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Dissertations / Theses on the topic 'Chinese Muslim'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Petersen, Kristian. "The heart of the Islamic-Chinese dialogue: Wang Daiyu and the creation of a Chinese Muslim discourse." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1433482.

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2

Zhao, Yuanhao. "Space of mortality: a study of death-related practices and talks in a Chinese Muslim village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492691430932976.

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3

Muhamat, Razaleigh B. "Social and religious interaction and integration of Chinese Muslim converts with Malays in Kuala Lumpur an empirical study." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504258.

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This research set outs to explore the exact levels of the social and religious aspects of interaction and integration between Chinese Muslim converts and their Malay counterparts in Kuala Lumpur. I was sure that interaction and integration in both social and religious aspects are dilemmas which Chinese Muslims face when they convert from their own religion to Islam. It suggests that when these converts begin to practise Islam, their behaviour changes in line with the identity of the Malays. This is because Islam equates to Malay in the Malaysian context. I believed this behaviour contributes to the disintegration of their ethnic structures, and to rejection by their original ethnic group because of the social differences that emerge post-conversion. Whilst they are welcomed by their Malay counterparts, it is nevertheless hypothesized that they may not interact and integrate fully into the Malay socio-religious community. Therefore, I conducted this empirical research directly looking for the precise degree of such interaction and integration, and indirectly exploring in what kinds of Malay practices the converts participate most fully. The research is guided by several theories, methodologies and six hypothesis statements designed to narrow the investigation. Specifically, the research will be divided into many discussions. The introduction will discover the multi-ethnic situation in Malaysia and the objectives, scope and hypothesis statements of the research. The next chapter will give some of the concepts used in this research as well as identifying the problems of the converts. The next chapter will describe the historical background to the ethnic situation in Malaysia, focusing on the situation in Kuala Lumpur, where the research will be conducted. The subsequent chapter will focus on the design of the questionnaire to be presented to 600 selected respondents who are Chinese Muslim converts in Kuala Lumpur. The 600 respondents will represent 10% of the whole convert population. Then, in the next chapter will take place the processing and analysis of the returned questionnaires. The next chapter gives an account of the research findings, considered the backbone of this research, while the last chapter concentrates on the analysis of the research findings and on some suggestions that arise from them.

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4

Meyer, Patrik Kristof. "Governing Muslim minorities as security treats : the case of the Uyghurs and the concept of a new Chinese nation." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610840.

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5

McDowell, Bruce A. "Evangelism resources for international student ministry." Theological Research Exchange Network (TREN) Access this title online, 1991. http://www.tren.com/search.cfm?p036-0120.

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6

Zhao, Rui. "Les renaissances et les innovations de la culture traditionnelle chinoise dans la musique contemporaine chinoise depuis les années 1980." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040168.

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Depuis les années 1980, la société chinoise a eu un grand changement qui a ouvert la porte au monde. La musique contemporaine chinoise a aussi un grand développement pendant cette période. Dans ce cas-là, qu’elle est la spécificité de cette musique ? Nous regardons le chemin du développement de la musique contemporaine chinoise dès le début du XXème siècle, ce développement a eu une caractéristique commune (le nationalisme) dans les différents périodes. En même temps, le développement de la musique chinoise a eu ainsi ses propres spécificités périodiques. Dès les années 1980, la musique contemporaine chinoise a prolongé ceux des quatre premières générations qui a combiné la caractéristique communes (le nationalisme) et la spécificité personnelle. Ces musiciens de la cinquième génération ont cherché souvent les matériaux musicaux sur la culture traditionnelle chinoise, parfois ils ont été inspirés de cette culture, puis composés de nombreux œuvres musicales. Ces musiques ont diffusé au monde à nos jours. Ce mouvement a introduit un résultat ce que la culture traditionnelle chinoise a eu une renaissance dans la musique contemporaine chinoise. Dans cette thèse, nous développerons cette vision par les différents domaines comme le fait historique, la technique de la composition et l’esthétique musicales
From 1980s, CHINA, where great changes have taken placed, has reopened its door to the outside. The Chinese contemporary music has also experienced a rapid development, which leads to the question that how the feature of its development presents.Looking back to the way of Chinese modern music from early 20th century, a common trait can be found in different stages, which can be named as ‘national character’. Meanwhile it extends to various features to reflect the periods.From 1980s, Chinese modern music not only inherits the common character of the previous generations, but also reveals its own distinction. In order to realize all these features, the Chinese musicians of the 5th generation, deriving inspirations and contents from traditional culture of CHINA accompanied by their unique techniques, have created a great amount of musical products. With the worldwide spread of these products, Chinese traditional culture has come to be known gradually. All these lead directly to the renaissance of Chinese traditional culture to a certain extent. In this dissertation, points will be stated from aspects of history, composition technique and aesthetics, etc

