http://hdl.handle.net/10125/2111 Sat, 25 May 2013 11:00:02 GMT 2013-05-25T11:00:02Z http://hdl.handle.net/10125/20755 Thesis (M.A.)--University of Hawaii at Manoa, 2008.; Includes bibliographical references (leaves 70-71).; vii, 137 leaves, bound 29 cm Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10125/20755 2008-01-01T00:00:00Z Carle, Sarah Anne http://hdl.handle.net/10125/20754 Thesis (M.A.)--University of Hawaii at Manoa, 2008.; Includes bibliographical references (leaves 174-177).; vii, 177 leaves, bound 29 cm Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10125/20754 2008-01-01T00:00:00Z Senzaki, Sawa http://hdl.handle.net/10125/20753 Thesis (M.A.)--University of Hawaii at Manoa, 2007.; Includes bibliographical references (leaves 129-134).; viii, 134 leaves, bound 29 cm Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/10125/20753 2007-01-01T00:00:00Z Olafsson, Kevin Garfield http://hdl.handle.net/10125/20752 Thesis (M.A.)--University of Hawaii at Manoa, 2007.; Includes bibliographical references (leaves 168-179).; x, 179 leaves, bound ill. 29 cm Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/10125/20752 2007-01-01T00:00:00Z Tse, Pui-Sze Priscilla http://hdl.handle.net/10125/20751 Thesis (M.A.)--University of Hawaii at Manoa, 2007.; Includes bibliographical references (leaves 271-284).; Also available by subscription via World Wide Web; xi, 284 leaves, bound music 29 cm Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/10125/20751 2007-01-01T00:00:00Z Shishikura, Masaya http://hdl.handle.net/10125/20373 Thesis (M.M.)--University of Hawaii at Manoa, 2008. Thu, 01 May 2008 00:00:00 GMT http://hdl.handle.net/10125/20373 2008-05-01T00:00:00Z Rozier, Louis H http://hdl.handle.net/10125/20372 Thesis (M.A.)--University of Hawaii at Manoa, 2008. Fri, 01 Aug 2008 00:00:00 GMT http://hdl.handle.net/10125/20372 2008-08-01T00:00:00Z Pang, Chadwick S http://hdl.handle.net/10125/11761 Thesis (Ph. D.)--University of Hawaii at Manoa, 2005.; Includes bibliographical references (leaves 257-269).; Also available by subscription via World Wide Web; ix, 269 leaves, bound ill., music 29 cm Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/10125/11761 2005-01-01T00:00:00Z Davis, Sandra K, 1936 http://hdl.handle.net/10125/11760 Mode of access: World Wide Web.; Thesis (Ph. D.)--University of Hawaii at Manoa, 2005.; Includes bibliographical references (leaves 426-429).; Electronic reproduction.; Also available by subscription via World Wide Web; xxiv, 429 leaves, bound col. ill. 29 cm Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/10125/11760 2005-01-01T00:00:00Z Bridges, Cynthia L http://hdl.handle.net/10125/11759 Thesis (Ph. D.)--University of Hawaii at Manoa, 2004.; Includes bibliographical references (leaves 363-383).; Also available by subscription via World Wide Web; viii, 383 leaves, bound ill., music 29 cm Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/10125/11759 2004-01-01T00:00:00Z Wenderoth, Valeria http://hdl.handle.net/10125/11758 Mode of access: World Wide Web.; Thesis (Ph. D.)--University of Hawaii at Manoa, 2004.; Includes bibliographical references (leaves 508-528).; Electronic reproduction.; Also available by subscription via World Wide Web; xv, 528 leaves, bound ill. 29 cm Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/10125/11758 2004-01-01T00:00:00Z Miyamoto, Karen Ann http://hdl.handle.net/10125/11757 Thesis (Ph. D.)--University of Hawaii at Manoa, 2004.; Includes bibliographical references (leaves 532-554) and discography (leaves 555-557).; Also available by subscription via World Wide Web; 2 v. (xix, 557 leaves, bound) music 29 cm Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/10125/11757 2004-01-01T00:00:00Z Kurokawa, Yoko, 1957 http://hdl.handle.net/10125/11756 Thesis (M.A.)--University of Hawaii at Manoa, 2005.; Includes bibliographical references (leaves 225-229).; xv, 229 leaves, bound col. ill., music, facsimilies 29 cm Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/10125/11756 2005-01-01T00:00:00Z Tuiasosopo, Kuki M http://hdl.handle.net/10125/11755 Thesis (M.A.)--University of Hawaii at Manoa, 2005.; Includes bibliographical references (leaves 196-202).; vi, 202 leaves, bound music 29 cm Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/10125/11755 2005-01-01T00:00:00Z Moon, Shinwon http://hdl.handle.net/10125/11754 Thesis (M.A.)--University of Hawaii at Manoa, 2004.; Includes bibliographical references (leaves 146-162).; xii, 162 leaves, bound ill., music 29 cm Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/10125/11754 2004-01-01T00:00:00Z Kwan, Yin Yee http://hdl.handle.net/10125/10520 Sun, 01 May 2005 00:00:00 GMT http://hdl.handle.net/10125/10520 2005-05-01T00:00:00Z Sato, Yoko http://hdl.handle.net/10125/7106 The Amis tribe is the largest of Taiwan's nine indigenous tribes. The Harvest Festival is their biggest event each year. Many scholars have written about the folk songs of the aborigines and about the aborigines in general, but very little about the Amis Harvest Festival and its music in particular. The purpose of this paper is to examine the Harvest Festival of the Amis people, including the core of the Festival: their singing and dancing. Given that the Amis Harvest Festival has essentially changed from what was once a ceremonial event that focused on warrior training, to an event that now focuses on entertainment and competition, the purpose of my thesis is to examine the Harvest Festival and its music during the late 1990's, and to document significant influences that have effected changes to the Harvest Festival, as well as the effect those changes have had on the Amis people. xiv, 202 leaves Thu, 01 May 2003 00:00:00 GMT http://hdl.handle.net/10125/7106 2003-05-01T00:00:00Z Kim, Linda Chiang Ling-chuan http://hdl.handle.net/10125/7093 Nearly thirty years since its inception in New York City in 1974, hip hop culture and style have become worldwide phenomena with local scenes appearing somewhere