Moved To Hong Kong, Mainland Composer (20th Century, 30-80 Years),

Hong Kong is a place where all Chinese people usually focus upon. Due to the complicated political and historical reasons before 1980s, very little about the music development of Hong Kong was known. It was not until the Reform and Opening of the People?s Republic of China in 1980s that we began to have some exchanges and more understandings to this topic. Due to the special nature of the political background and social structure of Hong Kong, its music development is very different from that in the Chinese Mainland. Now that the sovereignty of Hong Kong has been returned to China, this historical episode is therefore consolidated. With the right attitude of handling the materials plus a practical and scientific manner in dealing with the historical facts, one can write directly and clearly on this topic.This thesis"A Research on Mainland Chinese Composers Emigrated to Hong Kong in 1930s-1980s"starts with an Introduction followed by 3 chapters in chronological order. Based on the historical facts and the incidents of individual composers, the thesis is divided into: Chapter 1: Budding Period (1930s-1940s), Chapter 2: Expansion Period (1950s-1960s), Chapter 3: Golden Period (1970s-1980s) and the last Chapter Conclusions. These chapters deal with those composers who were either born or grew up or born and grew up in the Chinese Mainland and later emigrated to Hong Kong during the periods from the Sino-Japanese War, the Third Civil War until the time immediately before the return of sovereignty. They were labeled ?Chinese Mainland Composers?.The definition of ?Chinese Mainland Composers? here refers to: 1. composers born in either Chinese Mainland or overseas but grew up and received professional education in the Mainland; 2. composers who emigrated to Hong Kong after 1930s living and composing under the British colonial government in Hong Kong. This thesis tries to categorize and analyze the activities and cultural phenomenon of these emigrating composers when they were in Hong Kong.The research methods are based on historical musicology, musical historiography, music aesthetics, musical sociology, ethnomusicology, etc. The unique political relationship of Hong Kong with Chinese Mainland, the British Government and the Guangdong people contributes to the multi-cultural and cross-cultural characteristics of the music in Hong Kong. Therefore when discussing its musical culture and the influence on its musical development, the author would adopt the research methods of musical sociology including social and environmental geography, human geography, distribution and density of population, social exchange, religion, tradition, trend, public opinion, common sensibility, other institutional and non-institutional cultures as well as social facts.An in-depth research in the musical achievement and contribution, local identification, evaluation and future prospects of these Chinese Mainland Composers in Hong Kong will hopefully lead to more detailed and comprehensive research works in this topic. This thesis will thus aim at compensating the insufficient research works so far done on Hong Kong music and eventually enabling the completion of research works on an overall Chinese Music History.