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7

Harris, Rachel. "Music, identity and representation Ethnic minority music in Xinjiang, China /." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.268806.

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8

Chu, Hoi-shan, and 朱海山. "Museum for traditional Chinese garment." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983856.

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9

Fung, Chi-yip, and 馮志葉. "Museum of Classical Chinese Furniture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984563.

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10

Fung, Chi-yip. "Museum of Classical Chinese Furniture." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953205.

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Thesis (M. Arch.)--University of Hong Kong, 1999.
Includes special report study entitled: An analysis of Ming shi jiaju : Chinese furniture of Ming and early Qing Dynasty. Includes bibliographical references.

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11

Chu, Hoi-shan. "Museum for traditional Chinese garment." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956875.

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12

Cheung, Chi-wai, and 張志偉. "Museum of Chinese Science and Technology." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982712.

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Cheung, Chi-wai. "Museum of Chinese Science and Technology." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951609.

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Thesis (M. Arch.)--University of Hong Kong, 1996.
Includes special report study entitled: Relationship between man and nature in Chinese traditional architecture. Includes bibliographical references.

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14

Kong, Oi-yan Isabella. "The traditional Chinese medicine centre : at the Hong Kong Museum of Medical Sciences /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25955020.

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15

Wheeler, Tony. "Compositions for Chinese instruments." Thesis, [Hong Kong] : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12986665.

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16

Li, Yanyan. "In-Between Space - Museum of Chinese Tea." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/36031.

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Project: museum of Chinese tea. Site: in Chinatown of Washington DC. Thesis: What is in-between space? How is in-between space designed in the museum of tea? How to create the feature for different space?
Master of Architecture

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17

Wain, Alexander David Robert. "Chinese Muslims and the conversion of the Nusantara to Islam." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:53a48196-ac0e-4510-b74d-794c48e976ed.

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This thesis is a comprehensive re-examination of Maritime Southeast Asia's (or the Nusantara's) Islamic conversion history between the late thirteenth and early seventeenth centuries. Traditionally, academia has attributed this event to Muslim traders and/or Sufis from either India and/or the Middle East. During the late twentieth century, however, a number of scholars began to consider the possibility of Chinese Muslim involvement. The resulting discussions focused on a re-evaluation of Javanese history in the context of attempts to re-conceptualise pre-modern Nusantara trade (considered the catalyst for Islamisation) as fundamentally orientated towards Southern China, where Muslims played a significant commercial role from the seventh through to the early fifteenth centuries. Despite the intrinsic merits of these efforts, however, they have all been limited by an overwhelming focus on Java and a tendency to examine the relevant issues over only a very narrow time span. This thesis seeks to rectify these problems. First, it will evaluate the validity of the new commercial framework over a much longer period – from the rise of Śrīvijaya in the seventh century CE to the establishment of the early seventeenth-century European trade monopolies. This longue dureé view will provide a much stronger basis for both conclusively re-orientating pre-modern Nusantaran trade towards China and also positing it as the catalyst for conversion, with Chinese Muslims at its heart. Second, the thesis will look beyond Java to examine the conversion histories of several other important Nusantara locations (Samudera-Pasai, Melaka and Brunei), as accessed through early written texts (indigenous, European and Chinese) and archaeology. The thesis then, and thirdly, couples this examination with a consideration of the Islamic influences which came to bear on the Nusantara’s early intellectual and architectural expressions of Islam. Ultimately, by taking this broad chronological, geographical and cultural approach, the thesis aims to more reliably assess the possibility that Chinese Muslims influenced the Nusantara’s initial Islamisation process.

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18

Ng, Pong-wai Brenda. "The development in Hong Kong of commercial popular songs in Cantonese /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1675959X.

