, and the netizens, respectively.
Committee in charge: Tze-lan Sang, Co-Chairperson, East Asian Languages & Literature; David Leiwei Li, Co-Chairperson, English; Maram Epstein, Member, East Asian Languages & Literature; Bryna Goodman, Outside Member, History
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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.
Full textAbstract:
The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.
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Kearney, Meghan Andrea. "Every Town Is All the Same When You've Left Your Heart in the Portland Rain: Representations of Portland Place and Local Identity in Portland Popular Lyrics." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1489.
Full textAbstract:
This study looks at how place and local identity of Portland are described within music lyrics from Portland, Oregon popular indie-rock artists. Employing a constant comparative analysis on a set of 1,201 songs from 21 different popular Portland indie-rock artists, the themes of landscapes and climate were found to represent place, and themes of lifestyles and attitudes represented local identity. Reviewing the uncovered themes showed a strong connection between representations of place and local identity within lyrics and common stereotypes or understandings of the city of Portland and its indie-rock music scene. The results of this study illustrate how place and local identity are communicated through popular but locally-tied music lyrics and how these lyrics may describe cities.
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Simonot, Colette Patricia. "Performing identities who is 'Hart-Rouge'? /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22876.pdf.
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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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Trani, Maria. "La poesia di E.A. Mario /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68141.
Full textAbstract:
The present work examines the poetry in neapolitan language and particularly the works of E. A. Mario, fin de siecle poet and melody writer, who contributed considerably to the song history.The first part introduces us to the neapolitan regional poetry as well as to its language to finally conclude with the poetry set to music: the song. The ideal atmosphere is the cafe-chantant. The poets of the time including Salvatore Di Giacomo and the generation after are surveyed.
The second part deals with the author. It describes his life, his art and his works, rich of popular and especially classical elements, which crowned him with success.
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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.
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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/.
Full textAbstract:
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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陳器文 and Chi-wen Chen. "A study of the ordeal stories in Chinese popularfictions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31236637.
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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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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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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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"A Study of the variety of Cantonese popular songs in Hong Kong." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5886976.
Full textAbstract:
by Wong Siu Ling, Gabriella.Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.
Includes bibliographical references (leaves 64-69).
Chapter CHAPTER ONE --- INTRODUCTION --- p.1
Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6
Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15
Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23
Chapter CHAPTER FIVE --- METHODOLOGY --- p.37
Chapter CHAPTER SIX --- FINDINGS --- p.44
Chapter CHAPTER SEVEN --- DISCUSSION --- p.52
BIBLIOGRAPHY --- p.64
Chapter APPENDIX 1 --- List of Big Corporations and Independents --- p.70
Chapter APPENDIX 2 --- Production cost of a Standard L.P. record --- p.74
Chapter APPENDIX 3 --- Categories of song types --- p.75
Chapter APPENDIX 4 --- Comparison of songs from Big Corporations and the Indies by year --- p.78
Chapter APPENDIX 5 --- Comparison of songs from Big Corporations and the Indies from 1980- 1985 (51) 1986 -1991 (52) --- p.91
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"The uses of Sam Hui: an investigation of the formation of cultural identity in Hong Kong." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887209.
Full textAbstract:
by Ip Pui Yee.Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 87-93).
Chapter I --- Articulating Hong Kong Culture/Identity --- p.1
Chapter II --- Popular Culture and Cultural Identification --- p.17
Chapter III --- Sam Hui in Use --- p.39
Chapter IV --- Identity Formation as Voice Formation --- p.59
Chapter V --- Cultural Identity and The Ordinary --- p.82
Bibliography --- p.87
Appendix --- p.94
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"Becoming Chinese music: guqin and music scholarship in modern China." 2002. http://library.cuhk.edu.hk/record=b5895963.
Full textAbstract:
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
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Holman, Jones Stacy Linn 1966. "Music for torching." 2001. http://hdl.handle.net/2152/10542.
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Malembe, Sipho S. "South African popular gospel music in the post-apartheid era : genre, production, mediation and consumption." Thesis, 2005. http://hdl.handle.net/10413/5102.
Full textAbstract:
This dissertation studies South African popular 'Gospel' music in the context of the new order of the post-apartheid era. The four main focal points of the study are genre, production, mediation and consumption. The end of apartheid was a historic and significant socio-political phenomenon in South Africa. Its implications were not only socio-political; they also affected many other aspects of the country, including arts and culture. Music was not exempt. The genre of local 'Gospel' is premised on the Christian faith, so that by producing and mediating 'Gospel' music, the music industry is at the same time producing and mediating the 'Gospel', or Christian culture. Consequently, by consuming 'Gospel' music the audience also consumes this 'Gospel' culture. Local 'Gospel' first emerged with foreign influences brought into South Africa by the missionaries, but gradually developed into the broad and complex genre that we know today. This is, in part, a result of 'other' influences, styles and elements having been incorporated into it. Many production companies are responsible for the production of local 'Gospel' music. These can be broadly categorized into two: major companies, and indies (which are small, private production companies). These two production routes have different implications for the artists and their music. Similarly, there are many different ways in which this music is mediated, or 'channelled', to its audience. These include television, radio, print media (newspapers, magazines, posters, fliers, etc.), internet, and live performances, all of which have their own specificities that determine their effectiveness in mediating local 'Gospel'. As is the case with any music, the audience for local 'Gospel' consumes its music in different ways and for different purposes. Though the artists/musicians assign certain meanings to their musical works, the audience does not always identify precisely with those musical meanings. Different people at different places and times, with different experiences and social conditions, encounter and interpret the music in different ways. South African popular 'Gospel' music is a broad and complex genre that has developed and grown over the years. The birth of democracy has had an indelible impact on it, and on its processes of production, mediation and consumption.Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.
