I ACMR REPORTS

Journal of Ihe Association for Chinese 1usic Research

Vd.13

Editor: Joseph S. C. Lam Associate Editor: Ilelen Rccs Review Editor: 1. Lawrence Witzlcbcn Contributing Editor: Sue Tuohy

Contents

From the Editor III

ArticiesIRcports

The Principle of }ying and the Techniques of Melodic De\elopment Commonly Used in Traditional Chinese Music Yaxiong Du

Pcrfonning Taiwan: Music. Dance. and Spectacle in the Celebration of President Chen Shui-bian's Inauguration Nancy Guy 21

Wax Cylinders: Gems from the Early Twentieth Century JO

A Shon Biography of Master Tsar Teh-yun Deyuo Qin Society 71 , Book Reviews

Mittler. Dangerous Tllnes: The Politics ofChinese Music ill Hong Kong. 7(JiWllII. (llIl/ the People sRepublic ofChilli' Sifll'e /9-19 Su Zheng 77

So. Music ;tlThe Age ofCon/llcius Joseph S,c. Lam 87

Current Bibliogral)hy on Chinese Music Sue Tuohy 93

I~cports on Recent Meetings and Conferences

Some Thoughts on the 1999 Conference in Memory of Mr. Yang Yinliu Kwan Yinyee 127 Meldoy 2000 Hong Kong Conference Zhao Songguang 133

In Memoriam

Remembering an Old Friend Barbara Smith 135 Remembering Liang Tsai-ping Larry Witzleben 136 In Memoriam: Hsu Tsang-houei Wang Yingfen 137

Contributors 143

Information for Authors 145

" From the Editor

You must be relieved to see Vol. 13 ofthe ACMR Reports. It is about six months behind schedule, a delay that was caused by many factors. Bur­ ton Memorial Tower, in which my office is located, has been a construction zone for the last nine months (it still is!), and there has been frequent disrup­ tions of one kind or another: there were many technical problems which I had to solve with my very limited knowledge about computer programs, fonts, scanners, printers and other electronic devices; and there were many time conflicts for reviewing, revising, and proofreading of the manu­ scripts.

evertheless. Vol. 13 is no\\ finally in your hands, and I am sure you will enjoy the articles, reviews, reports, and bibliography. The three com­ memorative essays will bring back memories of Professors Liang Tsaiping and IIsu Tsanghouei, from whom we all have learned much.

Ou Yaxiong"s article on the relationship between Ytjing principles and techniques ofmc1odic development in Chinese music is bricfbut thought­ provoking. It demonstrates the persuasiveness of theorizing tcchnical as­ pects of Chinese music in Chinese temlS. Nancy Guy's report on the Tai­ wanese President Chen Shui-bian's Inaguration in May, 2000 is not only a timely report, but also a vivid demonstration of Chinese manipulation of music and ritual. It is a companion piece to another publication of Nancy Guy, which is entitled " 'Republic of China National Anthem' on Taiwan: One Anthem, One Performance, Multiple Realities" (Etlll1omusicology 46 (1 ), forthcoming); I recommend reading the two articles side by side. Joanna Lee's report on early twentieth century recordings is a reminder that many precious sources of traditional Chinese music arc still waiting to be exam­ ined. The biography on Tsar Teh-yull, which is authored by members of the Deyun Qin Society, celebrates the career of a qill master and a woman musician.

I look forward to your comments and submission ofwritings. Hope­ fully, the publication ofVol. 14 will be more smooth and timely, a goal which can only be achieved with your help.

Joseph S.C.Lam University of Michigan

III

Principle ojYiji/lg I

The Principle of Yijillg and the Techniques of Melodic Development Commonly Used in Traditional Chinese Music

Yaxiong Du The Conservatory ofChinalUniversity of British Columbia

Introduction

The Yljillg, or the Classics alChange, is an ancient Chinese treatise ofdivi­ nation and philosophy. Already highly regarded by the Warring States (475-221 B.c.), it became, in the Han dynasty (206 B.C.-24 A.D.). the first ofthe thineen official classics of Chinese culture. The Yljing has two parts, namely the jing (text), and zillion (commentaries). Thejing part presents sixty-four hexagrams (gila), each of which is a combination of two of the eight basic trigrams, sym­ bols of three continuous and/or broken lines that represent the yill and yang elements.

As a philosophical work, the Yljing advocates the Daa (Way), and considers the eternal interactions and transfonnations ofyin and yang elements as the basic principles of the universe. These principles underline basic structures of Chinese culture. For example, the yin and yang dichotomy is a basic concept in traditional Chinese medicine, and has promoted the fonnation and development ofChinese medical theories (Gcng & Su 1990: 7).

The Yljil/g principle also underlies Chinese traditional music. It states: "He who attains to this case of Heaven will be easily understood, and he who attains to this freedom from laborious effort of the Emth will be easily followed. He who is easily understood will have adherents, and he who is easily followed will achieve success. He who has adherents can continue long, and he who achieves success can become great" (Qin 1993:293). According to this principle, most of the skeleton mc100ies oftraditional Chinese music are very simple and easy to play. For example. ··Baban" ('"Eight Beats"), a traditional Chinese music piece, has only eight phrases: in its most simple version, each ofthesc phrases has only two different note-lengths (a quarter nole and an eighth note in Western nota- 2 ACMR Repo,.(,~. 1'()1. JJ, ]000 tion). Based on these simple phrases of "Baban." nevenheless. a large number of variants has been developed and spread into almost every type of Chinese traditional music, including ensemble music, theater music. ballad singing, dance music, and folk songs (Xue 1999).

Similarly, the basic tune ofthe Shaanxi opera has only t\VO phrases. having but six beats (hall; hereafter. "ball" is given as "beat'') per phrase; yet these phrases have developed into a great many different melodies, upon which whole operas have been built. These basic tunes. which can be described as melodic fonnulae or melody types. penneate the entire Chinese opera repenoire ofO\'crone hundred different local operas, including)ingjll or Peking opera (Du and Zhou 1997:27).

Besides the .l·in and }'Wlg elements, the following numbel3 constitute an­ other basic principle found in the }'ijillg: three (trigrams). four (seasons ofthe year). six (hexagrams). eight (order oftrigrams), sixty-four (total number ofthe hexagrams). These numbers appear in every area ofChinese traditional music. The most imponant scale in traditional Chinese music is the pentatonic scale in which three ofits five tones dominate (Wang and Du 1993:358). The five tones of the scale are linked with the five elements ofnature, and the three dominant tones allude to the trigrams.

Many traditional Chinese melodies have six or eight beats. For example, "Erliuban" (two times six beats), the basic tune of Shaanxi opera, has I\velve beats (6+6 12) (Wang 1995:234). "Erbaban" (two times eight beats), the basie tune of Ilenan opera, has sixteen (8+8) beats (Luo 1994:25). Many other re­ gional operas ofChina have basic tunes with six and eight beats in their phrases.

Similarly, the number sixty-four is common in Chinese music. It is widely known that each ofthe six pieces ofceremonial music for Confucius has sixty­ four beats. According to Gao Houyong, some folk musicians think tllat "Baban" was created according to the order of the eight trigrams---eight timcs eight makes sixty-four; then by inserting four beats betwecn the fifth and sixth phrases to represent the four seasons, a total ofsixty-eight beats results (Gao 1981: 155).

Anothcr basic principle demonstrated by the Yijing is constant change. In fact, many scholars interpret the }'iji1/g as .. casc" and ,. change" (Qin 1993: 11). The Yijing says:" Production and reproduction arc called changc" (Wu 1993:52). This principle ofchange can Ix: found in techniques ofmclodic dc\e1opmcnt in Principle of }'ijil/g 3 traditional Chinese music. techniques thaI many Chinese musicologists ha\'e described in their books and articles. Forexample, Jun Chi and Li Xi'an sum up the development of Chinese melodies with seven different techniques: \'aria­ tion. repetition and division. melodic con,-ersation, extension. succession. motif repetition. insertion (Jun and Li 1964: 4-9). Huang Ilaoyin thinks that there arc ten different techniqucs used in =heng (zither) music: repetition. melodic \'aria­ tion. variation ofrhythmie patterns, rhythmic variations. succession, motifrep­ etition. modal (gongdiao) variations. strucnlral variations.jiqll (extracting cer­ tain phrases and sections from several labeled mclodies and reorganizing thcm into a new one) and licmqll (scveral pieccs played together as a suite) (I luang 1998).

Chinese musicologi~ts have, however. neither studied the principle~ gov­ erning the aforementioned teChniques, nor made attempts to discover their cul­ tural basis. My eXlen~ivc research has, however. uncovered the Yijing principle underlying the techniques of mellXlic development. In this paper. I will divide the techniques into si, categories and demonstrate the ways in which they fol­ low the principle ofcon\tant change.

Although changc is an universal principlc. its manifestations in Westcrn music emphasize strugglc ofopposites. For instancc. the cxposition ofa sonata­ allegro movement ah\ays has two subjects. whieh "strugglc" in the develop­ ment section. In tradilional Chinese music. howcvcr. melody development docs nOI exhibit any struggle ofoPlX'siles. but change ilself. This principle will be­ come clear with the following explanations and cxamples. t. Adding notes and chlborating melodies

Traditional Chinese instrumental music is usually "played" according to hackbone melodies which arc notated as vel)' simple tunes. If traditional Chi­ nese musicians learn the backbone melodies with the help ofnotation, they ncv­ cnheless master the music and realize its different rcnditions through singing and playing, which seldom follow the notation rigidly. No traditional Chinese musicians would eversing their music exaclly as nOlated. They would add some notes to elaborate the backbone melodies. This practice is calledjiahuo (adding flowers. i.e. embellishmcllts). Jiahlla includes three different techniques: 1) adding meaningless syllables, ealled akou. to changc the rhythm ofthe music as 4 ACMR Report.\'. 101. JJ. 20()()

notated: for instance, a notated motifofdo, re, mi will be Sling as" do-ya, 111·.1'0, mi·yi;" 2) adding more notes to the notated backbone melody: 3)changing the movement of the backbone melody. The aim of these three techniques is to transfonn the notated backbone melody into highly individualistic melodies.

Example I

. ~ · L , • L '" • .. • • or g;;J i =- t4MJ J U J • ~ =

~ , • '" '" - ," '" • L'lE''1 'Cl:l" r ,"'.. • '" ' .. ... " =-" L J "='"" ~ ~ ., (~ .> (1I!If. PSI , I' '" ...... 1--;-' • I ~, . ~

Music example I is the beginning of"Langtaosha," a traditional wind and percussion piece which I collected in 1990 from Mr. Zhao Bingyi (b. 1938) and Mr. Zhang Fellgxiang (b. 1928), two folk musicians ofLijiafu Village of Oaxing County, l3eijing. The first line is the gongche notation ofthe backbone melody copied from Mr. Zhang's notebook; the second line prescnts the skeletal tunc in Westclll stuffnotation: the third line shows how Mr. Zhao and Mr. Zhang sang it; and the fOllnh linc shows how they played it. Ifwe compare the first tillc and the third line oftile mll~ic example, we can find that besides the charactcrs he si,yi. gOl/g. and die! in tht: notated music. the musicians added ya, ai. JllIi and ye in their slIlging version. The additional syllables notes arc called a/wit by the folk mUSICIans. Principle of rijing 5

The folk musicians call each notated pilch in the second line :.l character (.:i): together these characters constitute the backbone melody. As sung, it in­ cludes pitches that are absent in the original gongche notation. The added pitches are not considered characters. but yaoshellg which may be translated as unf/:red IOlles: Iilerally.yao means moving. and sheng. tones (Du 1995: 10). The concept and usc oftheyaosheng is a most important characteristic ofChinesc traditional music. Yaosheng is not the same as a Western mel

Example I includes five Chinese linguistic words: when spoken in Manda­ rin he and yi arc words of the second (rising) linguistic tone; si and che. the fourth (f.111ing) linguistic tone; and gong. the first (high) linguistic tone. It is important to note that in their singing. the folk musicians do not always match melodic movements oftheir singing with those ofthe prescribed linguistic tones. For example. he always goes against linguistic rules: it falls and never rises. This fact shows that the practice ofadding notes and elaborating mcl

Adding notcs and elaborating melodies not only enhance clear pronuncia­ tion of lyrics, but also create music that Chinese people find aesthetic and ex­ pressive. In music example I, the rhythm ofthe first line is very simple, but the rhythm ofthe third line is quite complex. We can see that aOcr Mr. Zhao and Mr. Zhang have added akoll and elaborated the melodic movement of"Langtoasha," it has developed into a very beautiful and elaborate melody (third line). 6 ACMR Report.~, Vol. /3, 2000

2. Changing the Written Characters

Another technique for melodic development in traditional Chinese music is the rising or dropping. by a semitone. ofselected notes in the notated backbone melody. This technique is inseparable from Chinese folk musicians' wide-spread use of gOllgche notation, which indicates ten basic pitches with ten Chinese characters. To lower or raise the basic pitches by semitones, rile signs ofxia (flat) and gao (sharp) will be used, Example 2 shows these basic charactcrs and their representativc pitches. In the ancient Chinese heptatonic seale (Du 1999:47), the half steps fall between the fourth and the fifth and bel\'r'ccn the seventh and eighth toncs ofthe scale; jil sharp is called jim" andfil is called "xia/all"

Example 2 Western solmization Gongche characters sol he la si ti flat xiari Ii yi cia shang do sharp (gall) I~ che mi flat (xiagollg) nil gong fa (xia(all) fa sharp fall sol lill la \I'll

Raising or lowering selected pitches ofbackbotlc melodics is a VCI)' impor­ tant mclodic dcvclopment technique. For example, we can transfoml a picce by replacing all ofits gong notes with those ofxialall. In traditional Chinese music theol)', this is called gelan orjilllwallggong (singjiw instead ofgong). Wc also can replace all the shang in a piece withJ'i. This is called )'asJumg (suppress the shang), In Western musical tenns, the gefall method will change a mclody in C to one in F. while thc.l'as/wllg method will transfonn, a melody in C to one in G. Example 3 presents different versions ofthe third and fourth phrase or"Baban": the first linc is realized with the gefall method; the second line is the original Princ:i{J!e oj' Yljing 7 mclody; and the third line is a yashang rendition. From examplc 3. we can sce how Chinese rolk musicians develop new melodies from old ones.

Example3

After we obtain a new tunc with the gefan method. we can again change the new gong into afan, and get yet another new melody. This method is called slwangjie (changing two characters). We can go one step funher by using the ge{an method to create another melody, this time changing the new gong to fan. The method is called sal/jie (changing three characters). SllIIlll/gjie and sllnjie methods can be applied to melodies changed with the yashellg melody. Example 4 shows the principle of the technique. The bold lencrs show the tonic of the key. 8 ACMR ReJlo,,/.~. Ih/. 13,2000

Example 4

SOlljie shallg xiagong xiaJall /ill XIO)'1 C bE F G bB i Shongjie shang che fail /iu XIO)'1 C D F G bB i GeJon shang che Jan /ill Wll C D F G A i Original shang che gong fill lWI C D E G A ! YasfulIlg yi che gong /ill H'II B D E G A ! SJlllangjie yi che go"g fan H'II B D E #F A ! Sanjie yi gOIl gong fail Wil B #c E #F A

3. Changing Rhythmic Patterns

In addition to changing melodic elements, varying the rhythmic patterns of preexisting music is also a basic technique ofdeveloping melodies in traditional Chinese music, In Chinese music theory, rhythmic pancrns are called bonshi, which subdivides into youban (having regular beats) and sall/)(III (having free beats). YOllhan includes two kinds ofbeats: the ban that is marked by the clap­ per, and the ycw that is marked by drum strokes. Youban includes four categories ofrhythmic patterns, all ofwhich arc perfonned with distinctive tempi:

I. Liushuif)(1II (flowing water ban), which features /XlII beats but not yall bears (WJllbarlll'fl)'an). This category ofrhythmic paltem~ is divided into the fast and :-.Iow ones: the fonner are perfornled with a lemjX> similar to the Western allegro. while the latter are perfonned with a IcmjX>compamblc 10 that of allegretto in Western music. Principle of Yijing 9

2. YilxlIlyiya (one ball and one .ran). which is perfornled with a moderate tempo.

3. Yibansan)'all (one ban and three .ran). which is performed with tempi similar to the We:-.tern andante or adagio.

4. Anqiyan (one ball and scvenyon), which is performed with tempi similar to the Western lento or largo.

Except for the first category, all rhythmic patlems have even number beats. Even in the yOllbamvllyan pauem~', the beats can be divided into two different parts, called "black clapper" and "red clapper." This binary rhythmic practice is re­ lated to the cosmological principle ofduality, or the dichotomy between yin and yang elements (Du 1999:55).

Backbone melodies are usually notated as music in the !ius/mihan. i,e. 1/4 in Western notation. When folk musicians change rhythmic patterns, they begin by doubling the rhythmic value ofeach character, i.e. note. This is called liallyafl or adding the yall. Then, the musicians add embellishments via/ma); this is why the technique is also called liallyan jia/llla. Customarily, lial/yall jia/llla docs not change the number ofbeats in the backbone melody. For example, the piece"Liuban" in youball wuyclII rhythmic pattern has sixty beats; when it is performed in the rhythmic patterns ofyibafl Y~l'OfI.yiballsOllya1l. ora1lqiyall, the piece still has sixty beats.

Example 5 demonstrates the technique ofchanging rhythmic patterns with "Liuban" and its variations. The first ofthe four lines is the original melody; the second line isyihan yiyclII. i,e. adding oneyan to the first line; the third line is yiban sanyan, adding two more yan to the second line; and the fourth line is one ban sevenyal1, adding four yon to the third line. 10 AC\fR Reporrs. VOl. 13.2000

ExampleS (Gao 1981:92)

• J 22

•

•

The different ballslli rcalizations of a backbone melody can be linked to­ gcther; appearing one after another, thcy constitute a sequence or set of varia­ tions. The speed and Slmcture of such a sequence usually follow the order of seven yall. three .ran. one yall and liusJwilxm. In other words. a realization in slow tempo is follO\\/ed by those in moderate and fast tempi until the music reaches a climax. and then endsabmptly. Perfonnanccs ofslIch sequences would feature tempo changes, a fact that attests to the basic }ying principle ofchange.

4. Changing Scales

Ifthe above three techniques ofmelody developmcnt more or less preserve basic structure ofthe backbone melodies. the following three tcchniques ofchang­ ing scales, changing melody, and changing and constnlcting melodies introduce more thorough changes. The technique ofchanging scalcs is commonly used in northwestern and southcm China, especially in Chaozhou music and Shaanxi opera.