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19

Wang, Fei. "A Museum of the Illustrations of the Hall Encircled by Jade." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33831.

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This thesis is A Museum of the Illustrations of the Hall Encircled by Jade (1602-1605), the longest woodblock print in Chinese history, which is to explore the representation of painting, space, culture, story, and literature through architectural methods.
Master of Architecture

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20

Tang, Kai. "Musical Culture of Chinese Floaters." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13094351.

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"Floaters" are a large population of internal migrants in China. Led by a series of urban-based economic policies and the consequent income gap between rural and urban regions, these former peasants left their hometowns, floating temporarily and illegally in the cities for economic opportunities. Without legal immigration status, they are marginalized by local urbanites and are considered by the government as disobedient citizens with the potential to jeopardize the socialist society. This dissertation, drawing on two years' ethnographic and archival research in China, examines the basic characteristics of floaters' musical world and focuses on three representative musical components. The first is a repertory called Sour Songs, which originates from floaters' rural hometowns and serves as an outlet for release of nostalgia and spiritual pain. The second, Red Songs, is a genre invented by the communist government that has become an effective propaganda tool and is characterized as "a powerful bolt of the revolutionary machine" in the floaters' world. Finally, Rock 'n' Roll, the only musical form in China that signifies both urbanity and revolt, is used by floaters to display their special identity and to express themselves when they are silenced in the broader society. This dissertation reveals hidden meanings in floaters' music-making and suggests that the study of this overlooked musical community could provide new perspectives on Chinese music at large.
Music

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21

Chen, Hong. "Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5922.

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The purposes of this study were to explore the preference of the Chinese undergraduate music majors (N = 27) for Chinese Xi-Qu and Western opera audiovisual examples, the reasons for preference, influence of familiarity on preference, and the relationship between preference ratings and the emotions as detected by FaceReader. The mixed research method, convergent parallel design, was used to explore this topic in depth. As Xi-Qu and opera integrate multiple art forms, eight audiovisual examples (Xi-Qu, n = 4, opera, n = 4) were selected as the stimuli to show the characteristics of the two genres. The participants watched the audiovisual examples individually and responded to a questionnaire meanwhile their facial expressions were recorded for FaceReader analysis. The semi-structured interviews were administered to collect qualitative data pertaining to participants’ general opinions about the musical examples, familiarity, reasons for preference, and the emotions encompassing when watching the musical examples. Descriptive and inferential statistics were used to analyze the data obtained from the questionnaire. The facial expressions video files were analyzed by FaceReader. The qualitative data obtained from interviews were coded to find themes. The quantitative findings suggested that the operatic examples received higher mean preference ratings than the Xi-Qu examples. The top three preferred examples were all operatic pieces while the three least preferred examples were Xi-Qu pieces. Results of one-way ANOVA showed that the difference among the preference mean ratings showed the statistical significance, F (7, 208) = 14.15, p < .01. The operatic examples also received higher familiarity ratings than Xi-Qu examples. The difference among the familiarity mean ratings also showed the statistical significance, F (7, 208) = 2.99, p < .01. The preference and familiarity ratings showed a modest but statistically significant relationship (r = .45, p < .01). A statistically significant relationship was found between the preference ratings and tempo (r =. 23, < . 01). Furthermore, singing was always among the top three most liked elements in the operatic examples, but singing was always among the top three most disliked elements in the four Xi-Qu examples despite that singing was also among the top three liked elements in two Xi-Qu examples. Numerical FaceReader results showed a strong negative relationship between “angry” and preference (rho = -.976, p < .01). The moderate relationship was found between “sums of negative emotions” and preference (rho = .741, p < .05). No statistically significant relationship was found between valence and preference and between arousal and preference. The results of temporal FaceReader analysis showed that the participants’ emotional response to the audiovisual examples changed with the unfolding visual and audio information. The qualitative analysis revealed a model of Xi-Qu and opera preference. The model contained the factors influencing preference for Xi-Qu and opera, including personal factors, cultural and environmental factors, visual factors, musical factors, and musical response. Formal voice training was the most reliable indicator of preference for operatic examples. Familiarity gained through guided listening instead of random repetition was positively related preference for Xi-Qu examples. The unexpected findings were the influence of religion and static perspective on preference for music. Implications and recommendations were discussed, and the suggestions for future research were included.