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Michael, Despina. "Blind rhapsodists: the image of the modern Greek popular musician." 1998. http://repository.unimelb.edu.au/10187/3288.
Full textAbstract:
This thesis sets out to explore, define and analyse the image of the Modern Greek Popular Musician between approximately 1945 and 1990 as expressed in a variety of written texts. The main argument is that there is a mythic approach in the presentation of the aforesaid image within the context 'of prevailing ideological and political concerns in modern Greek culture since the end of the War, and the ongoing influences of Western philhellenic ideals and Greek nationalism. Secondly, it is argued that the recurrence of common images points to an overall image for the popular musician which is composed of a number of general, diachronic images. The general images have been abstracted from a Typology constructed in a succinct and comprehensive way to show the wide variety of images of the popular musician over the last forty-five years. Despite this variety, however, it is argued that there a certain number of general images which are pivotal to any understanding of the overall image of the popular musician and which can be applied to all the case studies (six in total) which have also been included in the discussion and, indeed, to virtually all Modern Greek popular musicians.Finally, it is argued that the presence of recurring general images of the popular musician (which are neither random nor arbitrary) point to the strong cultural significance of that image. It is suggested that the popular musician is perceived to be a prominent figure in modern Greek culture precisely because there is a need for Culture Heroes in modern Greece; the musician seems to fulfil the relevant criteria by making an important contribution to his/her nation's culture and acting as a role-model for his/her people. Furthermore, it is contended that certain cultural values, beliefs and national preoccupations are expressed and reaffirmed in the image of the popular musician which makes its study all the more important.
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Veeran, Naresh Denny. "Orchestral music was the music of the working class : Indian popular music, performance practices and identity among Indian South Africans in Durban, 1930-1970." Thesis, 1999. http://hdl.handle.net/10413/8932.
Full textAbstract:
During the mid-1930s, a tradition of music-making
which drew its repertoire almost exclusively from
the music of Indian films began among Indian South
African ensembles in and around the city of Durban.
This dissertation examines the ways in which the
re-created music of Indian films served as a popular
expressive medium for the majority of Indian South
Africans in and around the city of Durban between
1930 and 1970. Unlike ethnomusicological and popular
music studies that focus on musics which are generally
both composed and performed by the same group
of people, this study deals with a repertoire that
was by and large imported directly from another geo-
'graphic, political, and social context: India. The
study is based on the premise that the performance
of music can serve as a valuable historical text,
and it posits that the musical structures and performance
practices of the ensembles under study encode
vital information about shared socio-political
experiences and the Indian South African identities
that emerged during the period under discussion.Thesis (Ph.D.)-University of Natal, Durban, 1999.
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"From chromaticism to pentatonism: a convergence of ideology and practice in Qin music of the Ming and Qing dynasties." 2009. http://library.cuhk.edu.hk/record=b5896695.
Full textAbstract:
Tse, Chun Yan Victor.Thesis (Ph.D.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 204-226).
Photocopy. Ann Arbor, Mich. : ProQuest LLC, 2011. xi, 226 p. : music ; 29 cm.
Abstract also in Chinese; includes Chinese characters.
Abstract --- p.i
Abstract in Chinese --- p.iii
Acknowledgments --- p.iv
List of tables --- p.viii
List of graphs --- p.ix
List of appendices at the end of individual chapters --- p.ix
List of abbreviations of qin handbooks --- p.X
Chapter Chapter 1 --- Background of the research --- p.1
Chapter Chapter 2 --- Overview of the research methodology --- p.23
Chapter Chapter 3 --- An illustrated methodology in reconstructing qin music from past scores guyuan 古怨 of the Southern Song Dynasty --- p.36
Chapter Chapter 4 --- Chromaticism in Ming Dynasty scores -baixue 白雪 in Shenqi mipu 神奇秘譜 --- p.67
Chapter Chapter 5 --- From chromaticism to pentatonism - baixue 白雪 in other Ming and Qing Dynasty handbooks --- p.91
Chapter Chapter 6 --- Non-circle-of-fifths intonations in Qing Dynasty scores --- p.119
Chapter Chapter 7 --- Varying 4th and 7th degrees - dongting qiusi 洞庭秋思 in Ming and Qing Dynasty handbooks --- p.143
Chapter Chapter 8 --- Convergence of ideology and practice --- p.168
Chapter Chapter 9 --- Conclusion ´ؤ looking back and looking forward --- p.199
References --- p.204