As used in Chaozhou, thc technique ofchanging scales is inseparable from the regional notation, an explanation of which will render the technique self­ explanatory. Chaozhou musicians ofxiailshi music (poetic string music). a type ofinstmmental ensemble music, use a spccialtype ofnotation called the ersipll. Originally designed for the =heng zither, the notation uses seven Chinese numer­ als to show the order but not the actual pitches of the strings mounted on the instrument. A plucked. half-tube zither with movable bridges. thc =heng has 21 strings" hich are tuned pcntatonically, and thus no open strings play the fa and ti Principle ofYiji"g 1I pitches. Ilo\l,-cver, using the techniques of"heavy third" and "heavy sixth"­ namely pressing the third or sixth strings heavily 10 raise their respective pitches by semitones, one can produce the fa and ti pitches. As the usc of ersipu spread to the music ofother musical instruments, such as the erxial/ (two-string fiddle), the tenns "light third and sixth" or "heavy third and sixth" not only refer to the usc offa and ti pitches, but also the scales in which the pitches are used. Example 6 explains the principle ofthe ersipu notation.

Example 6

Chinese characters er san si 1\'11 /iii qi

Meaning ofthe Characters 2'" 3'" 4· 5· 6" 7·

Western Solmizations sol la do rc 1111 sol

This is why two of the three scales llsed in Chaozhou music arc called, respectively, the scales of "light third and sixth" and "heavy third and sixth." The foroler refers to a scale of sol, la, do, re, mi, sol, with occasional uscofti and fa; the latter refers to a scale ofsol, ti, do, re, fa, sol, where ti is lo\\ercd and fa is raised by approximately three-quarter tones; the scale occasionally features la and mi. The third scale is called "moving fifth," and its basic notes arc sol, ti, do, re, fa, sol. the \\ hole scale being a linle higher than the other two scales. Ex­ ample 7 shows the different scales ofChaozhou music (capitallettcrs show the basic notes and arrows show the microtones). It is obvious thm by chosing the appropriate "light" or "heavy" pitches, Chaozhou musicians can easily change the scales of their music from one to another.

Example 7

TIle scale oflight third and sixth: ""I La (ti) do re Mi (fa) ""I The scale ofheavy third and sixth: sol (Ia) ! Ti do re (mi) iFa sol The scale ofmoving fifth: sol (Ia) !li do i Rc (mi) ifa sol 12 ACAfR Repo/'{.I', fo/. /3. JUOO

In Shaanxi opera, a scale similar to the Chaozhou scale of"heavy third and sixth" isealledkl~ltin (painful scale), while that which corresponds to the Chaozholl scale of "light third and sixth" is called IIIIQII)'il1 (happy scale). Shaanxi people believe that those two scales describe different feelings. such as sadness or haP'" piness. The tcchnique ofchanging scales does not create new music from back­ bone melodies; it only changes the "feelings". This is yet another example ofthe Yljing principle ofchange.

5. Changing \\ hole melodies

The tcchnique of changing whole melodies is widely used in traditional operas, For example, in Peking opera, the tunes of Fan xipi and Fall erlllillng are result~ ofchanging basic tunes ofXipi and Erllllung. The process ofsuch a change can be described as follows. First, one transposes an entire melody a founh lower or a fifih higher and then alters some selected notes. TIle result is a new melody even though it is not unrelated to the old one. For example. Mr. Wang Luobingcomposed a song in the I940's (Music example 8. line I). Afier a while. this song became a popular song in Qinghai province. and folk singers used the changing melody technique to create another melody (Example 8 • line 2.), Example 8 shows the process (Wang 1983:7). When applied in operatic music. and adjusted to the musical needs ofthe different roles, this technique of changing the melody produces many distinctive arias.

Example 8

c::-::: == 9 Principle of Yijing 13

6. Changing and constructing melodies

Among all techniques ofmelodic development, the one that most parallels the change oftrigrams and hexagrams in the Yljillg is the technique ofchanging and constructing mel

Example 9

. - .

Conclusion

If we compare the above six techniques of melodic development in tradi­ tional Chinese music, we can see that the most fundamental principle is change. And changes can occur in the levels of pitch, rhythmic pattern, scale, melody and fomlal structure. As change penneates all levels, it is reasonable to argue that the Yljing principle of constant change fOnTIS the very basis of Chinese music theory and practice. Understanding this, we can approach traditional Chi­ nese compositions as well as perfonnances with new insight. [4 ACMR Reports. Vol. /3,2000

References Ciled

Du, Yaxiong, 1995. Zhonggllo milclijibenyueli (Fundamcntals ofChinesc trd­ ditionalmusic). Bcijing: Zhongguo Wenlian Chuban Gongsi.

. 1999. "Fundamentals ofChinese Music Theory and its Cultural Basis," Eurasian Studies Yearbook 71 :33-89.

Du. Yaxiong and Zhou Ji. 1997. Sic/lOll =hi I" deyin.me wen/Ilia (The music culture ofthc Silk Road). Beijing: Minzu chubanshe.

Gao Houyong. 1981. Min=u qiyue gailllll (An introduction to Chincse instru­ mental Music). anjing: Jiangsu renmin chubanshe.

Gcng Junying and Su Zhihong. 1990. Practical Traditional Chinese Medicine & Phamwcolog)': Basic n,eoriesand Principle~.Beijing: New World Press. lluang Haoyin. 1998. "On Melodic Development Techniques Commonly Used in Traditional Chinese Zheng Music.'" Journal olthe Societyjor Korean Hislorico-Mllsicolog)' 20: 523-546. lun Chi and Li Xi'an. t96-1. Min=1I qushi he=uopinlelL'd (The fonns ofChincsc Music and analysis ofcompositions). Beijing: Renmin yinyue chllbanshc.

Luo Yinghui. t994. Btl/dqiallg cJwflgqiangjiegoliyafljill (A Study on aria con struction of Bangziqiang). Beijing: Renmin yinyue chubanshe.

Qin Ying. 1993./lIlmdllctioll to Zhollyi. Changsha: Hunan chllbanshe.

Wang Lllobin. I984. LIIObill geqly"i (Selccted Songs of Wang Luobin). Lanzhou: Gansu renl11in chllbanshe.

Wang Yaohua and Du Yaxiong. 1999. Zhonggllo cI/lIantollg yinylle gailtlll (Out lines ofellinese traditional music). Fuzhou: Fujian jiaoyu chubanshe. Principle of Yijillg 15

Wang Zhengqiang.1995. Qinqiangyifl)'lIe gailun (An introduction to Shaanxi opera music). Beijing: Renmin yinyue chubanshc.

Wu Zhemei, ed. 1993. Shisanjing (Thirteen Classics). Beijing: Guoji wcnhua chuban gongsi.

Xue Jinyan. 1999. "Baban. A Long-standing fonn in Chinesc Traditional Musics:' Journal ofMusic in China I: 77-94. 16 ACMR Reports. VO/. 13. 2000

Glossary

Ai ~ Akou II'JD Anqiyan IIIH:g~ Baban 1\lli San lli Bangziqiang lJII'fJl'i: Banshi lli Chaozhou itIffl Che R Dao ~ Oaxing :X)~ Dui 51- Emaban =/\1& Erhuang Erliuban =.t\t!i=­ Ersipu '=lmi-~ Erxian =If Fan fL Fan erhuang &=1>1: Fanwanggong fL",T Fan xibi &i!!il!t Gao ;IIi Gefan r/!fL Gen l'l. Gong g Gong Gongche Gongdiao Gou PrillcilJ/e of rijing 17

Gua It Guangdong r-* Hai Ub: He Ac Henan jiiJflj Huanyin ,jXi\' Jiahua lli-li Jing ~ Jiqu Jl!1!lJ Kan 1X Kun JlIl KlIyin *u.", 3'* Langtaosha it'< iii! 1.9 Li If; Lianqll lIltilti Lijiafu $ii(* Liu r- Lluban 7'\1{ Qian fl: Qinghai 1f;fJj Qinqiang »11',; San ill: Sanban Ill:l& Sanjie .::.u-I" Shaan:-:i !/(i!!l Shang 1: Shuangjie ;

Wu Ii Xia I' Xlafan l-J'l Xlagong r'~ Xianshl 'lfi:'; Xtpi 1!Yi.l: Xun 'IT Ya Yang ".I

MOl

Jt. ..

..,. --

.. 20 ACMR Reports. Vol. JJ. :1000

(JIla 8'lIUllIJ'1' III f/i'll

... ~ lUJf1' )\I'PPUll; rol 8'l iJ! »1. JtjOj"f:flJM rlllj;~JiJ!'!Il. Performing Taill'(//! 21

Performing Taiwan: Music, Dance, and Spectacle in the Celebration of President Chen Shui-bian's Inauguration'

Nancy Guy University ofCalifornia. San Diego

On March 18th, 2000, the day ofthe presidential elections in Taiwan. I happened to be watching CNN Headline News as I ate my lunch. I had almost forgotten that the polls in Taiwan had closed hours earlierwhetl a briefannouncc­ ment ofChcn Shui-bian's victOlY quite literally brought llle to my feel. Alone, in my condo in southern California. I perfonned a solo victory dance, astonished by this news snippel. My feeling of surprise was quickly replaced with a pro­ found sense of awe. Years of struggle had finally brought Taiwan to this moment.

With their election ofChen Shui-bian, the people ofTaiwan had over­ turned more than fifty ycarsof ationalist Party rule. At the close of W.W. II III 1945, control ofTaiwan was granted to the Republic ofChina. which was then under the leadership of Chiang Kai-shek and his ationalist Pany (Kuo Min Tang or "KMT'). During the fifty previous years. Taiwan had been a Japanese colony. For decades. Nationalist gO\'emance ofTaiwan was iron fisted. Thou­ sands of Taiwanese died at the hands of ationalist troupes during the February 28. 1947 Uprising (commonly referred to as "er-er ha".lit. "2128") and many others were imprisoned. exiled, or murdered during the White Terror Period (haise kunghu) which. some Taiwanese argue, continued until martial law \vas lifted in 1987. The newly elected Vice President, Annette Lu (Lu Hsiu-lien), for exmnple, had been imprisoned for five and a halryears as punishment lor her protest activities during thc Kaohsiung Incident of 1979 (Gluckman 2000:38). Even President Chen had scned a 246-day jail tenn for his opposition to Na­ tionalist rule (Chcn 2000a:77). The day when these two would be President and Vice President of the Republic of China had come to quote an aptly titled V("ll'sweekanicleabout the inauguration ··Against All Odds" (Lanner2000: 12).

The first fony or so years ofNationali~t rule had been characterized by the party-state's all1lo~t exclusivc support of mainland Chinesc-dcri\cd culture and ib neglect (and cvcn suppression) ofall that was locally based.! Rescnt­ ment OYer the l\ationalist disparagement of local custom and culture was. III 22 ACMR RefX)r/s. Vol. 13, 2000

fact. a significant component in fueling the drive for a change in governmcnt. A stcady move towards 'Taiwanization" (benIu/lI/a) over the last fifteen or more years paralleled Taiwan's increasing democratization and liberalization, The arts (including music. literature, dance, theatre. etc.) were on the vanguard in articulating what belonged uniquely to Taiwan and in nurturing a growing sense ofTaiwan consciousness (Ti:II\mn yiSJll). Evidence ofthe shift from policy fa­ voring mainland Chinese-deri\'ed arts to a Taiwan-centered policy was witnessed during President Lee Tcng-hui's inauguration celebration in 1996 when Taiwan­ ese opera \",as givcn a bener position on the program than Peking opera.' This was read by the Pcking opera actors as a sign that Lee who was the first Tai­ wanesc to hold the office of ROC president favored local rather than mainland Chinese culture."

The Tai\\anese bravely cast their votes for Chcn despite increasingly hostile threats from China.~ Chen belongs to the Democratic Progressivc Party (DPP) which has long been associated with the Taiwan independence move­ ment. Beijing has continually \\amed that it will take the island by force ifTai­ wan declares independence. That threat had recently been renewed with the February 21, 2000. relcase of Bcijing's II ,OOO-word white paper entitled, 'Thc Onc-China Principle and thc Taiwan Issue." Many political experts belic\'c that the white paper was intcnded primarily to frighten voters away from Chen Shui-bian (see, for example, Chan 2000 and Eckholm 2000a).

Chen's election markcd the beginning ofa new era in Taiwan's history. Jquickly decided that I would go to Taipei to witness the inauguration first hand, even though classes would still be in session.6 I believed that thc sclection of music for use in thc inauguration ceremony would provide key insight into the new administration's cultural policy.

In writing my grant proposal, I explained why it was critical for me to travel to Taiwan for the inauguration and J made several predictions:

Chcn will be inaugurated on May 20th. 2000 and J plan to go to Taipei to document this historic event. J am certain thaI the music llsed in the inauguration ceremony will illustrate Chen's vision for Taiwan's future. lt will also be a strong and clear articulation of a continually evolving Taiwan consciousness. I predict that Taiwanese music will receive top billing. aboriginal song and dance will also be very prevalent, and that Chinese music. such as Peking opera. will be absent from the program. Pelforming Taiwan 23

My prediction thaI the perfonnance activities would be illustrative of Chen's vision ofTaiwan and his hopes for its future was correct. Ilowevcr, I am happy to report I was wrong in forecasting that the music and culture of Taiwan's waishellgrell (lit., "outside-province people") population would be excluded. The inclusion ofmusic such as Peking opera, which has strong associations with Nationalist rule and the \I"aishengren population, indicated that Chen \vould be encouraging rcconciliation among Taiwan's contending cthnic groups.

Many introductions to ethnicity in Taiwan have been published else­ whcre; for the purposes ofthis article, let it suffice to say that sincc 1949. Taiwan's society has been conceived ofas being comprised offourmain ethnic groups: I) the alx>rigines (nWlldlllmin), who lived in numerous difrerent tribes before im­ migrants of Chinese descent came to dominate the island. Currently. there are nine distinct alx>riginal tribes; altogether alx>rigines comprise less than 2% of Taiwan's total population; 2) the Hokkien (also referred to as 'flllao" and 'Tai­ \l'lln ren") whoscancestors came from southern Fujian province before 1945; 3) the Hakka (kejia Il?n), whose ancestors came to Taiwan, mostly from Guangdong provincc, before 1945. Both the I-Iokkien and Ilakka are considered "nath'e" Taiwanese (i.e., bendire", benshengren). About 85%ofTaiwan's population are "nativc" Taiwanese; 4) H'llishengren, who came to Taiwan in the late 19405 and their descendants. Currently, they comprise about 14% ofthe island's popula­ tion. Chiang Kai-shek and the Nationalists who fled the mainland in exile to Taiwan in 1949 are by definition "waishengrell." For many people on Taiwan, the association between wllishellgrell and the Nationalist governmcnt has been velY close.'

The ceremonial and perfonnance events slllTounding the inallgumtion werc fantastic spectacles in which music, dance, and poetry were critical in nar­ rating the past, re-affirming the present, and exprcssing dreams for the future. Nevcr before in thc Republic's relatively Sh0l1 histo!)' had a grander plan for inaugural celebmtion becn executed. More than six hours ofcelebrato!)' perfor­ mances were attendcd by tens ofthousands ofpeople and were broadcast live on several television stations.

A committee hcaded by the incoming Vice Chainnan oftile Council for Cultural AfTairs, Luo Wen-chia, planned the three special pcrfonnance events in celebration orthe inauguration.K These consisted of: I) the inauguration cel­ ebration on the morning ofMay 20th held in the square in front orthe Presiden­ tial OOicc in downto\\ n Taipei: 2) the evening perfonnance at the Chiang Kai­ ~hek Memorial Park also in downtO\l;n Taipei; 3) and, another evening perfor· 24 ACMR R(!pQrl.~, Vol. 13.1000 mance on May 21 st at Sun Vat-sen University in the southern city ofKaohsiung.

Saturday Morning, May 20th, 2000

On the historic morning of May 20th, lhe inaugural program consisted oftwo main pill1S: one held inside the Presidential Office and one staged out-of­ doors in front ofthe Office. While I managed to procure a pass that would allow me to altend the outside portion, security measures prohibited spectators from canying personal items into the performance area, This meant that I would not be able to record or photograph. I chose to stay in and record the televised program from the comfort ofmy friend's living room,

Beginning at 9 a,m" the swearing-in ritual of the new president, vice president. and cabinet commenced inside. Thediffcrent portions ofthe ceremony were announced by a speaker who used a narrative style similar to that heard in the annual ceremony al Taipei's Confucian Temple, Between some sections of the ritual, a small ensemble of Western brass instruments played shon excerpts from Ilandel's Music for the Royal Fireworks and other similar fanfares and marches.'J Due to limited space in the Presidential Office, only five visiting heads-of-state witnessed the swearing in ceremony, The large outside audience, which numbered in the thousands, monitored these key events on massive video screens,

By 10 o'clock, the swearing-in ritual was completed and for the next hour, the new president and administration were greeted by foreign heads of state and other governmental representatives. At this point, the performance program began outside the Presidential Office, With their backs to the building, lhe musicians, singers, and dancers faced the thousands of audience members who were seated on what is normally the heavily trafficked intersection ofChong­ ching South Rd, and Ketagalan Blvd, The main theme of the program was "Love Towards the People, Feelings for the L.:1nd" (Tui jen yu.ai, tui t'u-ti yu. ch'ing).10 The program content was a clear illustration ofChen's hope for rec­ onciliation and cooperation between Taiwan's different ethnic groups.

The hour of performance, which preceded the President and Vice Prcsident's arrival outside, had a three·pan stmcture. Ethnic group representa­ tion and degrees oftraditionality vs. modernization wcre the primary factors in fonning the character ofeach section. The first section moved from trnditional songs oftwo different aboriginal tribes to a llakka mountain song. The perfor- Performlllg Tolwoll 25 mance opened with "Announcing the Good ews" sung by members of the Bunun tribe. Singers from the Tsou tribe followed with two numbers. Both groups ofaborigines perfonned wearing traditional costumcs. The Hakka moun­ tain song was accompanied by traditional Chinese instruments (i.e., yOllgqin, Iwqin, and fuogu). The singcr wore a black bow tic and Western suit while his accompanists wore Chinese-style shirt jackets.

An article posted at the "Taiwan Today News Network" cited the main feature of the second section as the primacy of the "national language" (i.e., "gllo)'lI" or "Mandarin"). II It is impossible 10 stale definitively what the "l1a­ tionallanguagc" symbolizes in early twenty-first centuryTaiwan. Ilowcver, it is safe to say that it is associated with waishel1grel1 and with Nationalist Party rule; some view it as a symbol of the Nationalist "colonization" ofTaiwan (see. for example, Liao 1999:201-204). For pieces to be perfonned at the inauguration in Mandarin, indicated that Chen's administration intends to be inclusive of the waishengren population. Some waishellgren fear that now the Taiwanese are in power, they will be victims ofdiscrimination, just as the Taiwanese were under the waisltengrell-dominated Nationalist rule. The "national language" section can be read as a peace offering-a hand extended to the minority lI'aishengrell population.