on nearly every continent. In the case of hip hop in Japan, the local scene has a relatively long history and has already developed into a "subculture" (Hebdige 1979) with an extensive infrastructure that is widespread across the archipelago. I chose Kyoto, Japan as the site for this study of the localization of hip hop outside of the U.S. The basic problem is to understand how a transnational pop culture form, which originated as an empowering expression among urban minorities in the U.S., has managed to take root in a city such as Kyoto where both social conservatism and Japanese traditional "high art" culture are prominent. The thesis argues that the Kyoto hip hop scene has taken root because it allows the performers and fans to reconstruct an identity for themselves which challenges discourses of essentialized "Japaneseness" which are manifest both in Japan and in the West. At the core of the Kyoto hip hop identity is a challenge to the hegemony of the Japanese socio-cultural mainstream. This mainstream is of course partly a discursive construct, but also stems from a daily reality lived by salaried workers, students on the university track. and mothers who struggle to keep stability in the family under stressful circumstances. Hip hop identity in Kyoto entails refusal of this "mainstream" through rap lyrics and on levels of personal style and lifestyle. The local hip hoppers' identity also entails a correlated refusal of white American culture and of the perceived economic and military subjugation of Japan by white America. I use the term "Japanese hip hop" to refer to hip hop which is produced by Japanese people and which is rapped mostly in the Japanese language. When I talk about "hip hop in Japan" I am referring to a number of categories including U.S. hip hop and Japanese hip hop which includes both locally and nationally recognized performers. "Kyoto hip hop" and "the Kyoto hip hop scene" refer to hip hop that is produced and performed in Kyoto by Kyoto residents, and also that which is produced by other people who perform in Kyoto on a regular basis. In nearly all cases these performers are ethnically Japanese. Within my discussion of "Kyoto hip hop," I at times switch to the designation "Japanese hip hop" to indicate an aspect which is not unique to the Kyoto scene but is common among Japanese hip hop scenes nationwide, including the Kyoto scene. I use the term "Japanese" without quotation marks to refer to ethnically Japanese people or in reference to culture (including language) which exists within the boundaries of present day Japan. The term "indigenous" is used to refer to socio-cultural elements, both traditional and modem, which have existed in Japan since several decades prior to the influx of hip hop culture. The thesis contends that hip hop, too, is in the process of becoming an "indigenized" Japanese music, in multiple senses of the word. The topic of Kyoto hip hop and the hypothesis of this study are connected to a complex body of inter-related theory and discourse. To set the stage for an overview of this body, I will first provide a brief history of hip hop and its arrival in Japan. Next, I will introduce Kyoto and the hip hop scene there. I will then give a theoretical overview and explain my field study methodology and transcription method. I then present the field study results in Chapters Two (performance), Three (text), and Four (analysis of musical form, style, and content). vi, 244 leaves Thu, 01 May 2003 00:00:00 GMT http://hdl.handle.net/10125/7093 2003-05-01T00:00:00Z Armstrong, Andrew Barton http://hdl.handle.net/10125/6865 This dissertation is an interdisciplinary study of five solo piano pieces by Chen Yi (b. 1953), a leading Chinese-born American composer. Written between 1984 and 2000, these pieces reflect the social and musical movements in particular historical contexts. This research attempts to show how she merges Eastern and Western musical traditions, reflecting a trend toward cultural confluence. Chapter I states the purpose of the study, gives a historical review and a sketch of Chen Yi's life. After explaining my approach to this research, Chapter I introduces terms and concepts of Western and Chinese aesthetic thought, as well as Chinese modes. Chapter II briefly discusses selected Chinese piano compositions as a background and possible influences on Chen. The following chapters examine historical backgrounds of the works, the influences of Chinese aesthetics, such as naturalness and terseness of expression, the Yijing concept of change, and Western contemporary techniques, such as Bartok's polymodality and Schoenberg's twelve-tone method. The theoretical analysis discusses the structure, rhythms, pitch organization, and the sounds of the pieces. The hermeneutic aspects are discovered by investigating the composer's biographical materials and comparing the pieces. Chapter III analyzes the Two Chinese Bagatelles (Yu Diao, 1984 and Small Beijing Gong 1993, published in 2000 by Theodore Presser). Chapter IV offers a critical review of the writings on Duo Ye (1984) and an analysis from the above perspectives. Chapter V and VI analyze Chen's blending of Chinese aesthetic elements with Western techniques in Guessing and Ba Ban by applying both Chinese and Western music theories. Chapter VII summarizes the pieces in two groups: Yu Diao and Duo Ye represent Chen Yi's Chinese national style; Guessing is a transitional piece presenting changes in her style. Small Beijing Gong and Ba Ban represent her blending of East and West with her musical identity as a Chinese-born American composer. The conclusion also discusses Chen's innovations in developing piano music and some criticism of her compositions. From multiple perspectives, we may gain a better understanding of her music that actively interweaves Chinese and Western musical elements. xv, 380 leaves Fri, 01 Aug 2003 00:00:00 GMT http://hdl.handle.net/10125/6865 2003-08-01T00:00:00Z Li, Xiaole