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Christian Music As a Contact Zone for Chinese and Hong Kong Communities in Post-Colonial Hong Kong

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CHRISTIAN MUSIC AS A CONTACT ZONE FOR CHINESE AND HONG KONG COMMUNITIES IN POST-COLONIAL HONG KONG A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Yan Xian October 20, 2014 Thesis written by Yan Xian B.A., Nanjing Arts Institute, 2012 M.A., Kent State University, 2014 Approved by Andrew Shahriari, Ph.D., Advisor Ralph Lorenz, Ph.D., Acting Director, School of Music John Crawford, Ed.D., Dean, College of the Arts TABLE OF CONTENTS Page TABLE OF CONTENT ........................................................................................................... iii LIST OF FIGURES ................................................................................................................... v LIST OF TABLES .................................................................................................................... vi ACKNOWLEDGEMENTS ..................................................................................................... vii CHAPTER ................................................................................................................................. 1 I. INTRODUCTION .................................................................................................................. 1 Orientation to Hong Kong ..................................................................................................... 2 Review of Related Literature ................................................................................................. 7 Problem Statement ............................................................................................................... 13 Methodology ........................................................................................................................ 13 Source Material .................................................................................................................... 16 Contribution of the Research ............................................................................................... 17 II. HISTORICAL AND DEMOGRAPHIC FACTORS AFFECTING THE DEVELOPMENT OF CHRISTIAN MUSIC IN HONG KONG............................................ 18 History and Demographics of Hong Kong .......................................................................... 18 The Development of Christianity in Hong Kong ................................................................. 25 Linguistic Pluralism at Chung Chi Chapel .......................................................................... 29 Cantonese ......................................................................................................................... 30 Mandarin .......................................................................................................................... 32 Chinese Script .................................................................................................................. 34 Development of Music in Hong Kong During the Colonial Period (1841-1997) ............... 36 III. CHRISTIAN MUSIC IN POST-COLONIAL HONG KONG (1997- PRESENT) .......... 42 The Crisis of Cultural Selection ........................................................................................... 42 Christian Music in Post-colonial Period .............................................................................. 49 Contemporary Christian Music and Contemporary Worship Music in Hong Kong ........... 51 Tonal Language’s Connection to Music .......................................................................... 54 Commercialism of CWM and CCM ................................................................................ 56 The Reformed Traditional Hymnal: Hymns of Universal Praise ........................................ 57 Christian Music in Hong Kong Among the Mainland Chinese Diaspora ........................... 63 iii IV. CASE STUDY: CHRISTIAN MUSIC AT THE CHAPEL OF CHUNG CHI COLLEGE (CCCC) AT THE CHINESE UNIVERSITY OF HONG KONG ........................................... 66 History of the Chapel and Its Musical Development ........................................................... 66 Chinese Musical Development at Chung Chi College .................................................... 69 Western Musical Development ........................................................................................ 71 Field Observations of Sunday Services at CCCC ................................................................ 73 Interpretation of Song Repertory ......................................................................................... 79 Selections from Hymns of Universal Praise (2006) ........................................................ 79 English Anthems .............................................................................................................. 86 Retaining the Colonial Past through Music ..................................................................... 88 Contemporary Worship Music (CWM) ........................................................................... 91 Summary .............................................................................................................................. 94 V. RECLAIMING HONG KONG IDENTITY: TRANSCULTURATION OF CHINESE CHRISTIAN MUSIC IN POST-COLONIAL HONG KONG………………………………96 Transculturation and the Identity Crisis in Hong Kong ....................................................... 98 Chinese Christian Music-making as a Contact Zone in Post-colonial Hong Kong ........... 108 Hong Kong Identity in the Twenty-First Century .............................................................. 112 EPILOGUE…...…………………………………………………………………….………..113 BIBLIOGRAPHY .................................................................................................................. 118 iv LIST OF FIGURES Figure Page 1. Hong Kong Map within the People’s Republic of China………………………….…3 2. Hong Kong Map………………..…………………………………………….……... 4 3. Hong Kong Map………………………………………...…………………………...19 4. Categorical Ethnic Identity (From 1997-2014)…………...…………………………49 5. Hymns of Universal Praise (2006)…..………………………………………………58 6. Chapel of Chung Chi College…………….…………………………………………67 7. Interior of Chapel at Chung Chi College…………………………………..………..74 8. Sunday Service Bulletin, Chapel of Chung Chi College…………..………………..74 9. Sunday Service Bulletin, Chapel of Chung Chi College……………..………….….75 10. “Praise to the Lord, the Almighty,” Cipher (or Numbered) and Western Notation...81 11. Transcription for the Hymn “Praise to the Lord, the Almighty.” …………………..82 12. Hymn “Onward, Christian Soldiers”………………..………………………………84 13. Transcription for the Hymn “Onward, Christian Soldiers.”…………..…………….85 14. Program of Evensong (Front Page)…………………..……………………………..90 v LIST OF TABLES Table Page 1. Comparison of Six Tone Type in Cantonese………………………………….…..32 2. Comparison of Four Tone Type in Cantonese………….………………………....33 3. Hymns Comparison for 1936, 1977, and 2006 Editions of Hymns of Universal Praise. ……………………………………………………………….... 62 4. Activity and Related Musical Events In CCCC Sunday Worship………...............76 vi ACKNOWLEDGEMENTS I would like to express my gratitude to these people who have been involved in the writing of this thesis and my life of education in America. During my study at Kent State University, there are so many people who have helped me. Due to their unconditional support, I gain knowledge every day through my study. I would like to express my deepest thanks to everyone. My deepest gratitude goes first and foremost to my advisor, Dr. Andrew Shahriari, for the valuable guidance and advice during my writing. Without his continual instruction and encouragement, my thesis would not have been completed. Through communicating and learning from him, he has witnessed the growth of my tiny idea that began as a class project into this thesis. He is the one who taught me to value Ethnomusicology as a lifetime career - as one’s religion, so-to-speak. I would also like to thank my committee members, Dr. Sunmin Yoon and Dr. Denise Seachrist, for guiding me and sharing their ideas and counsel with me. Thank you, Dr. Yoon for giving me so many fresh ideas and examples, especially at the stage when I started developing my structure, or at times when I felt discouraged by the challenges of articulating my thinking. I also would like to thank Dr. Seachrist for her precious time, expertise, and willingness to be on my committee. I am also grateful to others who have assisted me during my study at Kent State University: Dr. Kazadi wa Mukuna, Dr. Priwan Nanongkham, Dr. Eve McPherson, Dr. vii Anthony Donofrio, Dr. Susan Roxburgh, Dr. Jennifer Johnstone, and Janine Tiffe, as well as my colleagues and classmates. In addition, I would like to thank Joe Clark and those people who work in the Performing Arts Library. They are all knowledge transmitters. I could never express enough gratitude to these people who offered me meaningful academic discussions and even tiny ideas from their experiences. Special thanks also to those people who have assisted me on my fieldwork and during my research in Hong Kong: Sandra Lau and her son, Shuo Shi, Jiaobiao Hu and all members of Antioch Fellowship of Chung Chi College of Chinese University of Hong Kong. Thanks for their sharing and sincere support. Finally and especially, I must express my deepest thanks to my family members: Father Chong Xian and Mother Xiaoqing Chen. To me, they are the greatest parents, who
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