All pieces in the second section were accompanied by the ational Sym­ phony Orchestra. The first and last selections were concertos written by Tai­ wanese comJX>sers. First was the Bamboo Flute Concerto, 110. I by Ma Shui­ lung (b. 1939 in Keelong). The Violi" Concerto in D by Hsiao Tyzcn (b. 1938 in Kaohsiung), a composer who selfidentifies as Taiwanese American, concluded thescction. '2 Between the concertos was a reading in Mandarin by Chiang Hsuan of his poem "Aspiration." This marked the first time in R.O.C. history that po­ etry was read at an inaugural ceremony. Following the reading, Iisu Chien-wu's poem "Spring Spirit" was sung in Mandarin by a soprano-tenor duet to the mu­ sic ofcomposer Chu Wen-chung (also known by the Cantonese pronunciation of his name "Wut Man Chung"). Chu was bom in China's Sichuan province and he studied composition at the Beijing Central Music Conservatory. He im­ migrated to Hong Kong in 1975 where he died in 1992. The inclusion of his music in the program illustrated Taiwan's connection to the people and cultural products of greater China (da Zhonggllo). The conciliatory and cosmoJX>litan spirit suggested by the works in section two was echoed in Chen's inaugural speech in which he stated: 26 ACAfR Re!Jor(.I'. 1'01. 13, 2000

We must open our hearts with tolerance and respecl, so that our diverse ethnic groups and different regional cultures may communicate with each olher, and so Ihat Taiwan's local cultures may connect with the cultures ofChinese-speaking communilies and other world cultures, and create a new milieu of''a cultural Taiwan in a modem century:' (Chen 2000b)

The works ofsection three were all spoken or sung in Taiwanese. The section opened with Lee Min-yung's reading ofhis poem "Inner Voicc:' Taipei news­ papers reportcd that Chcn Shui-bian had met with Lee in April and asked him to read one ofhis poems for the inaugural perfonnanee. Lee \\ rotc "Inner Voice" in 1995 whilc musll1g about what Taiwan ".. ould be without the ationalist Party in office. According to Lee, "the poem paints a picture offrecdom and its impact on children from thc mountain tops and seashores" (Chu 2000). Lee compared his participation \\ith Robert Frost's poetry reading at the inaugural ceremony for John F. Kennedy in \\ hich Frost reminded Kennedy that "power COffilpts \\hereas poetry purifies one"s mind:" Lee said that he would use this opportu­ nity not to naner the new president, but to remind Chen ofthe expectations he and other artists hold for the government (ibid).

Lee Min-yung's poem "Ode to Jade Mountain," set to music by Hsiao TY7cn, was thc first ofthree choral pieces sung in Taiwanese. Next was "Open the Door and Window to thc Ileart'" comfX>sed by Lii Chuang-shcng (b. 1916 in Taichung county). Lli grew up during the Japanese colonial period and received his early compositional training at the Toyo School of Music (Iatcr fCnamed the Tokyo School ofMusic). The final piece, "Sunrise overTaiwan," was composed by Chin Ilsi-wen (Gordon Shi-Wen Chin), who earned his doctoral degree in composition from the Eastman Conservatory in 1985.

Around II a.m., when the performance had finishcd, President Chen, Vicc President Lu, and others, moved outside for the complction of the ccr­ cmony. This pOl1ion began with the raising of the national flag and was fol­ lowed by the singing of the "Republic of China National Anthem:' Breaking with the usual practice ofinviting a singer trained in the Western operatic tradi­ tion. Chen Shui-bian invited A·mei (a.k.a. Chang Hui-mei or Zhang Iluimei) a pop diva ofTaiwan aboriginal decent whose fame is not limited to Taiwan, but reaches to Mandann-listeningaudiencesaround the world to sing the anthem. 14 She ~ng with the accompaniment of the National Symphony Orchestra.l~ A­ mei"s selection caust.:.'d an uproar among some professors ofWestern art music Performing Taiwan 27 who felt it improper to ha\ e a pop singer perfonn the national al1lhem at such an important event.

Several days before the inauguration, I mct with Dr. Wu Jing-jyi. one of President Chen's national policy advisors. In ourdiscussion ofA-mei's upcom­ ing pcrfonnance, he IOld mc that the main reason for choosing the pop star was because her perfonnancc would make the anthem sound fresh. Wu said that over many years ofhearing it played before every movie and every perfonnance, as was customary in Taiwan, people had become inscnsitive to and emotionally detached from the anthem. A-mei's singing would bring new life and new mean· ing to the old national anthem.

Youth and vitality wcre significant qualities that A-mei brought to her perfonnance of the national anthem. The main thcmc for Chen's presidcntial campaign had been "Young Taiwan, Vibrant Government." Chcn, who was only forty-nine years old at the timc ofhis clcction, said that this theme repre­ scnts his "aspiration and \ision forTaiwan and [its] government" (Chen 2000a:44). As noted by the London Fillallcia/1imes. A-mei's "sclection to sing the national anthem renected Mr. Chen's desire for a more inclusive government that cel­ ebrates youth culturc" (Dickie 2000:9).

An unexpectcd reaction to A-mci's perfonnance was her being black­ listed in the P.R.C. hnmediately following her apfX:arance at the inauguration. the Communist Party's Propaganda Department ordered China's state-owned media to halt the dissemination of all advertisements for the soft drink Sprite featuring A-mci. The Taiwanese pop star's image vanished from billboards in Beijing, Shanghai and other mainland cities as the ban went into effect. II> Coca­ Cola was rcportedly notified the day before the inauguration that its multi-mil­ lion dollar advcl1ising campaign would be withdrawn (Dickie and Kynge 2000:14). A Coca-Cola China spokeswomen rcpor1cd that the company was offered no cxplanation; Ihey wcre simply infonncd thaI thc orders to halt thc ad campaign had come "from above" (Lin 2000:3). In addition to banning herSpritc advertisements. A-mei is also forbidden to enter mainland China for three years (Shao 2000:6). China distrusts Chen Shui-bian because ofhis past support for Taiwan independence. Because of her perfonllancc al Chen's inauguration, Beijing cast A-mei as a Taiwan independence supporter. I?

Chen's inaugural speech which was anxiously awaited not only by the fX:ople ofTaiwan, but by go\crnment officials throughout the world-followed thc singing ofthe national anthem. The importance ofthe speech \vas captured 28 AC."dR Reports. "01. /3. ]OOn

by a headline in The Irish limes which read, "War or Peace May Hinge on Inaugural Address by Taiwan's ew President" (OTicI)' 2000: 12). Would his speech somehow infurime Beijing and bring a military attack to the island? Chen's positi\'e gestures towards China since the election suggested that he would de­ liver a message of peace and reconciliation, but what if he inadvertently of­ fcnded the Chinese Communists? Tensions \\-ere high. the stakes enonnous. Thc day before thc inauguration. the Taipei-based China Post printcd:

Few presidcntial inauguration speechcs will be as closely listened to, or as carcfully crafted, as the one Taiwan's Chcn Shui-bian deli vcrs on Saturday. Chcn's all-but-impossible task will bc to come up wilh a magic fonnula that will please a bellicose Beijing. a worried Washing­ Ion and pro-indepcndence diehards in his Democratic Progressive Party (Lim 2000:4).

About ninety perccnt ofthe fifty- minute speech entitled, "Taiwan Stands Up: Ad\'ancing to an Uplifting Era." was dedicated to Taiwan's own domestic affairs.'~ The most frcqucntly quoted phrase, hO\\-ever. regards Taiwan's future relationship with China. Chcn stated that:

As long as the CCP regime has no intcntion to use military force against Tai\\an. I pledge that during my tcon in office, I will not declare indc­ pendencc, I will not change the national title, I will not push forth the inclusion ofthe so-called "state-to-statc" description in the Constitution. and I will not promote a referendum to change the status quo in regard to the question of indcpendence or unification.

Chen's masterfully writtcn and delivcred speech gave China little to critieizc. However. Beijing issucd a statement within two hours of its delivery, charging Chen with being evasive and unclear regarding rcunification (Eckholm 2000b).

A musical selection c10scd the morning program. Composer Ma SllUi­ lung was commissioned just a month before the inauguration to write the choral piece "God Bless Our Land. Fonnosa:' based on a poem by Iisu Hui-chih. Luo Wcn-chia ofthe celebration planning committee hopc~ that the new piece will bt..--comc a theme song for future national ceremoni~ (Chu 2000:4). Perf(mllillX TaiwlIlI 29

\Ia\ 20.2000. \lorning Inaugural Program (sc~ l~b1c in glossary for original names and t1l1c)

Pln~/.'''~nt P~rrorm~r(s) Com onr/Po~t "0 AM '''111.1111 tIx: Good M".- mrm""'" oftlx: BltlIlIn Tnbe from TradllJO)na] Soq of !he B""un N;ml'OU C<'ltml\< To,"

9 ~2 ·tho~ Snn,rodc 10 membcn oflhc T_ T~ from Tradluonal SOlI( of Ihc T!o(JU

H'ILW} tIx: All \loomwa .uofa...t T",- Count

9~7 JO)'_ Ou:__C~ Oao: V..., 0JI0.dlcQ, "OIOl: Y:artJ a.-.chclL lyYl1:l1. alief Ihc 0Iher" ~.,-dl'I" t'~-dl'1a hu-<:h·m.1uo- If.bung .uu.a tune k,

10m 8.mboo I'hole C<>ncc:n, ~ , Cben CbwtJ.WIl, patte·li. Ma "1M...... ,. ~"'DIpl'"C NalJOGlJ Symp/lolt)' On:mlnl. no;SOl

II} 11 'A'PIratlOQ~ Ouaa,: Hwan, poetry rea;.hn" Cb.:llllllbwlI, P"~l

"'SO

'Sl'fln~ .~ronf lin HUCI-<:hen. soprano; H~' H u Ch",n ,",u. I)"n~,,', Ch, YaM lun ,lenor, NSO Wen-<:hun~ cornf")"er

1020 V"~ln C._Cit., ,n D Su HSIeIl-!3.. vIOlin; NSO Il.u.. THen, com .. 10 ~l 'Inner V".~e I"; M,n.vUlIR. noelrV re;odIIlR, ,,"SO Lc~ MIll , '" "Odo; h' bde Mounwn" Northern DiSln<:1 Unnw Choru~; I ec M,n-yun~. ,,",'.

NSO II-,ao Tv/en. com ~,

10 40 'It r Open 11-..: o.~>f'> of M) "'oohcm Oi~mCI lInlted Choru~; Wan~ (lfang h",ma:. h-n~"l. Hc'3tf ;-ISO Lu ChU3.n-~hcng, C(ml(lOOCr

I04.~ "Sunn\/:: o,-cr T;uy,.an'· Northern DislriC1 UnJlcd Chorul; Lu ChIn len, Iyn~,," Chm H,,-

NSO wen, C"m ~,,,,r 30 ACMR Reports, 1'01. 13, :1000

IO:~ IntroduclK"!l 0/F.:nlp "'-~ 1100 Wek'lllUnl of!he Pn:sodeol -' """"of"""""'"" Va-Pre\ldml ('I(!he RepuNIC ,,({luna

11·01 AIX

()ff~

1111 ACCI'!ll~Avm Mu.,ic M"ns- ofOefense Band

IU2 Flnnl or!he 21-Gun S:lIlRe A~led by Mmistry of

11.)0 The Tenlli Presldenl of tile ""'-- PJeSldc:nt Olen RepublK: ofChma.lnaugural

IUk) """'"··God Ilk'>.! Our LInd. Nonhcm District United Chorus; Hsu Hut-chilI. poel; MaSliul-

FOfOlOU" NSO Ion. com ...... Performing Ttlill'(fn 31

Saturday Evening, May 20th, 2000: State Banquet, Fireworks Display, and Performance Extravaganza

Thrcc major events took place in Taipei the cvening ofthc inauguration: I) a statc banquet: 2) a fireworks display over the Tamsui Rivcr; 3) a multi­ media perfonnance extrnvaganza. Ofthese. Iattended the perfonnance extrava­ ganza. I drew my infomlation about the banquet from ncwspaper coverage and telcvision broadcasts of the event which several friends videotaped for me.

At the Grand Hotel in nonh Taipei, a statc banquet was attended by the nc\\ administration and about )00 guests. halfofwhich wcre foreign dignitaries. The mcnu \I.. as highly symbolic due in pan to its inclusion ofTaiwancsc street­ stall snacks and dcsscns which had never before bccn prepared by the exclu­ sivc Grand Ilotel alongside traditional Chinese dishes. The nine-coursc din­ ncr began with fresh asparagus wrapped in Norwegian S<1hnon. milk fish soup. and Tainan-style rice cake. The feast concluded with thc most politically sym­ bolic dish ofthe evening. a taro and sweet potato sponge cake. Taro has come to symbolize waishengrl?l1, while sweet potatoes are taken to represent Ilokkien­ speaking Taiwanesc. Even the island ofTaiwan is said to be in the shape ofa sweet potato. The cake made "an obvious tribute to Taiwan's political makeup and the hamlony that has grown between the two ethnic groups since the KMT took control ofthe island over halfa century ago" (Sling 2000:3). Swcct pota­ toes arc also associated with pO\eny. In this context, they alluded to Chen Shui­ bian's own background and to the power ofhard work and perseverance. Chen was hom to poor, uneducated parents. in a small vil1age in Tainan county. This tenacious "native son ofTaiwan" passed exam after exam and eventually gradu­ atcd first in his law school class at Taiwan's top acadcmic institution, National Taiwan Univesity.

Thc main thcme of the spectacular multi-mcdia production was "Let's build 1l1cmorie':i together." In an interview published in The Chil/a POSI several days before the event, the show's producer. Lee YUllg-fcng ofthc Paper Wind­ mill Theater and Foundation, said thatlhe program would "examinc the history ofthis piece ofland even as a new page in another chapter is about to begin to be written" (Lu 2000:10). The theme of ethnic reconciliation. which was promi­ nent in the moming inaugural program, was paramount in the evening show. Lce said that he hoped the perfomlance would make the audience "pause to recall and renect on what the men and women. regardless oftheir ethnic origins and political party affiliations, have done and contributed towards nation build­ ing·· (ibid). 1met with the "thiny·something'· Lee Yung-feng this past August 32 ACMR Reports. 1'01. /3. 2000 to discuss the program and asked him to further elaborate on its theme. '9 lie immediately began by saying:

Taiwan has a big question, a big problem. From 1950. when the main· land people came here. there has a been a conflict: a big conflict that persists up to today. We hope that bellshellgren and waishellgrell can live together peacefully. Therefore, the most important thing [for the program] was to let the people of Taiwan know ... it doesn't matter whether they are hemhel1gren or lI'oishellgrrm, we have all lived to­ getheron this piece ofland for fifty years. This was the most important theme for the May 20th event. So, we included huangmeidiao, old folk songs, popular songs, and other traditional things. We wanted everyone to feel from the music whether they are hellshengrell or lI'oishellgren these are the songs that they all have heard since childhood. So, we used all ofthese songs to make one complete program. The music allowcd people to sec that we share the same memories. We don't wanl to con· tinue the lI'oishengren and bellshellgrell distinction.2fl

The perfonnanee event was held in the mall area ofthe Chiang Kai-shek Memorial Park, between the National Theater and the National Concert Hall. in downtown Taipei. The show involved the efforts often different directors and at least 1.200 perfonners. Altogether more than 1,700 people were involved in staging the three-hour.long extravaganza. At 7 p.m., as the audience faced east­ wards towards the enonnous stage. the conductor oflhe Kaohsiung Symphony Orchestra gave the downbeat to Wagner's "Prelude to Act 111 ofLohengrin:' As the brass belted out the main theme, the westem sky exploded in light and color with the start of the Tamsui River fireworks display. It was incredibly exciting (though I pauscd to wonder about the seemingly universal appeal of Wagncr) and I did not know which way to tum.

Even facing the cnonnous stage area, it was difficult to focus onc's at­ tention. The show was a multimcdia, multi sound and image journey through Taiwan history. The perfonnunce space was comprised ofmain six areas. On the extreme left and right sides were two video screens Ihat were about two stories high. Between the video screens and the centml stage were two alcoves abo\c and behind which wcre yet two more large video sereens. The symphony orchestra was situated in the stage-right alcove. Thc stage-left alco\c later housed the rock artist Joy Topper (Chu T'ou-p'i or "Pig-head-skin") and his band (Fig­ ure I). The central stage was scventy-five meters wide and had an extension on the tront which was large enough to accommodate the several cars that would Pelj"ormillg Taiwall 33 drive across it later in the program. Behind the central stage was one more video screen which was at least three stories high and as wide as the stage. The images of the far right and far left screens were the same as the central screen. The screens behind the two alcoves usually showed yet another image. There \\-ere two additional video screens sct up midway through Ihe audience section for the benefit ofviewers in the back.

Lohengrin segued inlo Beethoven's ever popular"Ode 10 Joy." Elemen­ tary school students trolted out onto the stage singing 10 the Beethoven and were followed by university-aged students from Ihe Ministry of Defense, Political Warfare Institute chorus. Together, more than one hundred strong, they sang Ihe patriotic songs "Blue Sky, Whitc Cloud" and "The National Flag Song." With barely a break in the action, the ritual sounds ofbeigu(JlI SUOlla, cymbals, drums and gongs took over as about seven, eight feet-tall ritual figures (shenjiallg, IiI. "god-warriors"), proudly strode across the stage.21 The video screen behind the central stage showed images ofisland temple festivals and ritual parades, while the screens on the extremc right and left focused on thc twenty or so beigllall musicians. As the ritual figures filed offthe stage and into the audience, Peking opera acrobats look over. Thc Peking opera segment, with excerpts from several auspicious plays, lasted more Ihan 7 minutes.

Following the patriotic and ritually auspicious opening. the program started on its roughly chronological narration ofTaiwan history. Wilh the emccc's announcement "Let's return to Taiwan's earliest time," aboriginal singer Kuo Ying-nan (a.k.a. Difhng) and his group of elderly Amis singers. clad in tradi­ tional costume, appeared in front ofthe stage-right alcove singing the now world­ famous "Song ofJoy."22 A 1978 field recording of Kuo and his wife singing the song was unlawfully incorporated into Enigma's 1993 hit song "Return to Inno­ ccnce" which was later llsed as the theme song for the 1996 Centennial Olympic Games in Atlanta. 21 While Kuo and the others sang, about one hundred frog­ men from the Marines pcrfonned calisthenics on the central stage wearing cam­ ouflage shorts, white athletic shoes and socks, and camouflage-painted £.1ces. The central video screen alternated between broadcasting a video which accom­ panies one of the cuts from Kuo's new age-influenced CD, Circle q{Lire (pro­ duced by the Magic Stone record company) and showing clips ofTaiwan's natu­ ral beauty. The screens above the alcoves displayed the Marines pcrfonning their calisthenics. In August. Iasked Lee to explain the relationship between the aboriginal singers and the frogmen. He said that the young. physically fit frog­ men. who ha\c all grown up in Taiwan. represent strength. In the past, aborigi­ nes \vere soldiers and hunters and wcre also \-'cry strong. In addition. they are a 34-KMR Reports. lo/. /3. 2000 natural part ofTaiwan. Together with video clips ofTaiwan's mountains and ocean, the indigenous music and the strong modem warriors represent an image ofstrength that grows naturally from this land. Lee said \\ ith its placement at the beginning of the program. this piece illustrated that "this is Taiwan. this is the place ,..'e li,-e"'~~

The show's narration moved us quickly from Taiwan's timeless past (inhabited by aboriginal peoples) to the Portuguese naming of"Ihia Fonnosa" (beauliful island). through the Spanish and Dutch colonization, and into the Japa­ nese colonial period. Absent from this rapid march through history was any mention ofehinese administration or colonization ofthe island. The next sev­ eral segments recalled the Japanese colonial period. Lee Yung-feng recovered period film footage which acted as a backdrop to the pcrfonnance (Figure 2). Liao Chiung-chih, who over her long career has eamed the title "the number one 'tragic tan' (d(l'i kudan)" ofTaiwanese opera, sang a lullaby associated with the final years ofJapanese occupation.