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22

Yuan, Xiaorong. "Chinese Minority Popular Music: A Case Study of Shanren, a Contemporary Popular Band." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461073565.

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23

Cheung, Kwok-hung Stephen. "Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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24

Li, Zheng. "Teaching Chinese Traditional music with Generative instruction and Effective music teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34617.

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This text is the carefully adapted transcription of the recording of the presentation of Zheng Li and Huo Gua at the symposium in Leipzig 2014. Prof. Dr. Zheng Li read parts of her presentation in Chinese language alternating with her assistant Huo Gua, who translated into English. Only the English part is printed in this book. The title is given from the editor.

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25

Fu, Lok-yi Alice. "Contemporary Cantopop reception of crossover music in Hong Kong /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634334.

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Thesis (M. Phil.)--University of Hong Kong, 2008.
Includes Chinese version of questionnaire (leave 132-133), transcript of interviewees in Chinese (leave 134-141) and Chinese texts of translated songs (leave 142-154). Also available in print.

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26

Mei, Yuxin. "Negotiating Decades of Change in America: The Houston Chinese Traditional Music Group." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011833/.

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For over two hundred years, Chinese immigrants have brought ancient customs and musical traditions to their new homes in America. As in many immigrant communities, a new heritage that embodies and exhibits both the quintessential features of American culture and genuine Chinese heritage have come together to form new expressive cultures that are uniquely "Chinese American." As the youngest of the major American Chinese immigrant centers, the city of Houston, Texas provides an exemplary example of a distinct cultural cohesion that, in part, resulted from significant cultural and political upheavals in the latter half of the twentieth century. During this era of political unrest, many Chinese people's attitudes towards their traditional culture changed drastically. The Houston Chinese Traditional Music Group (HCTMG) is a Chinese orchestra comprised of amateur and professional musicians ranging in age from 13 to over 60 years old. Performing regularly for the Chinese immigrant population in Houston, HCTMG's take on traditional Chinese music deviates greatly from that of older, more established immigrant communities on the East and West Coasts and in some parts of mainland China. Via participant observation, interviews, and analysis of source materials, this paper examines how changing political and economic climates in China during the 1960s to the 1990s—when the majority of HCTMG musicians lived in China –are reflected in the musical decisions of HCTMG and the greater Houston Chinese immigrant community at large.

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27

Pockrus, Jason. "The Saxophone in China: Historical Performance and Development." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248502/.

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The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.

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28

Chen, Suifeng. "Cultural Exchange Centre & Chinese Ceramics Museum in Shenzhen." Click to view the E-thesis via HKUTO, 1997. http://sunzi.lib.hku.hk/hkuto/record/B31983236.

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Thesis (M.Arch.)--University of Hong Kong, 1997.
Title also in Chinese : Zhong Guo Shenzhen : Wen Hua Jiao Liu Zhong Xin Ji, Zhong Guo Tao Ci Bo Wu Guan. Includes special report study entitled : Lighting for museum & courtyard space. Includes bibliographical references. Also available in print.

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29

Chen, Suifeng, and 陳穗峰. "Cultural Exchange Centre & Chinese Ceramics Museum in Shenzhen." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983236.

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30

Sin, Tze-ho Edmund, and 單子浩. "Chinese Music Centre in Kowloon Walled City Park." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985415.

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31

Sin, Tze-ho Edmund. "Chinese Music Centre in Kowloon Walled City Park." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25952936.

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32

Chen, Chiung-Chi. "From the sublime to the obscene the performativity of popular religion in Taiwan /." Diss., Restricted to subscribing institutions, 2006. http://proquest.umi.com/pqdweb?did=1280132891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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33

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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34

Leung, Lai-yue Ciris. "The social organization of a Cantonese opera performance /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22763235.

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35

Poon, Ngar-see, and 潘雅詩. "A comprehensive study on the special symbols in the version of Zhouyi as inscribed on the bamboo slips held at theShanghai museum." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43209579.

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36

Kang, Angela. "Chinoiserie as musical gesture." Thesis, Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B40040240.

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37

Sansbury, Sally Liew. "The Xinjiang piano suites of Shi Fu." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180495584.

