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Yeung, Hiu Yan Dorcas. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. ; Includes bibliographical references (leaves 166-173). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgements --- p.iv ; Table of Contents --- p.v ; Tables and Figures --- p.vii ; Chapter Chapter 1. --- Introduction ; Chapter 1.1. --- Background --- p.1 ; Chapter 1.2. --- Objectives and research questions --- p.8 ; Chapter 1.3. --- Significance --- p.11 ; Chapter 1.4. --- Chapters overview --- p.12 ; Chapter Chapter 2. --- The Scene of Classical Music and Cultural Policy in Hong Kong ; Chapter 2.1. --- Defining classical music and beyond --- p.16 ; Chapter 2.2. --- Development of orchestras and classical music in Hong Kong --- p.17 ; Chapter 2.3. --- Models of cultural policy and policy in Hong Kong --- p.21 ; Chapter 2.4. --- Supporting arts groups --- p.29 ; Chapter 2.5. --- Current funding policy --- p.31 ; Chapter Chapter 3. --- Literature Review ; Chapter 3.1. --- Introduction --- p.38 ; Chapter 3.2. --- Theorizing state and arts - the field of cultural production --- p.38 ; Chapter 3.3. --- Arts administration --- p.47 ; Chapter 3.4. --- Amateur --- p.51 ; Chapter 3.5. --- "Chapter summary: Amateur arts group, administration and the field" --- p.58 ; Chapter Chapter 4. --- Methodology ; Chapter 4.1. --- In-depth interviews --- p.60 ; Chapter 4.2. --- Documentation --- p.63 ; Chapter 4.3. --- Limitations --- p.63 ; Chapter Chapter 5. --- Being (and Surviving as) an Amateur: Case Studies of Music Groups ; Chapter 5.1. --- Introduction --- p.65 ; Chapter 5.2. --- Estimating number of amateur music groups --- p.65 ; Chapter 5.3. --- The spectrum from professional to hobbyist --- p.67 ; Chapter 5.4. --- The need for resources --- p.76 ; Chapter 5.5. --- From beliefs to action --- p.89 ; Chapter 5.6. --- Models of operation --- p.96 ; Chapter 5.7. --- Chapter summary --- p.105 ; Chapter Chapter 6. --- Between What We Want and How They Do: Matching with the Administrative Habitus ; Chapter 6.1. --- Introduction ...

Chan, Pui Shan. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. ; Includes bibliographical references (leaves 113-118). ; Abstracts in English and Chinese; appendixes includes Chinese. ; Acknowledgements --- p.ii ; Abstract --- p.iii ; Chapter Chapter 1: --- The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s --- p.1 ; Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24 ; Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53 ; Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87 ; Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104 ; Appendix 1 --- p.107 ; Appendix 2 --- p.109 ; Appendix 3 --- p.111 ; Bibliography --- p.112

粤劇亦被譽為「南國紅豆」已有三百多年歷史是中國傳統戲曲之一。粤劇流傳於南中國,香港,以及海外華人的社會,其中以廣州佛山一帶最為著名。然而在近年外來文化的影響下,粤劇逐漸被忽視。自二零零九年起,粤劇正式被列為聯合國教科文組織人類非物質文化遺產。隨著國家政府對粤劇的重視,地方傳統曲藝在廣州的發展亦產生了變化。本論文以廣州粤劇的音樂社區為中心,著眼於樂師,把樂師分為業餘者,職業樂師及國家級演奏員三類。本論文亦論述粤劇樂師在粤劇國家化的過程中所面對的改變及所扮演的角色,並探討粤劇由一種地方性的民間傳統藝術演變為一項代表國家的非物質文化遺產對當地音樂社區造成的衝擊。 ; Since Cantonese Opera was declared an intangible cultural heritage representation by United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2009, the Chinese government has carried out different policies to "develop Cantonese Opera. This study looks at the recent "development" of Cantonese Opera in Guangzhou from the perspective of musicians. In Guangzhou, different forms of performing groups are present, from privately organized interest groups to state-managed national troupes. This study divides the music community in Guangzhou into three sub-communities: amateurs, professionals and national musicians and investigates the changing lifestyle and way of interaction of musicians within the music community due to the changes that have occurred in Guangzhou with the listing of Cantonese Opera as an intangible cultural heritage. ; This research focuses on the musicians in the Cantonese Opera music community in Guangzhou. Based on a three-month intensive fieldwork and two pilot studies conducted in 2011 using participant observation and indepth interview, this thesis aims to explore the following questions: in what ways are the musicians' social life and mode of living altered? Has the whole music community become more strengthened and united owing to the social changes? Or is the music community becoming more stratified? Is the music community harmonious or full of dissonance? ; Detailed summary in vernacular field only. ; Cheung, Ah Li. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. ; Includes bibliographical references (leaves 127-133). ; Abstracts also in Chinese. ; Abstract --- p.i ; 摘要 --- p.ii ; Acknowledgements --- p.iii ; Table of Contents --- p.v ; List of Figures and Tables --- p.vii ; Chapter ...

Wong Hoi Sze Susanna. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. ; Includes bibliographical references (leaves 55-59). ; Abstracts in English and Chinese. ; Introduction --- p.1 ; Chapter Chapter One. --- Historical Perspective ; Political Cultural and Background of Estonia --- p.6 ; Arvo Part: A Biographical Sketch --- p.10 ; Stylistic Changes ; Early Tonal Works --- p.14 ; Part's Serial Technique --- p.16 ; Chapter Chapter Two. --- Tintinnabuli Style and Its Timbre ; The Inert Period --- p.18 ; The Influence of Early Music on Psrt --- p.20 ; The Principle of the Tintinnabuli Method --- p.22 ; The Importance of Bells to s Tintinnabulation --- p.27 ; Chapter Chapter Three. --- Analyses of Tintinnabuli Compositions ; Fur Alina --- p.30 ; Cantus in Memory of Benjamin Britten --- p.38 ; De Profundis --- p.45 ; Conclusion --- p.53 ; Bibliography --- p.55

Vitayatprapaiphan Nongyao. ; Thesis submitted in: June 2004. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. ; Includes bibliographical references (leaves 91-96). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgements --- p.1 ; Preface --- p.4 ; Chapter 1. --- Introduction - Knowing the Akha ; Chapter a. --- Background --- p.10 ; Chapter b. --- Problems the Akha People are Facing --- p.16 ; Chapter c. --- Government Policy Towards the Akha and Hill Tribes in Northern Thailand --- p.22 ; Chapter d. --- The Impact of Government Policy on the Akha People --- p.27 ; Chapter e. --- Rituals and the Beliefs of the Akha --- p.30 ; Chapter 2. --- The Traditional Musical Life of the Akha --- p.33 ; Chapter 3. --- The Impact of Christianity on Akha Life and Musical Life --- p.38 ; Chapter 4. --- The Impact of Tourism on Akha Life and Musical Life --- p.56 ; Chapter 5. --- Prospects for the Traditional Musical Life of the Akha --- p.65 ; Chapter 6. --- Conclusion --- p.73 ; Appendix I: Figures --- p.82 ; Appendix II: Musical Examples --- p.89 ; Bibliography --- p.91

This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]

This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]

This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]

Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.

Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.

Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.