Appearances by pop singers, some of them no\\ elderly. singing their original songs brought the past back to life. The star line-up included singers of Taiwanese songs, Wen Hsia, Wen Hsiang, and sc\enty-two-year-old, Hung 1­ feng (Figure 3), and singers of Mandarin songs, Ching Shan, Chang Ch'i and Hsieh Lei, whose fame collectively spanned the 1950s through the I970s.

A number of celebrities who now live overseas were brought back to Taiwan for this special occasion. Ivy Ling Po (Ling Po), who was enormously f.1mous during the early 1960s for her role as the young man, Liang Shanpo, in lhe liImed version of the Iluangmci opera "Butterfly Lovers," new back from her home in Vancouver. The famous variety show hostess in the 1960s and 1970s. Pai Chia-li, returned ITom Singapore and was driven onto lhe stage in the first Yulan brand car to come offthe assembly line in Taiwan.

Other highlights were two dance excerpts by the "Cloud Gate Dance Theater," a segment by Iluang Chun-hsiung's puppets ofIe levision fame, a piece pcrfonned by the lie Luo Taiwanese Opera Troupe, and a parade of figures dressed as popular cartoon characlers. The list of participating stars included singer Chang Fengfeng, who perfonned hultl1gmei opera with Ivy Ling; ab­ original singer Hu T'e-fu; fanner member ofthe ew Fonnosa Ensemble (Hsin pao-tao k'ang-Ie lui), Iluang Llen-yu, who has been important in bringing Hakka ~ngs to the pop musie mainstream; balladeer Ts'ai Chin; and, Mandarin pop singers Chou Hua-chien, Meng ring-wei. and Ts'al Iising-chuan. Ts'ai. f..1- Performing Taiwall 35 mous for her covcr \'crsions of the late Teresa Teng (Teng Li-chiin) songs, was dri\en onto the stage in a military jeep escorted by three young men in military police costumcs. This referenced the strong association of U'Q/~'1heJlg,.e"Teresa Teng with the ationalist military due to her frequent entertaining ofsoldiers at military camps and bases.

The excitement level reached its height with the appearance ofrock star Wu Bai and his band China Blue. At about 9:50, Wu Bai made way for the final number. Several hundred ofthe evening's perfomlers filled the stage in prep.:1ra­ tion for President Chcn and Vice President Lu's cntrance. In his short specch which began, "Tonight is really different," Chen thanked the people ofTaiwan for making this momcnt possible (Figure 4). Thc program closed with a mass singing of"Beautiful Island" (Mei-li-te pao-tao).

Sunday Evening, May 21th, 2000

The southern city of Kaohsiung was the site of a final large-scale celebratory perfonnance. Since I had to ny back to San Diego Monday morn­ ing. I was unable to travcl to Kaohsiung to attend; therefore. my report is based mostly on ne\\ spaper descriptions and the tele\ised version of the event. The program. which started at 7 p.m at the Chung Cheng Sports Arena. was attended by about 10.000 audience members (Yang, Hu and Chen 2(00). Its main theme was ··Hai-k'uo t·ian-k'ong,je-ch'ingTai-wan." which translates rather awkwardly as "Passion for Taiwan is as boundless as the sea and sky:· Unlike the Taipei program, which took Taiwan's history as its overarching theme, the Kaohsiung program was more loosely structured. TIle "ocean" and Taiwan's nanu'al and indigenous riches were the threads that bound the show together. Another dif­ ference from the Taipei program was the predominance of the Taiwanese lan­ guage. The two emcees in Kaohsiung spoke mostly in Taiwanese with about a fourth ofthe dialogue in Mandarin.

The opening was a very rousing seven minutes by a drumming ensemblc that was similar in sight, sound. and spirit to taiko groups. As the drummers perfonned, images oftile island's seas, shorelines, and aquatic life were cast on the video screen at the back ofthe stage. Kaohsiung Mayor Frank Hsieh (I1sich Chang-t'ing). who iscurrcntly the chainnan ofthe Democratic Progressive Party, gave a several-minute long speech following Ihe initial drumming opener. 36 AC\fR Reports. '·o/. JJ. JO(}(}

The first production number featured about forty members ofthe Puyuma tribe, all of whom \\ore ethnic costumes. The segmcllI featured two Puyuma singers who had recently \\ on Golden Melody Awards (i.c., Taiwan's equivalent ofthe Grammies). Femalc slngcr Chi Shao-chun (also known by her Puyuma name "Samimmd") won thc Bcst NcwArtist A\\ ard \\ lulc her uncle Ch'en Chien­ nien (a.k.a. "Pur-dur") was awardcd Best Male Vocalist and the Best Song Writcr in the eleventh annual competition (Liu2000:93). Chi Shao-chiin sang thc first piece. which was based on a traditional chant, with hcr grandmothcr. Followmg hcrsceond number. sung to guitar accompaniment. Chi introduced Ch'en Chien­ nicn. While Chi sang hcr two picccs in the Puyuma langllagc,2~ Chcn perfomlcd in Mandarin. His second piece, "We Are the Same Tribe," had a strong message of cthnic reconciliation. The song. which comes from his award-winning CD, Ilo-lIi-yal/ Ocean. begins "Mountain pcople arc good. People ofthe plains arc good. We are all people ofthis place."26 Altogether, the I)uyuma segment orthe program lasted about fifiecn minutes.

A good ponion ofthe c\'cning's program borrowed the old-style variety sho\\ fonnat which has been popular in Taiwan television for many years. The list ofparticipating stars included: Ts'ai Chen-nan, the blind duo Kin Men-wang and Lee Bin-hui. Ts'al Yi-Iin. \Vang Ch'ung-ping, Li Tu. the aboriginal singer Kao Sheng-meL and Jluang An. The female duo China Dolls (Zhongguo wawa). who are O\-erseas Taiwanese li\ing in Thailand. flc\\ to Taiwan to participate. Two other reccnt Golden Melody Award winners also jomed the program. The \\ mner ofthc Best Perfonlmnce Group. the rock band Luan-tan. gave a rousing performance and the "best female vocalist" Yang Naiwen closed the c\ening's program.

Around 9:50. President Chen. Vice President Lll. Mayor Frank Iisieh. and several additional ollicials took the stage. After Cben gave a briefspeech in Taiwanese, he and the others each took a micropholle and sang the Taiwanese song "Happily Navagating the Seas" (K 'uai-Ie te eh'u-hang). karaoke style. With the musical number completed, Chen and some of the others departed. Vice I)rcsident Lu then addressed the audience, also in Taiwanese. and introduced scveral foreign guests. The foreigners were alllong those working for organiza­ tions such as Amne:,ty International \\ ho had fought to keep Lu and other diSSI­ dents from being CXCCUh.xJ follO\\ mg the Kaohsiung Incident of1979. The scene was yet another reminder of the distance that had Ix.-cn {ra\ e1led on the way to thiS moment. In the day~ surrounding the inauguration. similar episodcs \\cre numerous and \'cry mo\ mg. As the faces of the nc\\ administration memocrs appeared on tek~\ ision and at thesc official e\cnts. onc could not help but be Per/om/inK T(lill'(l1/ 37

reminded lhat many had been imprisoned and some had lost friends and even children 10 assasination during their years of struggle.~1

The pcrfonnanee events organized in celebration of the inauguration wcrc fabulous displays ofthe hopes and dreams for Taiwan's future. Thc desire for ethnic group reconciliation and cooperation was the overiding themc shared by all three major pro,b'Tams. Love for the land. recognition ofthe island's unique histOry, and respect for the traditions ofthe peoples ofTaiwan arc among those dreams. 38 ACMR Report.\', 1'0/. /3. 2000

Figure I: Pop rockerJoy TOIJper made his entrance singing to a Huangmei opera mclody.~M

Figure 2: I)roduction number recalls the Japanese colonial period. ( ote the period film footage as background to stage pcrfonnancc.) Pl>I'/()rmillg Talll'an 39

Figure 3: Stage director \\orks to fix Hung I-feng's stage position dur­ ing the evening dress rehearsal, 19l\lay.

Figure 4: I>resident Chen and Vice President Lu take the stage Saturday night in Taipei. 40 ACMR Rewm.l. In/. I J. 2000

Notes

1. Writing in English on Taiwanese and Chinese subjects never gets less complicated. Readers will rind a mix ofWade-Giles,pillyifl. and other un i­ dentiriable romanizations of names, titles, and places. In the past, I have almost always employedpillyin, which is the most widely used system among scholars of mainland Chinese subjects. In an article covering the inaugura­ tion ofthe R.O.C. president, however, I felt particularly uncomfortable us­ ing that system universally. I have. therefore. retained the romanization of personal. proper, and place names as they appear in English-language news­ papers printed in Taiwan. All names have been romanized according to their Mandarin pronunciations. I apologize in advance irI have olTended anyone \\ ho prefers to romanize according to the Taiwanese pronunciation.

2. For more on ationalist disparagement orJocal Taiwanese culture, see Chang 1997:115-121.

3. Lee Teng-hui belongs to the Hakka ethnic group. Both Ilakka and Ilokkien people consider Taiwan to be their ancestral home and are, therefore, called "bellshellgrell" (lit. people of this province).

4. For many years, Peking opera reeeived very strong support from thc R.O.C. government. The Ministry ofDefense maintained between seven and four full-time professional troupes for more than thirty years and the Minis­ try of Education also supponed one troupe. In 1995, however, the three re­ maining Ministry of Defense troupes were disbanded. In their place, onc troupe was formed under the Ministry of Education'S administration. The last remaining troupes, the Fu-hsing and Kuo-kuang, are expected to be mcrged within the next year.

5. Ironically, thc more Beijing pressures Taiwan, the greater distance the Taiwancse aim to put between themselves and China. Fonner deputy secre­ tary gcneral of the Nationalist Party Shaw Yu-ming noted that China's rigid Taiwan policy "has caused negative emotional reaction from our people and boosted the inclination, or sympathy, for independence:' In 1993, polls showed that forty perccnt of the Taiwan population considered themselves ''Chinese'' compared to thirteen percent in 1999 (see "China's half-century ofintimidation ofTaiwan Backfires", Yahoo News retrieved 9/30/1999 from . Perfurming Taiwan 41

6. Fortunately, research activity is generously supported by my home insti­ tution and there was a call for research proposals between the time of the election and the inauguration. I would like to thank my department chair­ man. Professor John Fonville, for allowing me to conduct research in Taipei in the middle ofthe tenn. I'd also like to thank my teaching assistantsAiyun !luang. Ellen Weller, and Michael Dessen for keeping the show running in my absence. The trip to Taiwan, which I temled a "research emergency." was generously supported by a grant from the University ofCalifomia. San Diego. Academic Senate Committee on Research.

7. For a brief introduction to the so-called "ethnic" groups in Taiwan and a brief history oftcnsions between them, see Guy 1999:509-510 or Copper 1999:10-13.

8. The group included Dr. Wu Ching-jyi (national policy adviser), Lin Ching­ pu (Tai Yuan Foundation, chainnan), Chen Chi (Taiwan Arts Promotion As­ sociation), Lee Yung-feng (artistic director ofthe Paper Windmill Theater), Ilao Kuang-tsai (publisher), Hsu Lu (radio and television broadcasting), and Pu Ta-chung and Wu I-feng.

9. Unfortunately, the television cameras never focused on the musicians, so I cannot offer any further infonnation on their placement or the exact com­ position of the ensemble.

10. "Jiu7hi Dadian, Ge Yong Sibainian Tudi Qing:' Liberty Times Web, 18 May 2000. Rctrieved 14 Sept. 2000 from .

II. Retrieved 14 September 2000 from .

12. According 10 the liner notes of the CD Tyzell IIsiao Violin Concerto (Fisherman's Cultural Audio Video Press, Taipei, n.d.), this piece was given its world premier in 1992 by Taiwanese violinist Lin Chao-liang and the San Diego Symphony Orchestra.

13. The original source for Ihis table was retrieved 14 Septembcr 2000 from.

14. A-mei is the daughter ofa Puyuma tribal chief. 42 AeUR Relwrls. Vol. 13. lono

15. See "Chen Shuibian Weimian GongzlIo Rcnyllan: Rangjiu Zhi Dadian Bianchcng Wenhua Xiangyan," Lianhebao 9 June 2000. Retrieved 17 July 2000from

16. "Beijing Pulls Spritc Ads in Anger of A-mci," Taill'QlI News, 24 May 2000, p. 15.

17. It is ironic that China has cast A-mei as an independcnce supporter since she has never been a supporter of Chen Shui-bian or the Democratic Pro­ gressive Party. While A·mei appears to aim for political neutrality, in fact, she has tics to the most pro-China, pro-unification faction in Taiwan. She is the performer ofthe theme song for the UFO radio station whieh was estab­ lished by Jaw Shall-kong, the founder ofthe New Party. OfTaiwan's major parties, the New Party is at the opposite end of the political spectrum from the DPP. See Shao 2000:6.

18. The speech is available at the ROC Government Information Office websitc .

19. Lee was born in 1962.

20. I met with Lee Yung-feng at the offices of his Paper Windmill Theater and Foundation on 24 August 2000, in Taipei, Taiwan. We spoke mostly in Mandarin with an occasional sprinkling of English.

21. I estimate their height to be around eight feet.

22. The video broadcast ofthe performance listed the titles ofthcAmis sing­ ers' two songs as "Rhythm and Melody of tile Earth" (dadide lu dong), and "Joyful Drinking Song" (yin jiu huanle ge).

23. Fordetails ofthe case in which Kuo Ying-nan and his wife sued Michael Cretu and his record company, Capitol/EMI, among others, see my forth­ coming article "Trafficking in Taiwan Aboriginal Voiccs." In Handle with Care: Engagement and Responsibility in the Return of Field Materials, cdited by Sjoerd R. Jaarsma. University of Pittsburgh Press. Performing Taiwan 43

24. Talk wilh Yung-feng, 24 Augusl 2000. in Taipei, Taiwan.

25. All Taiwan aboriginal languages are from the Austronesian family.

26. From Pur-dur's CD Ho-hi-yan Ocean released in 1999 by TCM (Taiwan Color's Music Co.). Taipei, Taiwan.

27. For a brief discussion of Ihe Lin family murders. for example, sec Rubinstein 1999:472. note 31.

28. The exaci words ofhis firsl phrase were: "Chen Shui-bian is president, there's no need for independence. and we don'I want unificalion. Everyone is relaxed and happy" ("ChenShuibian lai dang :ongfOlIg. hll yang du, ye hu yew long. Dajia dOli qingqillg. songsollg.") 44 AC\IR Repo/'II. f(JI 13. 2000

References

Chan, Vivien Pik-Kwan. 2000. "Beijing Issues New War Threat." SOllth China Mar/ling Post (22 February).

Chang. Iluci-Yuan Belinda. 1997. "A Theatre ofTaiwanesencss: Politics. Ideologies. and Gezaixi.·' The Drama Review .... "2: 111-129.

Chen. Shui-bian. 2000a. The 501/ o.fTaill'a1/: The Lije o/Chen Shlli-8ian and lIis Dream jor Taiu·all. translated by David J. Toman. Taipei: Taiwan Publishing Co.

. 2000b. Ti.liwan Stands Up. Retrieved 5 June 2000 from Republic of China. Government Infonnation Office web site: http> th.gio.gO\.twl pi2000 do\\'_I.htm.

Chu. Moniquc. 2000. "'lleartfelt Wishes' for Chen's Big Day:' Taipei Times (20 May): 4.

Copper. John F. 1999. Hliwall: Natioll-State or PrOl'ince? 3rd edition. Boulder. CO: Westview Press.

Dickie. Mure. 2000. "Chen Hits at China Ban on Pop Star." Financial Times. London (26 May): 9.

Dickie, Mure and Kynge. James. 2000. "Beijing Catts the Tune for Coca- Cola Advert." Financial Times, London (25 May): 14.

Eckholm, Erik. 2000a. "China Says Taiwan Cannot Continue Delaying Reunion." Tile New York Times on the Web (22 February 2000).

. 2000b."Change of Power in Taiwan is Meeting a Moderate Response from Beijing," New York Times (21 May): sec. I, p. 16.

Gluckman, Ron. 2000. "Pride and Belief: From Unbending Activist to Outspoken Taiwan Vice President, Annelle Lu Remains lIer Own Woman:' Asia Week (1 September): 38-43. Performing Taiwall 45

Guy, Nancy. 1999. "Governing the Arts, Governing the State: Peking Opera and Political Authority in Taiwan." £tl/llol1lllsicology -t3, 3: 508-526.

Lai, Mei-ling. 1997. Works oILu C/watlg-sheng. Contemporary Music Series I. Taipei: Council for Cultural Affairs, Executive Yuan, R.O.C.

Lanner, Brook. 2000. "Against All Odds," Newsweek, International Edi .ion (22 May): 12-15.

Liao, Ping-hui. 1999. "Postcolonial Studies in Taiwan: Issues in Critical Debates." Postcolollial Studies 2/2: 199-211.

Lim, Benjamin Kang. 2000. "Chen Shui-bian Crafts Vital Speech." The China Post (16 May): 4.

Lin, Chun-Yu. 2000. "Chen Says China Treats Singer A-Mei Like an Enemy." Taiwan News (26 May 2000): 3.

Liu, Hsiang-chun. 2000. "A cw Wave of Indigenous Pop: The Music of Pur-dur and Samingad:' Sinoral1la 25 8: 92-99.

Lu, Nancy T. 2000. May 20 Program to Recall History:' The China Post (15 May): 10.

O'Clery, Conner. 2000. "War or Peace May Ilingc on Inaugural Address by Taiwan'5 New President." The Irish limes, city edition (20 May 2000): 12.

Rubinstein, Murray A. 1999. "Political Taiwanization and Pragmatic Di­ plomacy: The Eras of Chiang Chiang-kuo and Lee Teng-hui, 197 J­ 1994." In Tc!ill'on: A Nell' History. edited by Murray A. Rubinstein, 436-480. Armonk, NY: ME Sharpe.

Shao, Li-chung. 2000. "p TR and the Banning ofA-Mei:' Taiwan News (27 May): 6. 46 ACMR Reports, Vol. /3. 2000

Sung, Catherine. 2000. "Taiwan Gears up for Celebrations." Taipei limes (19 May): 3.