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38

Ni, Yuan. "The Modern Erhu: Perspectives on Education, Gender, and Society in the Development of Erhu Performance." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1623253987334659.

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39

Shang, Peilei [Verfasser]. "Hybridity of Chinese and Western Music: The Application of the Chinese Instrument Qin to Western Orchestra / Peilei Shang." Hamburg : Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, 2020. http://d-nb.info/1223620999/34.

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40

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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41

Li, Xiaole. "Chen Yi's piano music Chinese aesthetics and Western models /." Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=1&did=764745631&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233346924&clientId=23440.

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42

Zhu, Minqi 1953. "Literary motifs in traditional Chinese drama." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290589.

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The purpose of this dissertation is to examine some of the distinctive qualities of traditional Chinese drama in light of comparative studies in literature and drama, especially of Richard Wagner's theory of motifs. Opposed to realism, Wagner argued that music is necessary to the finest drama, for it should be "distanced" from actual life. Wagner intended to fuse all artistic arts into his "music drama." However such drama has existed in China for at least seven hundred years. Moreover, it still keeps vigorously springing up, and greatly manifesting its vitality. The hypothesis of this dissertation is that traditional Chinese theatre has been able to survive through the historical sediment primarily due to the influence of literary motifs that have sustained the vitality of the old dramatic form. This dissertation is based on the research of three theatrical aspects: drama-in-itself, dramatic creation, and dramatic appreciation. For the area that is called "dramatic-in-itself" it deals with the general function of dramatic presentation, either for the sake of art or for moral education; for dramatic creation, it emphasizes on playwrights and their worldview of dramatic creation; and for dramatic appreciation, it examines the viewpoint of the audience. Traditional Chinese drama is a high synthesis of arts. The chief factors that promoted the formation of this art are the literary motifs resulting from the Chinese cultural tradition. Literary motifs can be traced in almost every aspect of Chinese drama: in dramatic purpose, in language, in music, in acting, in dress-up, and in stage scenery. Every aspect of Chinese drama is marked with Chinese national traits. And all these dramatic elements constitute a complexity that incorporated both representational and presentational qualities. This complexity has turned Chinese drama into a uniquely mixed art, long-lasting and durable. This dissertation will explore how literary motifs work in traditional Chinese drama. It will primarily focus conventions of music composition, poetry tradition, dramatic structure, thematic construction and theatrical movements.

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43

Zhao, Bai. "Influences étrangères dans la musique contemporaine des compositeurs chinois exerçant ou ayant exercé en France et en Amérique du Nord." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040162.

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Du 19e siècle à nos jours, la musique chinoise a pris une nouvelle direction. La création musicale en Chine s'est développée à travers les diverses cultures et les changements de politique, conférant ainsi un charme particulier à la musique contemporaine chinoise. A partir du début de l'imitation occidentale et juste avant la fondation de la nouvelle Chine, les musiciens chinois sont parvenus à associer les éléments musicaux chinois avec les nouveaux langages musicaux. Au cours de certaines périodes, l'art avait été asservi au pouvoir politique et la création musicale de style traditionnel était l'identité principale. Après de vagues stratégies d’Etat successives, l’évitement des thèmes sensibles, les besoins urgents de la culture racine, la mise en œuvre des techniques expérimentales s’est déployée et diversifiée et les échanges internationaux ont conduit à l'émergence du départ à l'étranger des compositeurs chinois pour chercher leur propre chemin créatif. La musique contemporaine de la Chine s’est élaborée à partir de la technique occidentale et a progressé dans le contexte culturel chinois et ses racines multiples, les pensées fermées et les expériences d'enfance dans l'environnement culturel pur et la collision du nouvel environnement créent des œuvres d'art fascinantes, la rendant remarquablement différente de la musique contemporaine occidentale. Durant ces 30 dernières années de développement économique et d'ouverture politique, la société chinoise s’est de plus en plus internationalisée; les nouvelles technologies et les profils variés des compositeurs ont incité la nouvelle génération à mettre en place d’excellentes innovations musicales spécifiques
As of the 19th century up to now, Chinese music has been taking a new direction and has developed in the wake of social evolutions. In China, the musical creation was affected by both the various cultures and political changes, thus bestowing a special charm on contemporary Chinese music. From the beginning of Western imitation and just before the founding of the new China, Chinese musicians succeeded in matching the Chinese musical elements with the new musical languages. Throughout specific periods, art had been bound to political power, and traditional style constituted the main identity of musical creation. Following the Cultural Revolution, the return to the root culture, the implementation of diversified experimental techniques have resulted in the departure of Chinese composers abroad in search of their own creative way. Contemporary Chinese music developed from Western technique and progressed in the Chinese cultural context and its multiple roots, closed thoughts and childhood experiences in the pure cultural environment and the collision of the new environment is now creating fascinating works of art, remarkably different from Western contemporary music. During the last 30 years of economic development and political openness, Chinese society has become increasingly internationalized; the new technologies and the varied profiles of composers have prompted the new generation to set up outstanding specific musical innovations

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44

莫健兒 and Kin-yee Raymond Mok. "Confronting a different idiom: five compositions for Chinese instruments." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31223229.

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Charles, Nicole Marie. "A Supplementary Book of Chinese Music for the Suzuki Flute Student." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275340340.

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Wong, Jum-sum James. "The rise and decline of cantopop a study of Hong Kong popular music (1949-1997) = Yue yu liu xing qu de fa zhan yu xing shuai : Xianggang liu xing yin yue yan jiu (1949-1997) /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31057330.

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ZHAO, FENGTING. "RETHINKING THE EARLY MODERN MUSEUM IN CHINA IN THE CONTEXT OF THE CONTEMPORARY CHINESE MUSEUM BOOM." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/618751.

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The recent museum boom in China has drawn much attention in the West, but few have paid attention to the first museum boom in China in the early modern period, from 1911-1937. During this period, museums in China developed in a fast and vibrant manner, and aspects of these museums have shaped museums in China today. I investigate early modern museums on a micro scale, and provide a detailed account of historical information about the pioneering private museums like the Zikawei Museum, Shanghai Museum, Nantong Museum, as well as the significant national museums like the National History Museum, Institute of Antiquity Exhibition, and Palace Museum. Then, I examine the development of contemporary museums on a macro scale, with an analysis of regulations and laws, notable museums and exhibitions, in order to explain the basis of the Chinese museum boom today. I also discuss the international loan exhibition, a device that ran though the history of Chinese museums and serves the diplomatic needs of the Chinese government. Lastly, I shed light on the rising demand for foreign exhibitions in China, and point out how important it is for the West to understand the history of Chinese museums in order to facilitate successful cooperative traveling exhibitions.

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Lin, Changkuan. "Chinese muslims of Yunnan, Southwest China, with special reference to their revolt 1855-1873." Thesis, University of Aberdeen, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284323.

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This work is a macro-study of Chinese Muslims in Yunnan, Southwest China, focussing on their religious and political activities in the mid-19th century under the Manchu-Qing rule. Its main aim is to provide a comprehensive treatment of their revolt of 1855-1873. Chapter 1 is a background survey of Muslims and their settlement in China before the Qing Dynasty. Chapter 2 deals with the origins and development of Yunnanese Muslims from Central Asian stock to subjects of the Middle Kingdom, and with their religion in Yunnan. Chapter 3 discusses Yunnanese Muslim social and political status under the Qing rule, and the causes of their uprisings: religious, cultural and economic conflicts with the Han Chinese on the one hand and oppression and aggression from the Manchu government, Han gentry and militia. Chapter 4 traces the early course of rebellions in the east and west of the province and the relations between the two groups. Chapter 5 gives an account of the development of Du Wenxiu's Muslim regime and the establishment of the Dali Sultanate. Chapter 6 is concerned with the Sultanate's failed foreign relations with western powers, particularly Britain, and the resulting hastening of its collapse. Chapter 7 analyzes the reasons for the collapse of the Sultanate, the success of the Manchu's suppression and its aftermath. Chapter 8 is a summary of the work. The thesis is intended to inaugurate further contributions to an area of Islamic history which, although neglected by scholars east and west, is nevertheless of considerable significance in the realm of Islamic studies as a whole.

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Ferguson, Francesca Christina. "Dualistic relationships in northern Chinese narrative arts." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/11387.

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Liang, Yongsheng. "Western influence on Chinese music in the early twentieth century." online access from Digital dissertation consortium access full-text, 1994. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9429966.

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