Tai,lIongzhi. 2oo0. "Qingzhu Zongtong Jiuzhi an Taiwan Toujia Reqing Yaogun" [Southern Taiwan Passionately Rocks the ight Away in Celebration of the Presidentallnauguration]. Liwthebao (22 May): 26.

Yang, Meizhen, Hu. Qingyu, and Chen, Junhe. 2000. "Shaonan Shashou Tiejin A-Bian." Millg Sheng Bao (22 May): 3 (entertainment sec­ tion). Performing Taill'an 47

Glossary

A-roc' ,.,.. balSe koogbu 6f!!~'Wtl be,&uan Jt. benchren 4>=-H!lA benshengrcn ·f;;....A benlU hua +.J:.1t Chang Ch, '"'" Chang r...,nll-feng .... Chang I lUI-me, (ZhOUlg HUlmei) ...... Chen Ch..:n-men "f:!!f­ Chen Shu,·b,an ..of<­ Ch, Shao...,;hUn ~.8

Ch,n& Sh.ul IOU. Chou Hua-ch.."n "' .. Chu rou-p', ...'" da zhonga:un A:<1='1iI':l myi kudan '" .." er er ba - -./\ fulao guoyu ""n""" Ilai·k'uo t'bn k'o"g, Jc-ch'ing Ta,-W'1I1 #D-1iAI~~' ~tJlfa. Hung I-fcnii: '" Il$ieh Chang-t',"{: ...... -. 48 ACMR Repo/'ts. Vol, IJ, 2000

HSIeh Le, ... Hu Te-ru ....'" HIWl' An .'" Hum, Chun-hs,Ufi' ••a Huan, L>en·yli ..... """'= .,.,.A KIn Men·...ang .."" K.Ml S~g-mel ..." K'u.,·!e Ie <;h'u-h;Ul1 ~.ttJlil.

Koo Ylng-nan "JS:~ lee 8m·hw "'... Lee Teng·hUl "'.. un. "',. l.l:iKl Chlllng-<;h,h ..... una Po .... Lu HsIU-~n (Anneu~ Lu) B". ,-"",-= .... LlIO Wen..dua a". Mel·h Ie pao-laO ~.&lJ."

Menll Tins·we, .to:. Pal ChH,·l1 "." shenJianl: ".. T d,wan yishi ~iltw:. T;lJwan rcn "IIA Performing Tahrlll/ 49

Teng u

Ts'a! Chen-nan ••101 TS'1i Chm .'" TS':lJ Hsmg-

TS'1i YI·lm .11<1* WI,cD yu JJ. IUl l'u u yu ch"ing ti)..lif! . Jf±Jt!! ""I wllShcngrcn If")"

Wang Ch'ung-pmg 'E~

Wen HSI.. ~J:

Wen Hsiang ~i!l'

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MAY 2&, 2000, MORNING INAUGURAL I"'WGKAM (Oligllqlrwnes and utksl , / ...... ••• fIJ,ll'

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11:JO " 12;2(1 J(t Wax Cylil/der.\' 51

Wax Cylinders: Gems from the Early 'I\ventieth Century'

Joanna Lee

University of Hong Kong

Introduction

This article provides a thumbnail sketch of a very significant collection of Chinese musical historical recordings. It is currently in the departmcnt of music ethnology (Abteilullg Musikcthnologie) ofthe Museum ofFolk Art (Mu­ seum fOr V61kerkunde) in Dahlem, Berlin. First assembled and named as the Berlin Phonogram Archive (Berliner Phonogramm-Archiv), the collection has just celebrated its centenary in September 2000. 2

Founded right at the beginning of the laM century (in 1900) by Carl Stumpfand Erich Moritz ....on Hornbostel, the Berlin Phonogram Archive is known to ethnomusicologisls worldwide as a historically ~ignificant and sizeable col­ lection of recorded mu~ic~ of the world. The collection. however, also experi­ enced quite a history of it'; own during the two world wars. and especially the division of Berlin afler 1945. In the year.; after 1945. part of the collection landed in East Berlin (later also transferred to Moscow). Only in 1994. when more than 200 boxe~ arrived from fonner East Berlin to the collection's current \ite in Dahlem, did the Berlin Phonogram Archive become complete again.

Not only are there significant holdings of Edison wax cylinders (ca. ISJX)()) in the Berlin Phonogram Archive, there arc also Illore than two thou­ sand commercial phonographs (mostly old 78 rpm shellac records) of non-Eu­ ropean music. manufactured during the early days of the cOlllmercial recording market. The current (and still growing) catalog of the Archive lists more than 300 historical shellac recordings ofChinese music (some manufactured in China. others 1l1;:U1ufactured in Gel1llany; either bought by European collectors in China, then deposited into (he Archive. or even exp<>I1ed and sold in Gennany in the 1930s).

There are ten "named" wax cylinder collections of music recorded in China in the Archive. with recording dates (according to field notes and recon­ \lnlClion by correspondence) spanning from 1901 to 1935. These ten collec- 52 ..lC\fR Rct'or/\, I(,{ 13, lOO(} tio/l', total 420 Wi.IX cylinders (with an ayerage playing time of 3 minute\ each). amounting to i.lpproximately twenty-one hours ofrecorded mu ... ic. Mo...tofthem arc named after people who undertook journeys in China. some e\cn in ruml arca!o> (where minority peoplc!o> lived). One of the collection ... i... the fruit of an anthropological expedition (Laufer). A second was made by an art dealer and ~holar (MOiler) and a third by a staff member ofthe MU"ieum fUr Volkerkunde (Thurnwald). Five othe..... were made by European professional ... or mi ...sionarie...... tationed in China. whose avocational pas... ion was to record indigenou ... mu ... ic (lwo collection ... b) Weis .... van 00...1. Bois-Reymond. Waldeyer). Fourcylinde..... are grouped a.s "Archi\ China": the provenance of these cylinders i" unclear. The Lessing collection. lacking in any reliable documentation. remains a mys­ tery as of no\\ regarding il" contenlS and actual histOl).

These twenty-one hOUI3 of recorded music arc true "field recordings·' from crucial periods in China Marting from the decade when the Qing dynasty declined and the new nalionali ... t republic evolved. through 10 the a~el1dance of warlord ... right before the Japanese invasion. Each of the collection ... is ibc1f a narrdli lie - ofIhe priorities ofthe field researcher/explorer and the circumstances that led the field researcher/explorer to certain areas of China.

The reunited Archive is still undergoing extensive calaloging and DAT­ tape tran ... fer. ~ A... of now, most of the Chinese wax cylinder collection ... have not been tran\ferred 10 DAT-lape, although plans are being laid for the next few years. Below are brier descriptions of the provenance. background. mnge and types of mu ... ic as SUPlXlrted by documentation in the Archive.

Laufer (1901-1902): 103 wax cylinders

BCl1hoid Laufer (1874-1934) made a total or 502 original cylinders dur­ ing a trip to China (visiting Beijing and Shanghai) between 1901 and 1902. or which copies of 399 are now housed in the Archive... or Traditional Music in Bloomington. Indiana Universily.4 In 1906, he sent 103 cylinde..... to Homoostel, almo...t all of which survive until this day..~

The trip wa'i sponsored by the American MUl,Cum of Natural Hi ...tory. entitled the "Jacob H. Schiff Expedition:' (Schiff. a banker. underwrote the elllire expedition.) It is clear the nature ofthe expedition is anthropological. The object ofthc expedition. according to written records, was todoculllcnt the "com- Wax c\·III1t/el".1 53 plclC culture" ofChina. and tasks includcd the collection ofartifacts and objects from the life of the common man.

Laufer wa~ a !-.Cholar and researcher. and wrote hi" doctoral thesis in 1897 on a Tibetan text at the University of Leipzig. He also participated in other expedition" before and after the China trip. In 1898-1899 hc participated in the North Pacific Expedition (Amur region and Sakhalin). Between 1908 and 1910. he led the T. B. Blachtonc Expedition to Tibel. After having taught:u Columbia Univcf\ity for a short while. he took up various curatorial po"ition~ at the Field Mu\Cum of atural Hi

The Laufer collection includes diverse recordings of street -.ongs (in­ cluding a satirical song on Buddhist monks). Beijing opera. mu..ic to "hadow play (c.g.. C\;CCrplS from 'The Legend of the White and Black Snakc"). as well as TIbetan -.ol1g" (recorded in Beijing). The size. range and breadth of this col­ lection i.. the most significant among the ten collection".

ThltrllWlIld (1906): II \\ax cylinders

Thb collection doe:.. not contain originally recorded mllsic. Richard Thuf11w:.lId bought eleven wax cylinders on a trip to China. Hong Kong. Singnporc. and Manila. These wax cylinders. therefore. nre among the fiN commercially recorded indigenous music in Asia. Since none of thc cylinder-; have bcl:n tran"fclTed onlO OAT tape. it is unclear whelher the collection consti­ tutes music from one thealer work. or the cylindcrs cOllle from diO'erent sources. The catalog only identifies the cylinders with litlcs such <1:" "solo with Ol"Chcs­ tra," or "duct (long recitation) with orchestra:'

Richard Thurnwalcl (1869-1954) was a sociologist. cthnologist and an­ thropologist who worked in the Museuill for Volkerkunde between 1901 and 1906. One ofhis letters clearly described what he could purchase in Hong Kong on this trip: cight or nine multi-cylinder sels comprising entirc Chine"c orx:ras (including 13ml'w1X hieji). totalling one hundred cylinder-;.fl

llois·Reymolld (1908-1914): 51 wax C)'linders

Marie du Boi~-Re)mond (n.d.) was manied 10 Dr. Claude du Bois­ Rc) mond ( 1855- 1915). a profc,",,",or who taught in a Gemml1 medical school in 54 ACMR Reports. 1'0/. /3. ]000

Shanghai. Records show thai Marie du Bois-Reymond made a series ofrecord­ ings in Shanghai retween 1908 and 1911. The file in the Archive containf.. a typescript with a lot ofresearch details: function ofthe music. perfonners' names and ages. and full listing of inl.truments used.

Bois-Reymond·s pcrfonners include monks. professional pcrfonners from Pudong and Ningbo. a student from Guangdong at the Gennan medical 'iChool (where her husb'lI1d taught), even a perfonning duo from Shandong. Cylinders 1-18 include songs and instrumental music for festive occasions. Cyl­ inders 19-30. however, were recorded in March of 1909. with a majority of inMrumental music from southern China.

Monks also performed for Bois-Reymond. Cylinders 31-35 include Buddhist chants accompanied on woodblocks, as well as instrumental music pcrfonned on xiao and sheng by monks in the "Chinhoza·' temple. Cylinders 36-42 featured those monks in "She-du-sze"templc ncar Ningbo. chanting vari­ ous religious ceremonies (sacrifice. funeral, worship and prayer). including one dating from the Tang dyml'tty (accompanied by reUs). Daoist monks \\-ere re­ corded in cylinders 43-45: the location of these recordings was the home of a missionary. D. Richard Wilhelm. which was six hour\ away from Tsingtao (Qingdao). in the "Lau\han" mountains. The rest of the collection contains miSCellaneous items: from nursery rhymes to ancient music "of religious na­ lUre:'

OOSI (1909): 10 wax cylinders

Josef van Oost (n.d.). a Belgian missionary stationed in Mongolia (ac­ cording to van Oost's handwritten notes, in the place called Bajintengheum). dated his recordings for the Archive between February and March \909. Identi­ fying the songs sung by "Chinese emigrants from Shanxi. Shaanxi. Gansu and 'Tscheli'(?) living in Mongolia," van Oost also filled out many details onto in· dex cards that describe all of the music perlomloo, as well as full listings of mw.. icians.7

Ho\\-ever. because of the unique. personal tmn~litemtions that van <::>mt used. titles ofsuch song~ ,l~ "Soung leull:' ·"T~-teou-kio-kio:·"Eul-mao-)enn" cannot really re deciphered on paper. Wax CyliluJers 55

Archive (1911): 4 wax cylinders

Although the exact pro .... enance ofthese cylinders is unknown, the cata· log clearly labels the music a"i "Confucian hymns" sung in various dialects. The first two cylinders comprise six strophes of a Confucian hymn sung in a south­ ern Chinese dialect by "Dr. Chiu:' The third cylinder features a Confucian hymn in Beijing dialect sung by Wang Yutan. The fourth cylindercontains a song sung by Dr. Yao Paowing.

Weiss West China (1912): 9 wax cylinders

Friedrich Weiss (1877-1955), a career diplolllat, first entered China in 1899. He recorded a total ofnine cylinders in 1912 in the region around Chengdu, and two years later, an additional collection (Weiss South China) was also de­ fXJsited with the Archive.8 He was very scientific in his reports, and even in­ cluded the exact model of his apparatus: an Edi~on Fireside Phonograph Com­ bination Type. 160 rotations per minute.

Weiss was firM "'tationed at the cu.stoms office in Tsingtao (the Gemlan protectorate) between 1899 and 1900. His service in Chinacontinued until 1917. Between 1901 and 1910. he had worked in Shanghai. Guangzhou (Canton). Tianjin. Nanjing, and Chengdu. After his China sojourn, Weiss was then sta­ tioned in other areas of the world. and continued to ~nd wax: cylinders to the Archive into the 192&.'1

Recorded at a cnlcial time in Chinese history. right al the birth of the new national republic. the Weiss West China collcction included many boatmen songs. These songs were sung by "kulis" along the Yangzi as they engaged in manual labor. dragging the boats along dangerous rapids or marshland. Weiss's subjects were those laborers working along the route between !chang and Chengdu. Cylinder 8 also contains Tibetan IlUnling songs; while cylinder 9 contains "European songs with Chinese texls" and the Chinese national anthem sung by soldiers in Chengdu.

Weiss was well aware of the shortcomings of actually recording music "in the field:' He explained to Hombostelthat the noise of the boat made the recordings of the boatmen songs imfXJssible "in the field:' He therefore re­ corded the boatmen without their perfonning hard labor. By doing so. he might 56 ACMR Reports. In/. 13.2000 have rendered the "field recording" less authenlic. However. because of the trchnological shortcomings of the Edison phonograph recorder of that time. the ~und quality of the songs wm. ~ignificantly belter.

1912 marked the fiN few months after the birth ofthe Chinese national republic. and because of the revolution and political unrest. Weiss was actually stuck in Chongqing (in transit toChengdu) for three months earlierthat year. He al~o reported to Hombostelthat ··unfortunately. because ofthe anarchistic situa­ tion in the mountainous border area'i. recordings of Tibetan natives living here cannot be made:'lo

MUller (1912-1913): 11I0 wax cylinders

Thi!> is the second largest collection in volume ofrecorded Chinese music in the Berlin Phonogmm Archive. Or. Herbert MUlIer (1885-1966). a sinologisl, art dealer. lawyer and jOLimali~t. made at least two trips to China in his life. Apart from his trip in 1912·13. when he recorded for the Archive. he returned in 1924­ 1927 and collected musical instruments.

MUlier spent his time in Beijing between 1912 and 1914 and wa'i fasci­ nated by rhe artistry ofthe ~uryiving musicians in the Qing court. He de.'iCribed with awe the skills of HsUh LU·yUan. a blind musician serving in the royal court and a ma'iter K'in (Qill) player. Almost clairvoyant in research technology. MUlIer had wrinen to Hornbmtc1 with the following thought 'The only way to truly capture qill-playing if.) to make a cinematographic recording along with a phonogmm recording."11

On July 21. 1913, MUlier wTOte a letter to Hornbostel describing the state of his own research. his plans. as well as the political realities ofChina two years after the fall ofthe Qing dynasty. "My wish. to record ritual music. cannot be done now. Since the revolution, musician members of the royal court no longer receive any salaries and have dispersed like the winds:'12

The MUlier collection. however. does contain a significant mnounl of instrumental music. and the catalog ~hows MUlier's extraordinary care in identi­ fying the instrumenls recorded in each ofthe cylinc1ers. They include di:i. sheng. wmgqifl, pipa. :ciao, qill (huqill) and swnilm. f1 A total of forty-four units of mu<.;ic (whether entire piece.., or <.;elections of theater in... trumental music) be­ long to this collection (m

Weiss South China (1913-14): 40 wa.x qlinders

Friedrich Wei'\s took a 4-week trip to the Lolo area at the end ofNovcm­ ber 1913. accompanied by his wife Hedwig.'~ The area. which Weiss referred (0 as "Lolo area." lies between the Yangzi and "Chienchang" valley. an area rarely visited by foreigners. Weiss was very excited about the success he made. having entered the area without apparent danger. He wrote to Hornbostel that apart from a French expedition (led by Ollone) having renchcd the area on foot before, only one other explorer had entered that area, an English officer by the name of Brooke. who was found murdered there. 16

Weiss's typescript of the "Lolo songs" contain~ summaries of song lyr­ ics (cylinders 1-16). They include children's songs. bridal and funeral songs. lullabies. farewell song~. mountain songs. and some instrumental music. The othercylinders include Tibetan "KuLSung" (including dance music and a liturgi­ cal song sung b) a lama) (cylinders 26-32) and seven cylinders of music re­ corded in Yunnan (folk songs sung by teenagers. and songs sung in the Lola dialect).

Lessing (1930?): 71 wax cylinders

Of the ten "named" collections of Chinese recordings, the Lessing col­ lection is almost totally lacking in catalog and historical documentation. The correspondence in the Archive's files reveals doubts as to whether these 71 cyl­ inders were recorded by Lessing himself or made by another person, Margarete Beschnidt. a missionary of the China Inland Mission in Ontong.

Lessing (1882-1 %1) was an expert in oriental languages and anthropol­ ogy. Later in life. he was the head oforiental languages at University ofCalifor­ nia Berkeley. 58 A('AfR Repor/I', lhl. 13. lOOO

Because no li:->ting ofthe wax cylinders exists. and none of the cylimlers has been tmnsfcn-ed. only time will tell the true "holdings" of this specific col­ lection. when the recorded sounds come to the light ofday. llhlde)'er(1935): 21 cylinders

Dr. Anton Waldeyer (n.d.) worked as a medical professor at the Tung­ Chi University in Woosung, south China. between 1931 and 1935. In 1935. he deposited 21 cylinders of his recordings during his stay in China (exact dates of the expedition':. or making of the recordings unknown). At that point. Marius Schneider was in charge ofthe Berlin Phonogram Archive. A~ignificant amount ofcorrespondence bet\\een Waldeyer and Schneider exists in the file~,

It wa., obvious that the Archive lent an Edison Phonogram recorder for such field recordings. since Waldeyer requested the funher lending ofthe appa· mtll'" to Profe,'>Or StObeL a colleague at the psychological inMitute at Tung·Chi. Stiibel reponed his experience in the field not long afterward: "I brought the apparatu~ with me on my recent trip to the Yao people in northwest Guangdong. People from the Yao tribe were so very shy ... that I did not succeed in making any recordings. I hope, however. that there will be better opp()I1unities later."17 Perhaps Professor Stiibel did not succeed in making any recordings on later trips - not one of his recordings has been deposited in the Archive.

Waldeyer's own set of twenty-one cylinders, however,

The depanment of ethnomusicology at the Museum of Ethnology is open to researchers only by apfX>intment. Since the majority ofhistorical wax cylinders ha., not been lransferred onto OAT-tape. at the present moment. exceptional ar­ rangements mUSI be made in advance for any research involving the actual cyl­ inders. Fomlal inquiries (with a delailed slalement of research subject) ~hould be ~nl to the

Ethnologisches Museum 5MB PK Fachreferal Musikethnologie I Berliner Phonogramm-Archiv Amimalle 27 0-14195 Berlin. Geml.lIlY e-mail: [email protected] IilX: +49 30 830[-292 phone: +49 30 830 [-240 60 ACHR Reports. 101. /3. ]()(J(J

Notes

I. In 1996. J met \vith a colleague and friend in Berlin. Dr. Sebastian Klotz. who is an expert on Hornbostel. and he infonned mc of the reunitcd Berliner Phonogramm-Arehiv. still in the process ofbcing catalogued. Between 1999 and 2000, I made two trips to the Archivc to study the supporting files (corre· spondcncc. historical documents. catalog, handwrittcn notes and typescripts. etc.). This article provides the necessary preliminary description of the holdings for reference for colleagues in Chinese music research. All English translations from the original Gemlan arc by the author.

1. The fif$t field recording in the Berlin Phonogram Archiw was made by Carl Stumpf. on September 2..L 1900. \\ hen a music theater group from Thailand visited and pcrfonned in Bcrlm.

3. Readef$ interested in the detailed history ofthe founding and development of the Archive should consult Susanne Ziegler, "Die Walzensammlungen des chemaligen Bcrliner Phonogramm-Archivs," in Baessler-Archive: Beilriige :=lIr Volkerkullde. Neue Folge Band XLIII (LXVlII.Band), Sonderdruck aus Heft I (Berlin: Verlag von Dietrich Reimer. 1995): 1.. 34.

4. Catalog number Pre 'S4-ISO·F.

5. According to earlier records of the Archive (published in 1982). there had been only 66 cylinders in the Laufer collection. The collection became com­ plete only allcr 1994. after the return ofmaterials from the fonner Eastern bloc. However. three cylinders (catalog numbers 757. 801. and 972) of the Laufer collection arc believed to be lost prior to cum::nt inventory.

6. Letter li'olll Thlll11Wald to Ilomhostcl, October 24, 1906.

7. For Illore infol111ation on the work ofJoscf\'an Oost. see AllllllrJ/xJS 7 (1912): 161-163. 372-388. 765-782.893-919.

8. See later dISCUSSIon.

9. Other WCISS collection... III thc Arehlve: Addis Ababa (1921): I1m ana (1929): Comea, (1930).

10. Letter from WeIss to Hornbostel. May 2!( 1912. Wax Crlinder.1 61

11. Lettcr from Mlillcr to Hornbostel. July 24, 1912.

12. Letter from Muller to HornbosteL July 21. 1913.

13. Muller did nOI idcntify the names ofmusicians \\

14. Muller collection. Versuchswalzen A I. A 2.

15. E.xcerpb from an unpublished diary by Iledwig Weiss are included in the archi\al file.

16. Letter from Weiss to Ilombostel. January 17. 1914.

17. Lctter from Sriibcl to Schneider. January 3. 1936. 62 ACMR Repor/s. Vol. /3, 2000 Tmr 63

A Short Biography ofTsar Teh-yun

Deyin Qin Society

I-Iong Kong

Tsar Teh-yun was born in Huzhou, Zhejiang province, in 1905 and grew up in Shanghai. Born with exceptional talent, nurtured in a family oftraditional learning, and having received fonnal education in modem schools in her youth, she was accomplished in litemturc, calligraphy, and music early on in her life. Throughout the 1930s, a tUI1lUlnlOLIs period during which Cbina was ravaged by war and social unrest, Tsar raised a family but at the same time took up a full­ time job. Despite these responsibilities, she maintained her study ofpoetry and literature, and began her qin study with Shen Caonong (1891-1972) ofthe town ofXiaoshan. Shen himsclfstudied with Pei Jieqing, and, while living in Shang­ hai, became close to otherqill masters there at the time, including Peng Zhiqing, Zha Fuxi, Zhang Ziqian, and Yao Bingyan. He was also known for the publica­ tion, in collaboration with Zha and Zhang. ofthe now classic GlIqill cJl/ljie (The beginner's manual forqi,,). published by Yinyue chubanshe in 1961. Shen was also known for his poctry and calligraphy, with two volumes of poctry in print.

Due to general social unrest in China at the time. Tsar eventually moved to Hong Kong, settling there in 1950. For half a century she has dedicated her life and love to poetry, calligraphy and music, and has single-handedly trained several generations ofqill students, imparting to them not only the art ofqill, but also her individualistic philosophy of life. Insisting on the transmission of the fast-disappearing traditional way of thinking and living practiced by Chinese literati-artists, she has created a community ofqill musicians unique to China and the world.

During the early 19505, Tsar was active among the literati-artistic circles of Ilong Kong where locals and northern immigrants gathered. She frequently participated in gatherings where the refined arts ofpoetry, calligraphy, painting, and qill were practiced. Many ofher poems appeared in the pages of fihh Kill Dai~\'. where she carried out poetic dialogues with otherpoets ofthe time such as Zhang Renshi and Xu Wenjing. She was also known for her exquisite calligra- 64 ACMR Repom. Vol 13. 2000 phy, and published in 1957 her calligraphed copy of Xu's poetry collection en­ titled A Hllndred Memories of West Lake, for which she wrote an afterword. Among her friends at the time were the scholar Rao Zonb'Yi; painter-calligra­ phers Zhao Hcqin, Cai Pcizhi, Xiao Lisheng, Zhou Shixin, and Lu Qingru (Mrs. Zhou Shixin); literary figu~ Yao Ke, Xu Liangzhi. and Wu Yinming; qin mas­ ters WU Chunbai, Xu Wenjing, WU Zonghan, and Wang Yici (Mrs. Wu Zhonghan); pipa master Lui Tsun·yuen; and Buddhist monk and qin master Yue Xi. In addi­ tion to playing qin in those gatherings, she also played the xiao (end-blown nutc) and sang Kunqu (classical opera), and was oftcn invited by renowned poets to produce traditional ink-brush calligraphy of their works. Xu Wenjing once hailed her as "Zen of Qifl, an Immortal of POClry, and the Mi Dian of Calligraphy," and wrote poems in her honor.

During that period, she did research into qill music, focusing her atten­ tion in particular on the study ofold masterpieces such as "Yang Chun"("Sunny Spring"), "Longxiang cao"("Soaring Dragon"), "Liushui" ("Flowing Waters"). "Zuiyu changwan" ("Evening Song of a Drunken Fishennan"). and two vcr­ sions of"Pingsha luoyan" ("Wild Geese Landing on Sand''). She also studied mastcrpieces preserved in archaic notation, such as "Yugc" ("Songs ofthe Fish­ ennan")and "Hujia shibapai" ("'The Eighteen Variations on the Barbarian Horn"), bringing them to life through interpretive perfonnanec, a process known asdapll. Particularly celebrated is her interpretation of the composition "Xiaoxiang shuiyun" ("Mist and Cloud O\:er the Rivers Xiao and Xiang"). In the late 19505, she was invited to perfonn in several qifl concerts organized by universities and cullural circles. She also provided qill music for the film Niehai hila (1951) and Juidaijiaren (1953), both from the Great Wall Film Company.

In the I960s, Tsar began to teach qin to a small group ofscholars, indud· ing Pan Zhonggui, Xie Fanghui (Mrs. Tang Junyi), and Zhang Shibin. She was active at the time in the Xinya Guoyue She (New Asia Chinese Music Society) and panicipated in many of their concerts. In the 1970s and 80s, Tsar devoted her time to teaching and trained several generations ofstudents, many ofwhom have since established themsclves as prominent qin musicians in their own right, pcrfomling in venues such as Hong Kong Arts Centre, City Hall, and Hong Kong Academic Hall. Students often gathered in her homc to play for one an· other and for her. Onc tradition that she established was for two people (herself and a student. or tv..o students by themselves) to play thc samc piece on different instruments in unison. In thc 19905, she accepted a small number of new stu­ dents while continuing to welcome her old studcnts to hcr home for individual tutoring or group sessions. TWIr 65

As Tsar enters the new millennium, she retains a sharp ear and strong and flexible fingers and wrists. Despite her age, she still plays the qin with her characteristic style: "Quick as a rabbit in flight; limber as a dragon in water:' or have the elegance and refinement of her playing diminished through the years. Most amazing is her memory: the ease and accuracy with which she still plays so many compositions by heart, whether going through a long composi­ tion from beginning to end without a slip, or beginning from any point in the middle ofa piece. Such ability astounds her much younger students, who. when they play in unison with their teacher, can only stmggle along and follow with shame as they find themselves losing their place in a piece.

To honor Tsar, a collection ofqin music. entitled Tsar Teh-yulI: The (Irt olQin Music, has recently been published by Roi Productions in Hong Kong (RB-001006-2C). This collection ofpieces was selected from home recordings made ofTsar's playing during the 19705 and 80s. In addition, three pieces per­ fonned by her teacher Shen, made in 1956 with the original tape archived in the Research Institute ofMusic in Beijing, have been included. Listeners may want to consult Master Tsar's handcopied notation ofLhcse compositions in Yillyillslti qillpll: Tmr Telt-yull shoucao bell (Guqill Repenoryfivm tlte }'illyill Study: Hlllld­ uTitle" by Master nar Telt-ywl), which has just been published by the Music Department of the University of Hong Kong and being distributed by the the Chinese University of Hong Kong Press.

A recenl snapshot of Tsar enjoying a book 66 ACMR Repol'l.S. lo/. 13.2000

A Chronology of Master Tsar's Qin Career

1905 Born in the town ofShuanglin, Huzhou County, Zhejiang Province: father: Tsar Zimo. mother: Ya\\ Suk.

1908 Moved to Shanghai with parents.

1913 Attended I-Iuzholl Public School in Shanghai whcre ber mother was teaching at the time; studied calligraphy at home, first from hcr mother, then from her uncle Tsar Mcng (Yuanqing); following the style ofZhang Menglong ofthe Northern Wci Dynasty.

1922 Graduated from the anyang College of Education in Shanghai; subsequcmly taught at Zhongxi Girls' School for two years.

1924 Further study at the Women's Iligher Education College.

1927 Graduated from the Women's Iligher Education College and took upa career ill teaching.

1928 Married Mr. Shen Iionglai.

1929 lief son Shen Jianzhi was born.

1938 Studied qin with Shell Caonong of the Fanchuan School ofqin music and per­ f0I111anCe while visiting Ilong Kong; acquired the instrument Huxiao (Tiger's Roor) ofthe Song Dynasty.

1941 Learned the composition "Pu'an zou,. ("Buddhist Incantation") al the time of the enforcement ofthe martial law during the Japanese invasion ofHong Kong. Tsar 67

1942 Moved back to Shanghai with her family and with her qi1l teacher Shen Caonong on the fifteenth day ofthe first month ofthe lunar year.

1943-48 Acquired the instruments Wanhuo songfeng (Wind in the Pines ofthe Valley) of the Song Dynasty and Jiuxiao huanpei (Trinkets and Pendants in the Ninth Heaven) ofthe Yuan Dynasty.

1950 Moved to Hong Kong with her family, bringing along the instrument Huxiao with her.

1953 Visited relatives in Shanghai: attended meeting ofthe Jinyu Qin Society.

1964 Invited by the New Asia Chinese Music Society ofthe New Asia College, Hong Kong, as its qill teacher.

1966 Invited by John Levy to play and make recording ofthe piece"Xiaoxiangshuiyun" for the BBe and to explain playing techniques ofqill music.

1972 Her qill teacher Shen Caonong died in Shanghai.

1974 Invited as an advisor for New Asia Qill Society, an organization fonned by the students of the New Asia Research Institute in Ilong Kong.

1980 Retrieved the instrument Jiuxiao Huanpei from Shanghai.

1984 Her husb.1nd Shen Honglai died: moved to live with her son Shen Jianzhi in Tokyo briefly. 6S ACMR !?epOrls. rof 13.2000

1985 Sc\'cn of hcr $ludent$ visited her in Tokyo and perfonned at thc Tokyo Gagaku Society.

1987 Publishcd po$thumously manuscripts ofher teacher Shcn Caonong in two vol­ umes: Zhellx;age Shi Poems and Zhel1xiage Ci Poems; distributed them among friends as gift.

1995 More than forty ofher students and their students, $Ome currently li\ ing abroad. gathered in from Iiong Kong to celebrate her thirty-year anniversary ofteach­ ing qill.

1998 Her sllldcnt::. founded the Dcyin Qin Society, aiming to preserve. promote and dc\ clop her artl..,tic legacy and the art ofqin music.

A recent snapshot of Tsar playing the {jin Boo" rer;elfS 69

Dangerous Tunes: The Politics ojChillese Music ill Hong Kong, 1aiH'all, and the Peoples' Republic ojCIJina since /949. Barbara Minier. 1997. Wic~baden: Harra.'isowitz Verlag. O~ra Sinologica J. 516 pp.. musical examples. notes. glossary, bibliography, appendice.... index. ISBNJ-M7­ 03920-5.

Dc ...pite the broad title. Barbara Mittler's book focu...es on a ~pecific body of Chine">e music which ha... emerged under Western influence:" ew Chine...e Mu ic.·· \\ hich the author defines ao; works written by Chine...e compo">ef'S u... ing We tern in lrumental and compo... itional techniques. More prcci...ely. the con- centration i on im.tnlmental music for Western in ...tnlment~. Aimed at offering "an alternative hi ...tory of ew Chinese Music" (hereafter NCM). the book nev­ erthele...... doc... not follow a typical chronological order. It~ section... are grouped under a ">et of themes laid out in sonata-fonn.

"Introduction: 'Making the road'" ~t... the scene by showing a ">erie... of hi ... torical ... nap...hot... ofWestern music in China. starting from the Tang Dynasty, moving down to the Jesuit.... the May Fourth Movement. Shanghai·... Russian and Jcwi... h Ilul... ician.... and compositions by Huang Zi. He Luting. Jiang Wenye, and Xian Xingh'li, up until the late 19-U>s.ln ChapterTwo. "Expo... ition: China's mu ... ic, political music?:' Minier examine... the perceived polarity of politics and music manilc... ted in the dependency of music on government policies and mu­ sic being a political tool. a...king why politicians fear mu ... ic, e...pccially the ab­ stract nature ofab....olute music. To prove her points. Minier provide... a paradigm that divides NCM compositions into three categories: "serving government poli­ tic...... "reflecting government politics and advancing individwll politics:' and "opposing government politics." Chapter Three, "Development: How new is China's New Music?," is the core chapter in lenns of the amount of material pre ...ented. Following briefhistorical backgrounds, the author presents the histo­ ries of NCM since 1949 in the PRe. Taiwan. and HKlMacau in three separate pans through Loom-in musical ponraits ofcomposers selected as: the representa­ tive ... oftheir respective generations. The chapter also contain'i short biographies of a large number of composers.

The li.l~t chapter, "Recapitulation: New Music from China. Chinese Mu ic'?" ponders the question ofmill:::'lLrilig (national style) in CM. This is the mo t intere...ting chapter for its intriguing and original thinking. Mittler presents the governments and composers as t\VO contra~ting side~ in defining and pre­ ...ellting mill:uxillg musically. In her opinion. the fomler regulate the mooerniza+ 70 ACMR RepoJ"/.\', 1'(,/, /3, 200n

tion of Chinese music through manipulating a synthesis of conservative West­ ernization and official Chine.."e nationalism (making foreign culture serve China), crystalJil.ed in the musical style of what she coinSpefl/(llOflic romanticism (late nineteenth-century European h,mnony accompanying Chinese pentatonic melo­ di~). The laueI'. howe,'er. strives for "a modem revival orredi<;covery" ofChina\ authentic folk u'ldition (making the past serve the present): a" a result. such a modernization becomes a "Sinitication" of modem Western compositional tech­ niques which. the author emphasizes. have been incorporating Ealitern tradi­ tions since Debussy. To suppon her argument. MillieI' proposes a model which views the 'CM compositions through four adaptation categories: "stylization:' "free transfonnation:' "radicalization:' and "mythological conceptualization:' In her interpretation. the fin.t two categories are linked to the government's ofTi­ cial policies. In contrast. musical compositions in the lattertwo categories "re­ discover" the Chinese tradition in ew Music from the West. and "by using the Western medium of New Music. they were able to find a most authentic IChi­ nese) traditional voice" (p. 324).

Barbara Mittler deserves congratulations for her admirably hard, pio­ neering ,.... ork. This ambitious book has many merits. The author's wide-rang­ ing. exhaustive research has brought the historical outlines of CM in the PRe. Taiwan. and HKlMacau. biographies of many composers, and a long list of Chinese-language reference anic1es all together for the fin.! time for readers of English, Her comparative approach keeps the reader infonned of the relevant parallel developments in Chinese literature, ailS. and architecture. Mittler aliks many thought-provoking questions, and her discussion is most stimulating with its insightful comments and analysis on NCM's perceived traditionality and cul­ tural authenticity in both Chinese and Western contexts.

Yet at the same time the book suffers from a number of problcms de­ rived from the author's single-dimensional interpretation framcwork. lack of rigorous processing of her data, and rather poor editing, Throughoulthe book, politics, as one ofthc two contrasting themes ofthe author's sonata, not only has a dominant, defining position with relation to the other theme-music-but is also the only C;:IUSC for musical stylistic (non)developlllent, The author strives to construct a coherent. seamless grand narrative based on this rigid theory. But in many places. the author's polemical-rather than analytical-approach falls shon of providing enough room for musicians' agency. nuanced description, or dis­ junctures when dealing with the complex historical subjects Book Y(!\·ie\\".~ 7 [ embedded in various geographical areas of China that have developed different socia-cultural fabric~ sincc 1949. As a result. some ofherconclu~ionstend to be simpli\tic. over-stretched. or contradictory.

From Richard Kraus's Pial/OS and Politics ill China (1989) to Andrew Jone~'s Like a Knife (1992) to Barbara Mittler's book. as \vell as in numerous articles and non-acadcmic writings in English. a particular approach \ttms to have been prevalent in the West when discussing Chinese music compo..oo in the twentieth century. Politics. onnore precisely. criticism of communist gov­ ernment policies. has become the grid for interpretation and presentation of the musical matcrial. While acknowledging the usefulness of these ~tudie~ in en­ riching our knowledge about communism and art. I also fcclthis one-sided ap­ proach has po\Cd certain risks for our perception of Chinese music. h the op­ pression ofcompo\el"\ b) government policies and official musical criticism the only underlying force for modem Chinese music history and practices? Aren't there worthy mu~ical. aesthetic. or even sentimental issues in the century-long indigcniilltion processes of Western musical techniques that demand our atten­ tion and explanation beyond the usual suspects ofideological control. manipula­ tion. or prote...t? What are the hidden assumptions ofan approach that is so heavily driven by a genenl! criticism ofcommunist policies and which. ironically. seems a reverse reOcction of the PRes politicized approach to musical history? What are the theoretical and methodological limits ofthis approach? What gcts losl or neglected in this view? I have no intention to defend the PRC's political policies on art.. and mu .. ic. What I am proposing here is to consider an approach that is not w dichotomilcd. and would make the musicians and their subjectivity and creativity the ccntcrofthe music history. contextualized in a wphisticalcd analysis which would reveal dilTerent shades ofjX)litics in different historical periods and the varicd relationships they have had with differcnt genres. musicians, and re­ gIons.

Barbara Mittler's book otfers a valuable opportunity to contemplate the above iS~lle~. The book presents CNM in HKlMacau. Taiwan. and PRC with one single theory focusing on the political function of music in China. "[W]hilc on the one hand music was (and is) used to teach and manipulate the people. on the other hand music was (and is) perceived as vessel for public opinion" (p. 41). In so doing. Mittlcr relies mostly on political events in the PRC. incorporating Taiw:m from time to time only when the material is in accordance with the mainland examples. But. since ..there is little common ground:' as Mittler ad­ mits. between the political structures ofcolonialism and authoritarian party sys­ tems. her strategy fails to bring HKlMacau into the all-encompassing scheme. 72 ACMR Report.\'. Vol. IJ. 1000 lllis is most evident in ChapterTwo where HKlMacau is almost complelely left out in the di')Cussion of music being used as a JX>litical tool in China. Also inter­ esting to note i.. thallater in the chapler, in her three categories ofpoliticalmllsic. thcre i') no example from HKlMacau in the category of ·'serving govemmcnt politics:' and the only example from HK in the ··opjX)sing govemment JXllitics" catcgory is a picce related to the Tiananmen massacre. Tellingly. under the label ··renccling govemment politics and advancing individual polilic..·· (i.e. \\Iorks that are nOI direclly polilical). most examples are from HKlMacau. Further on. at the outset ofChapler Three. the author states that the tm.k ofthi') chapter is 10 examine ·"the polilical functions of the new in New Chine..'iC Music·· (p. 126). Despite thi ....tatement, Minler"s data on NCM in HKlMacau ')how Ihal the op­ posilional relationship is not between the oppressive govenunenl and Ihe com­ posers. but belween the economic market and artistic freedom. Yel Ihe boo~ does not make a careful dislinction between these two kinds ofdictating forces. nor doe.. il otTer critical rencclion on the inadequacy of iLS holislic model when confronted wilh the data. To Ihe reader"s surprise, the chapter ends halitily on a totally difTerenl note from the beginning statement: "It is hence Ihe forces oflhe market that draw all three parts of China together"' (p. 267). an interesling bUI underdeveloped Iheme.

If the author"s holistic model helps little in revealing the differences when looking at CM in various parts of China, it leads to over-simplification when applied to another imponant mission of the book: JXllitici/.lltion of the musical style pCII/(Jf(JIlic romanticism. In Mittler's narrative. this musical style not only is in opposition with modernist music but. more imp0l1antly, is also the musical representation of the dictatorial political ideologies. (How convenient, bad guys have bad musical taste!) Two compositions. the Yel/oll' RiFer Call1ara and the BllflcI:fly uwcrs Violin COl/certo, are singled out 011 many occasions as the worst representatives ofthis style. The author consistently relates those works wrincn in pel/Ultol/ic trJlIlallticislll to her categories or music that implelllelll or suppar1 the CCP's rcpressivc policies, such as "serving govelllment politics" in ChapterTwo. and "stylization" and "free transformation·' in Chapter Four. (111cse examples neverthelcss challenge the author's generalized division of govelll­ ments and composers as being on oppositional sidcs.) Throughout the IJ

gest a '£t of homological relationships: pentatonic romanlici~m-communiSi policie~-inaulhcntic music---eonservative musical tasle-tra... h mu ... ic. Mittler might personally have a distmile for pewaronic roll/tll/lidsm (I am 1101 a fan of that style either). but as a scholar. her over-opinionated generalized conclusions are hardly convincing. because of her lack of rigorous analy... i.... It i~ rea~nable to ~y that penlatonic romall/icism has been used in propaganda mu",ic in China, but there are al">O non-propaganda music works that have used this musical ...tylc. In addition. there are non-Chinese compositions pular­ ize thi ... "'lyle. without gm"emment sanctions. Somepemotonic rrmumlidsm com­ po... ition... have remained IX>pular among listeners through the decades. irrespec· tive of the changing politics. The long-held IX>pularity ofthe Yellow Ri,'er ellll· lata and the Bllt/etfly LoI'er.'i Violin Cotlceno among the Chinese in the PRC and their more recent popularity in Taiwan and among the Chinese living abroad are just t\VO ...uch examples.

Mittler's bias again~t the "older conventions" and her enthusia.\1ll for "modem techniques:' together with her rigidly politicized approach, lead tOSQme rather arbitrary analyses in her book. For example, her classification of Zhu Jian'er"" First Symphony (1977-1986) as belonging to the category of '"Illusic serving govenunent politics," while Qu Xiaosong's First Symphony (1986) be· longs to "mu... ic opposing govemment politics" is rather questionable, While on the one hand Qu's usc of field of tension and dissonant chords inspired by Shostakovitch is praised as his expression offrustnllion and stress under govern­ ment pressure (p. 118). according to Mittler,Zhu's free usc of the twelve-tone method, on thc olher hand, "reveals a certain sccpticism in his usc and applica­ tion of modern techniques, and still makes usc of cCltain older conventions" (I'. I(0). Mittler vaguely describes "a general feeling ofgovernment oppression" as a background for Qu's symphony (p. 118), but calls Zhu's symphony. a rencc· tion on the atrocitie:-; of the Cultural Revolution, "an obvious piece of its timc" (p. 97) conveying "the orthodox government-line," because it "pcrpeluatelsJ many of the values Mao had introduced in the arts" (p. 99), These values in­ clude. in Mittler's opinion: Zhu's desire of wanting his music understood by the geneml public (how would Mittler explain minimalism's appeal to the gencml public in the U.S,?): his u'£ of the "Intemationalc" (but later, in another cx· ample. the use of the "IntemationaJe" is interpreted by the author as opposing the govemment): as well as Zhu's description ofhis composition "in a language 74 ACMR Reports, Vol. /3.1000 employing orthodox, i.e. timely vocabulary and his recognition and accept<.lOce ofcertain orthodox political a<.;sumptions·· (p. I(4). (Has Mittler considered the possible impact of the different contexts of her interviews with Zhu which took place in China and with Qu which happened in NY?)

One could argue that it is too simplistic to regard Zhu's piece a" "sup­ porting the government'" The fact that the piece was composed during the pe­ riod when criticizing the Cultural Revolution became pern,issible \hould not render the composer's voice less significant. In 1994. I invited Zhu Jian'er to We\leyan to lecture on his music. During his discussion of the FiN Symphony. it wa\ clear to me that his impulse came from a broad humanist concern and a desire to intcrrogatc thc fundamental wrongs in the socio-political ~y~tem which led to the tragcdy ofthe Cultural Revolution. Based on the musical material. the composer's account. and the liner notes ofits CD (ZJIII Jill1l-erSymphonic Works. HCD-0034). one could say that 11m's piece also expresses stress. frustration. and criticism of the CCP's politics, even though it does not employ a musical language as "modernist" ao; Qu·s.

Similar to her simplistic criticism ofpentatonic romantici\11l is Mittler's generali/ed advocacy ofxinchao (new wave) compositions. which i\ apparently .lIlother major mis\ion of the book. These works are charactcri7ed as "modern­ ist'" "oppo\ing govenunenl." "more populist" (p. 291), "a most authentic tradi­ tional voice" (p. 324). and thus "perpetuate and redevelop a living tradition" (p. 356). A welcome rellexive moment comes when Mittler discus!'.Cs the "double· mirror-rellcction" process between the Western New Music and Chinese new wave compositions (p. 298) (see Takemito;u's ll992J discussion on double-mir­ ror effect). Her excellent analysis in "radicalization" and "mythological conceptualil::Jtion." two sections in Chapter Four where Milller discusses in de­ tail seven musical techniques and four abstract elements adapted from tradi­ tional Chinese music and culture, is recommended for anyone interested in CNM. But here. once again. the author is too concerned with her politicized framework to attend to the adequacy ofher data. The author claims that musical examples in these two sections on the one side prove her argument: "thai to write, or not to write. national music constitutes a political act in China; that Ihe very nature of national music i\ detennined by politics" (p. 303). On the other side, they dem­ onstrate how "Chine!'.C folk heritage lives on and has been tapped by a number of compo!'.Crs·· (i.e. new W.lVe composers), who first "experienced their roots in living tradition" during the Cultural Revolution and then ventured into contem­ porary Western music after the Cultural Revolution (pp. 323-24). But when read­ ing the\C two \Cctions closely, one is surprised 10 find out that actually. in almc»>t Book rel'jell's 75

all of the eleven l'oubsections. the earlieM or the mo.<.t articulatcd musical ex­ ample~ are not drawn from the compositions by the new wave composers, but from those of the Chinese American compo.<.cr Chou Wenchung (Zhou WCl1l..hong). who has li\ed in the U.S, since 1946. For reason... that are obYiou5, it i... far-fetched to say that these techniques by Chou have had much to do with the politici.wd dcootes on national music in China ... ince 1949. or that Chou's in ... ights on Chinese traditional culture renected in his mu ... ic came from contact with rural China. Yel. Chou'~ musical compositions. all ofthcm composed in the U.S .. arc cited without proper contextualization as the major mU.<.ical evidence for the author\ argument set exclusively against the background of China's politicaltunnoils. or is there any discussion on the challenge thi ... ca..~ po~ ... to the author\ politicized analysis ofmill:uxing.

Furthcmlore. \\e know that Chou was one of the fiN composers from the We ...t who lectured in China after the Cultural Revolution. and brought the Chine<:.c new wave composers a number of sco~ and recording... of hi ... own music. The fact that ...0 many techniques used by the new wave composcf\ can be trJCOO back to Chou's compositions in the 60s and 70.... as Mittler's examples indicate. po<:.cs the question ofhow many orthe new wave compo\Cf\' "innoYa­ tive techniques" were indebtcd to Chou's (as well

Probably partly due to the wide-spread subjects and material~, the book faces the challengc of how to employ a rigorous methodology to process and present the data. For example, the authorsimply cites the ancient text Ylle); (Record ojMlfs;c) and the example ofthe ancient court musical bureau (vile/II) to ~uggesl that political evaluation and controlling ofmusic has been a continuous tradition ofChinese society, without ::t<;king further questions about these hi.<.torical sources. To whal extend did the Yueji. as a Confucianist didactic texl. reneet the everyday musical practiccs of its time? What other sources-the Shijillg (Book o/Sollgs). for example-would teUus about music's different functions? If lhe imperial musical bureau con~lantly ncedcd to edit or censor folk music in ordcr to re­ move the "obscene" elemcllls, didn't that tell us from anothcr angle thallllusic had been more than a political tool for the Chinese people? And her statement "A~ for the PRC, it was in fact Xian Xinghai. hailed as thc great People S COli/­ poser litalic... in original]. who suggested first to acquire 'elitist' Wcstern har­ mony and only then to apply it to Chinese melody" (p. 291) i"i ju... t another typical in~tance orhow hbtorical contexts arc often treated with little care in the 76 ACMR Report,-. Vol. IJ. 2000

rook. Firstly, although Xiun Xinghai was active in Van'an, he died before the PRC was founded. Secondly, Xian was not the first to suggest applying Western harmony to Chinese melody.

There arc litillmore examples of confusion, generali13tion. or inaccu­ mcy in the book. The author's use ofthe ternl" ew Chinese MUliic" is trouble­ some and inconsilitent." ew Chinese Music rises at the IieCtions. it '\CCms to exclude everything but the new wave compositions. The equivocal meaning of the tenn often creates obstacles for the reader to follow the book's argument. Her criticism of Chinese music's total Westemi13tion in Chapter Four (pp. 274-76) gives a simplistic picture without mentioning the hard debates and litruggles on cultural identities among Chine'>C musicians. Her briefexplanation on the introducing ofWestern culture in China. "A long period of cultuml contact had made way to one of general cultuml acceptance around the tum ofthe century" (p. 23), departs rather far from history. Her ~Iltence. "As time pi.l"'M:d. brass bands becamean increasingly common phenomenon in China substituting for their own cJlllida (wind and drum) ensembles u"iCd at marriage cclebmtions and funerals" (p. 23) makes one pause. And her statement, "Most of the so-called Chinese instruments have been introduced to China from the middle East or other 'barbarian states'" (p. 23) would surprise Chinese music historians. Also. "school songs" used both Western and Japanese melodies. nO! just West­ ern ones (p. 23). Nie Er never went to the Communist base areas: he was active in Shanghai before his departure for Japan (p. 30). The doctoral degrees that Chen Vi, Ge Ganru, Zhou Long, Sheng Zhongliang, and Tan Dun receivcd from Columbia Univcrsity were not Ph.D.s, but DMAs (pp. 168-70. 175). In addition, one wonders why the author has omitted some imponant composers such as Liu Tianhua, Liu Zhuang, Peng Xiuwen, Xiao Shuxian, and Xin Hllgllang from her otherwise rather exhaustive list. And why are the English names of ChOll Wen· chung (Zhou Wenzhong) and Sheng Zhongliang (Bright Sheng) givcn nowhere in the text or index? Also, on a not so minor note, why does Chen Vi have to be identified a.<.; Zhou Long's wife and not vice versa? (pp. 166,368) Book rl'l'ieln 77

Finally. since Ihe book is deriv'ed from Ihe aUlhor's dissertation and has presumably inherited much of its original style. readers should be prepared to encountcr a huge amount of notes on each page (some pages have only three lincs oftexts). as well as long and numerous unlranslated quotations in Gennan. French. and Italian. The production and editing is rather unsatisfactory: incon­ ... istcnt font ... ize.... wrong Chinese characters in the glossary. a lack of a list of figures (mU',ical examples). and a rather thin index. Mittler has consulted an impressive amount of scores. and the musical examples are l1lQ<,t welcome. But many of them are too miniature or too JX>Orly reproduced 10 be readable. and they arc often not properly referenced in the tex!.

Despite all the abO\e problems. it is significant that Mittler's book is the only monograph in English on the subject. It complements and enriches her mentor Dr. C. C. Liu's recent book (Liu 1998) since Mittler's book focuses on NCM ... ince 1949 and consult:. references in Western languages a'ii \\-e1l a.. in Chinese. The book nodoubt offers a useful alternative view from the writings of PRC scholars (Wang 1991: Liang 1993. 1999). Its ChaptcrThrcecan be a valu­ able reference source for a runge of readers who want to find background infor­ mation on NCM composers. and its Chapter Four is essential forthO'>e who want to understand the intricacies of Chineseness in CM.

Su Zheng Wesleyan University 78 ACMR Reports, 1'0/, /3.2000

References Cited

Gann. Kyle. 1997. American Music ill the TU'elltieth Cefltllry. NY: Schinner Books.

Jone~, Andrew. 1992. Like a Kmfe: Ideology alld Genre ill Contemporary Chinese Popular Music. Ithaca. NY: Cornell University. Ea~t A... ia Progmm.

Kraw.. Richard. 1989. Pianos and Politics ill Chilla. cw York: Oxford Uni\'e~iIY Press.

Liang Maochull. 1993. ZJIOIIgggUO dallgdai yillylle (Chinese Music ofToday) 19--19-1989. Beijing: Beijing Guangbo Xueyuan Chubanshe.

1999. Xianggaflg :'lIoqujia: Sanshi ::.iIi jiushi niandai (Hong Kong Compo...ers: 1930-1990). Hong Kong: Joint Publishing (H.K.) Co.

Liu Jingzhi. 1998. Zilongguo xinyinyue sililllll (A Discussion on the Hi~tory of China\ New Music). Taipei: Yuewen Shiye Youxian Gongsi.

Takcmilsu. TOni. 1992. "Mirrors:' Perspeetil'es ofNe\l' Music 30( 1):36-80.

Wang Yuhe. 199 [. 2110llggll0 xialldai yinYlie shigang ([ 949- [986) (An Outline of China's Modem Music: 1949-1986). Beijing: Huawcn Chubanshe. Book Reriews 79

1\1115;(' ;U lire Age ofConfucius. Edited by Jenny F. So. 2000. Published by the Freer Gallery ofArt and Arthur M. Sackler Gallery. Smithsonian Institu­ tion, Washington, D.C. Distributed by the University ofWashington Press. 152 pp., musical examples, color illustrations. figures. notes. glossary, in­ dex. Paperback, $29.00. ISBN 0-295-97953-4.

Published in conjunction with an exhibition of musical instruments and artifacts recovered from the tomb of Marquis Yi of Zeng, Ilubei Prov­ incc, China, which was held from April 29 through September 17,2000, in the FreerGallery ofArt and the Arthur M. Sackler Gallery ofthe Smithsonian Institution in Washington. D.C., Music ill rhe Age ofCol1fucius is an edited volume of five articles on ancient Chinese music and culture. Written for the general audience. the articles are factually infonnative and theoretically in­ teresting; their many color or black and white illustrations are visually ap­ pealing and instmctive. I would recommend this beautifully produced vol­ ume to anyone interested in Chinese music.

The first article ofthe volumc, which is entitlcd "Music in Latc Bronze Age China," is co-authored by John S. Major, an independent scholar and editor based in New York, and Jenny F. So, the editor of the volume. and Curator of Ancient Chinese Art at the Freer Gallery of Art and Arthur M. Sackler Gallery, who directed the exhibition. The article introduces the dis­ covery of the Marquis Vi's tomb in 1977, describes the court and chamber ensembles discovered there, interprets the significance ofmusic in late bronze age China, and discusses the qin. the Chinese seven-string zither. While the article presents data that is not unknown to most specialists, its presentation highlights Ihe musical and cultural meanings of the tomb. The pictures of the nested coffins and dctails of their ornamental motives (p. 16). for ex­ ample, underscore the physical and cosmological dimensions of Marquis Yi's lifc and local culture in the State of Zeng. By the same token, the com­ parative reference (p. 20) to a pictorial representation of musical perfor­ mance on a ritual winc vessel discovered in Baihutuan, Sichuan, illuminates ancient practices ofmusic. By integrating description ofthe court and cham­ ber ensembles wilh discussions of"music as virtue" and "music as vice," the authors illuminalc thc dichotomy oftheory and practice in ancient Chinese musical culture. And by showing a drawing (p. 28) ofa fifth century bronze model ofa house with casually dressed musicians from Tomb 306, Shaoxing, Zhejiang. the authors give a concrcte picture ofancient chamber ensembles. The aUlhors, both of whom are art historians. are to be commended for their 80 ACMR Reports, Vol. 13. 2000 vivid projection ofancient Chinese music and culture. Their effective usc of archeological and iconographic evidence is a lesson that Chinese music his­ torians and ethnomusicologists can consult.

The last section ofthe article is devoted to the "mystique ofthe qil1." The transition from the general discussion of ancient Chinese music and culture to this focus on the qil1 is a bit awkward. evertheless, the section not only alludes to the display of qifl in the exhibition but al~o presents a very innovative and potentially very significant theory about the origin of the instrument. Interpreting the specific organological features of the ten­ stringed qt'" discovered in Marquis Vi's tomb, the authors argue: the "com­ plete lack of Chu-style decoration... seems to indicate that the instrument was regarded in Chu as being non-native in origin and in appearance appro­ priately ~et apart from other Chu instruments. In the context ofMarquis Vi's small ensemble, the qin may have been regarded as an exotic instrument lending a distinctive voice to the performance ofhis chamber ensemble"(So 2000: 31). Expanding on this interpretation in her article published in the Oriellfmiolls, Jenny So argues that the "the ten-stringed qill zither's distinctly foreign features its shape, the peg tuning system and the steppe-inspired motif~ on its tllning keys suggests that Marquis Vi's instrument may well have had close relatives in the north" (So 2000: 34). With such an archeo­ logical and organological observation, Jenny So raises a significant question about the qin: if it does not have a non-Chinese origin, it might have been "subjected to non-Chinese influences in its early development" (ibid., 34).

The second article of the volume is by Robert Bagley, a professor of art and archaeology at Princeton University. Entitled "Percussion", it dis­ cusses percussion instruments found in Marquis Vi's tomb: a set of bronze bells, a set of chime stones, and four drums. With interesting comparative references to Western and other Chinese bells, the author introduces the range, scales, shape, inscription, perfonnance and manufacture practices, and other unique fealures orthe Marquis Yi bells. His discussion on the lise ofbells as signaling and musical instruments is particularly insightful and noteworthy. His summary statement on the development ofbells in Chinese history high­ lights the cultural dynamics between the north and the south in ancient China: "When we trace the millennium orbell manufacture that led from thc Erlitou clapper bell to Marquis Yi's luned set of mallet-struck bells, we discover that the first five hundred years of research and development in bell design took place in south China, in the middle and lower Yanzi region" (p. 46). Book Rel'iell's 81

The third article of the volume is by Bo Lawergrcn, a professor of physics at Hunter College at the City University of New Vork. Entitled "Strings:' the article compares ancient samples ofse, qill, ::heng, and ::hl/, a long, slim instrument with about five strings, demonstrating the ways they have affected hisloricalunderslanding ofancient Chinese music, and stimu­ lated current debates. Technical and meticulous. Bo Lawcrgren's article pro­ vides a wealth oforganological details about construction of the resonating bodies of the instruments, their pegs, bridges, ornaments, and strings. Its statement that "the qin flourished mainly in Ihe north while the se was ap­ preciated both north and south" (p. 77) echoes the theories on the origin of the qinthat are discussed in the first article of the volume.

The fourth article is by Feng Guangsheng, the vice-director of the Ilubei Provincial Museum and a musicologist. EllIitled "Winds," it discusses three types of wind instrumented discovered in Marquis Vi's tomb: trans­ verse flute (chi), panpipe (xiao/paixiao), and mouth organ (sheng). While it gives detailed description orthe instruments and their specific features, such as the number of reeded pipes used in the mouth organ, Ihe article cites classical documents ofChinese history, such as Shijing (Records ofthe Grand Historian) and SllIIijing ;:}/U (Classic of Rivers) to develop a cultural and historical view of the instruments. These citations highlight Chinese schol­ ars' reliance on historical sources in their archeological and musicological interpretations.

The fifth article is by Lothar von Falkenhausen, a professor of art history at UCLA, and the author of a major publication on the Marquis Vi bells (1993). Entitled "The Zeng Hou Yi Finds in the History of Music,,. the article begins with two interesting questions: .. What, if anything, was new about the music represented by the instruments and inscriptions ...'1 And how much of the rich and sophisticated music performed at Marquis Vi's court survived into later times?" With these musicological and historical questions, the author develops a broad interpretation of ritual music, court music, and folk music in Chinese music history. And he makes several in­ sightful comments:

After the middle of the Western Zhau period (1050-771 B.C.) the emphasis in ritual music gradually shifted from timbre to an incrca~cd concern with melody and exact tuning. (p. 107) 82 ACMR Reports, 1'01. /3, 2000

Marquis Vi's bell inscriptions bear witness to a strong interest on the part of Zeng musical theorists in patterned correlations, Their in­ tended function is somewhat mysterious. They could not have served for the players' reference during perfonnance, since the most de­ tailed tone names are inscribed on the back side of the bells. not visible to the perfonning musicians. Their main importance was likely an intellectual one, perhaps aimed at furnishing acoustically verifi· able infonnation of cosmological relevance. (p. 112)

Much to the dismay of their court ritualists, rulers during the turbu­ lent Warring States Period (ca. 480-221-B.C.) preferred the quickcr pace, jaunty rhythms, and ever-changing variety of folk music. This loss of interest in the traditional ritual music accompanied the de­ mise of the Zhou aristocratic order. (p. 102)

Assemblages of musical instrumenls excavated from tombs datable to the late Warring States, Qin (221-206 B.C.), and Han (206 B.c.­ A.D. 220) periods reOect the shift in musical tastes from ritual to entertainment. (p.1 02-1 03)

Comparison with Bronze Age specimens re,eals that, while they [ orthem Song imitations ofEast Zhou bells] resemble Eastern Zholl bells in shape and ornaments, their numbers and. more importantly. their acoustic and musical characteristics differ vastly from those prototyes. (p. 104)

But unlike the music played on the instrumental assemblages from Leigudun, it (Qing dynasty ritual music] did nol emanate from a liv­ ing musical tradition. (p. 104)

Solidly supported by archeological evidence, and creatively detached from documented historical dma, the author's comments encapsulate sophisticated knowledge about Chinese history and culture, and thus deserve critical dis­ cussion by music historians and ethnomusicologists: the comments not only outline an archeological view of Chinese music development but also pin­ points historiographic paradigms and methods, What and how archeological nidence tell and do nol tell about musical practices and development are, for examples. questions that cannot be glossed over, Book Rel·ielr.\· 83

All in all. the texts and the visual materials presentcd in Music ill/he AgeofConfilcius constitutc a most infonnative, stimulating, and user-friendly introduction to ancicnt Chinese music and culture. II attests to a monumen­ tal exhibition that introduced epochal archeological and musical discoveries from China to the Amcrican public, and demonstratcd the ways in which rediscovered ancient Chinese musical instruments havc stimulated contem­ porary Chinese musical crcativity and culturc. It is also a powerful reminder that Chinese music historians and ethnomusicologists have much to learn from art hislOrians and archeologists.

As a postludc, I would like to report that thc cxhibition closed with a symposium (Septcmbcr 16,2000) that was cntitlcd "Ancient lnstrumcnts. Ncw Music:' Thc cvcnt was open to the public and featured: a lecture-dcm­ onstration on qill music by James C. Y. Watt, a scholarly report on bamboo notation of poctic music (shi)'lIe) from thc Warring States period by Ma Chengyuan. a survey on the use and mcanings of bell chimes in ancicnt China and their application in modem Chinese music and society by Siuwah Yu and Feng Guangsheng, a lecture on musical traditions of China's ethnic minorities by Helen Rees. a perfonnance of Mongolian music by Urna Chahar-Tugchi and Robert Zollitsch. and a summation by Joseph S.c. Lam. The musical highlight of the event was. however, a concert (September 17) that featured Yo Yo Ma's playing ofZhou Long's new composition foreello, bell-chimes and ensemble. Throughout the exhibition period, the Sackler Gallery presented regular (Wednesdays through Sundays) demonstrations ofChinese instrumental music, a concert by the Chamber Music Ensemblc of the Chinese Music Association of Greater Washington (June 4). and a series ofmovies related to Chinese music- The Emperor:S Shado\\', Beijing Bastards, Farewell. My Concubine, Peking Opera niues, Life on a String, and King ofMasks. As a scries of co-ordillated events of museum exhibi­ tion, scholarly symposium, and out-reach programs, the Music in/he Age 0/ Confucius exhibition was a showcase of international cooperation, cultural exchange betwccn China and America, and music service to the general pub­ lic.

Joseph S.C.Lam University of Michigan !l4 AOIR Reporl\. l'ot_ lJ. lOOa

Refer-enees

Falkenhauscn. Lothar von. 1993. Suspended Music: The Chime Bells of the Chinese Bron=eAge. Berkeley: University ofCalirornia Press.

So, Jenny F. 2000. "Differcnt Tunes, Diffcrcnt Strings: Court and Chamber Music in Ancient China." Orientafiolls 31 (5): 26-34. Currelll Bihliogm/Jhy 011 Chinese MII~i(" 85

Current Bibliography on Chinese Music

Suc Tuohy Indiana Uni,"crsity

"Current Bibliography" lists recent publications related to Chinese music and music in China (including dance. theatre. opera. and narrative fOnllS) written in English and in other Westcrn languages. Publications in­ cluded in thc bibliographics of earlier ACMR Reports arc not repeated ex­ cept in those cases ofne\\ reviews of previously listed books. The citations arc separated within the following categories:

I) articles. books. and book reviews (listed under the name of the author of the book re\icwcd): 2) dissertations and thescs; 3) brief articles (listed by year or author. under the journal or magazine title); 4) audio-\isual matcrials and reviews (listed under the materi­ als revie\\ cd): 5) web siles.

The number of publications, recordings. and wcbsites devoted to Chinese music continues to grow. The brcadth of \cnucs for publications about and recordings ofChincse music continues to cxpand. and I have at­ tcmpted to renect some of these changes in thc sclection of materials in­ cluded in the bibliography. For instancc. many trade magazincs now regu­ larly include short articles on the Chinese music industry and review record­ ings by popular Chinese musicians. Much of this information is accessible through electronic databases and web sites. I rely morc heavily on such sources, although they contain many mistakes and inconsistcncies. I attempt to confirm and correct the information by examining the "hard copies" when­ ever possible. I apologize in advance for omissions and errors in the entries.

,ICAfR Report readers' comments regarding formatting and selec­ tion of materials will bc appreciated. Please submit bibliographic infonna­ tion on reccnt publications. including corrections to thc present list. To in­ sure accurate and complete infonnation. readers and writers arc requested to submit copies of the publications or of tables ofcontents from journals.

Please scnd citations, suggestions, infonnation, and publications to: Sue Tuohy. Folklore and Ethnomusicology Dcpartment.lndiana Uni\crsity. Bloomington IN 47408. U.S.A.: c-mail: tuOhyS((l indiana.cdu. 86 ACMR Re(JOrls. Vol. 13.2000

I express my appreciation to readers who forwarded citations for re­ cent publications and to Jessica Anderson-Turner for her assistance in com­ piling this bibliography.

Books, Articles, and Essays

Addiss, Stephen, with contributions by Kenneth J. DeWoskin and Mitchell Clark. 1999. The Resonance ofthe Qin in East Asian Art. cw York: China Institute Gallef)', China Institute.

Arnold, Alison, cd. 2000. The Garland Encyclopedia ofWorld Music: 50/llh Asia: The 5ubcolllinent. The Garland Encyclopedia ofWorld Music, Vol. 5, with compact disk. ew York; London: Garland.

Bai, Ronnie. 1998. "Oances with Mei Lanfang: Brecht and the Alienation Effect." Campara/ire Drama 32(3):389-433.

1999. "Dances with Brecht: Huang Zuolin and His Xieyi Theater." Comparatil'e Drama 33(3):339-64.

Boje Nielsen, lIanna. 1999. "The Three Father Figures in Tian Zhuangzhuang's Film The Bille Kite: The Emasculation of Males by the Communist Party." China t"formatioll 13(4):83-96.

Bolsokhoyeva, Natalia D. and Kalsang Tsering. 1995. Tibetal/ Songsjrom Dingri: Tibetan Text and ParaphrastiC Ellglish Trallslatiol/. Rikon: Tibet Institute.

Bordahl, Vibeke. J 996. The Oral Tradition ofYongzholl StolJ'fellillg. Nordic Institute of Asian Studies Monograph Series, No. 73. Richmond, Surrey: Curzon Press. Reviewed by: An!oine! Sehimmelpenninek. 1998 [1999]. CHIME 12/13:206-208.

. 1999. The Eternal SfOl)·teller: Oral Literature in Modem China. ordic Institute ofAsian Studies Monograph Series, Studies in Asian Topics, 0.24. Richmond, Surrey: Curzon Press. Reviewed by: Antoine! Sehimmc1penninck. 1998 [1999]. CHIME 12·13:206-208. Cllrr('111 Bihliograp"yon C"ill('.5(! Music 87

Brand, Manny and Wai-Chung Ho. 1999. "China Recaptures Iiong Kong: A Study of Change for Music Education." British Journal ofMusic Education 16(3):227-36.

Chang, Michael G. 1999. 'The Good, the Bad, and the Beautiful: Movie Actresses and Public Discourse in Shanghai, 1920s-1930s." In Yingjin Zhang, 128-59.

Chau, Albert Wai-Iap and Yang, Chung-fang. 2000. "Personality Perception of Painted Faces in Beijing Opera." Joumal ofAesthetics and Art Criticism 18( 1):33-42.

Chen-Ilafteck. Lily. 1999. "Discussing Text-Melody Relationship in Children's Song-Learning and Singing: A Cantonese-Speaking Perspective." Psychology ofMusic 27{ 1):55-70.

Chong, Woei Lien and Anne Sytske Keyser. 1998. "Chinese Cinema al the 1998 International Rotterdam Film Festival." China '''formalioll 12(4):96-110.

Chong, Woei Lien and Anne Sytske Keyser. 1999. "Chinese Cinema at the 1999 International Rotterdam Film Festival." China Information 13(4):97-122.

Chou, Oliver K. 1999. "Maestro Li Oelun and Western Classical Music in The People's Republic ofChina: A Personal Account." ACMR Reports 12:23-46.

Chun, In-pyong. 2000. "Mall Zhong KIwi Musical Form in Chinese and Korean Music." SO/IIfS 20(2):5-15.

Cingcade, Mary L. 1998. "Tourism and the Many Tibets: The Manufacture ofTibetan 'Tradition'." China Illformation 13( I): 1-24.

Cooper, Colin. 1999. "A Star from the East" (Wang Yameng and Chen Zhi). Classical Gliitar 17{ II): 11-12, 14. 16.

Oai, Xiaolian. 1998 [1999J. "A Study ofthe Guqin Piece Meihua Sail Nong ('Plum Blossom: Three Variations')." CHIME 12/13: 124-41. 88 A('MR RepoJ't.I'. 1't,1. /3. 2000

Dai, Yanjing, Keith Dede, Qi Huimin, Zhu Yongzhong, and Kevin Stuart. 1999. '''Laughing on the Beacon Tower': Spring Festival Songs from Qinghai." Asian Folklore Studies 58( 1): 121-87.

De Kloel, Jeroen. 1998. ''To Seek Beautiful Dreams: Rock in China." OideioJl: Pel/arming Arts Online 2. Available: http: iias.leide nu niv. nIIoi deion/issuesfissue2 .. dek Ioet!framc-o. him I.

Du, Yaxiong. 1998 [1999]. "Shaonioll, Courtship Songs from orthwesl China: A Tradilion Shared by Many Ethnic Groups." CHIME 121 13:70-86.

1995. ZhOllggllO min=1I jibell yueli [Theories of traditional Chinese music]. Beijing: Zhongguo wenlian chuban gongsi. Reviened b): Lai, ErieC. 1998 [1999]. CHIME 12d3:199-201.

Duchesne. Isabelle. 1998 [1999]." 'Flavourrraste' in thc Vocal Music of Jingxi (peking Opera):' CHIME 12. 13:8-28. von Falkenhausen. Lothar. 1993. Suspended Music: Chime-Bells ill the Cliitureo/Bronze Age China. Berkeley: University ofCalifomia Press. Reviewed by: Montagu, Jeremy. 1998. The Galpin Society Journal 51 :21 0-16.

Fci, Faye Chunfang, cd. and trans. 1999. Chinese Theories ofTheater lind PeJ/c}/'/llaneejivm Confucius to the Present. Ann Arbor: University of Michigan Press.

Fesscn-lIcnjcs, Inntraud. 1999. Zur rezeptioll des romalls Ilonglollmeng df/reh das Iradilionelle ehinesische lIl/lsiklhearer (xiqll). Bcrn, Swit/crland: Peter Lang.

Field, Andrew D. 1999. "Selling Souls in the City: Shanghai Singing and Dancing Ilostesses in Print, Film, and Politics, 1920·49." In Yingjin Zhang, 99-127.

Fu, Qil/min. 1999. "La Realisation scenique dans Ie thcatre chinois ct chez Mci Lanfang:"n Lil/eratllre et Extreme-Orient: Le Paysage extreme­ oriental: Le Taoisme dans la Iil/era/llre ellropeenlle, cd. Muriel Dctric, 209-35. I>aris: Champion. Current Bihliographl' 011 Chine.\·" Music 89

Fung, Josef Ka-Cheung. 1999. Proceedings of rhe 1999 II/Iernalional Compuler Music COllference. San Francisco: International Computer Music Association; Beijing: Tsinghua University, JC Public Relations & Development Ltd.

Gild. Gerlinde. 1998 (1999). "Early Twentieth Century' Refonns' in Chinese Music: Dreams ofRenewal Inspired by Japan and the West.'· CHIME 12,13:116-23.

Greet. Manin. 1999. "Composer Interview: Against the Tide: Julian Yu and the· ew Wa\'c' ofChinese Music Publication." COl11eXI 17:69-74.

Guy, ancy. 1999. "Governing the Ans, Governing the State: Peking Opera and Political Authority in Taiwan." Etllllomlisic%gy 43(3):508-26.

Han, Kuo-Iluang. 1999. ''The Dagllashe Music of Xi'an." ACMR Reports 12: 103-22.

Ilan, Shan. 2000. The Collecled Songs ofCold Moulllaill. Translated by Red Pine. Pon Townsend, WA: Copper Canyon Press.

Hansson, Anders. 1998 [1999]. "What Was Wrong with Chinese Opera?: Criticism ofOpera in the Ming and Early Qing Periods." CHIME 12/ 13:29-40.

Harrell, SlCvan, Bamo Qubao, and Ma Erzi. 2000. Moulllain Pallel'lls: The SI/rl'iwl! ofNlIo:w Cli/iure in China: An Inlerpretil'e Calalog Essay (includes sections on musical instruments, rituals). Seatlle: Univcrsity or Washington Press.

1larris, Kristine. 1999. "The Romance of the Western Chamher and the Classical Subject Film in 1920s Shanghai.. · In Yingjin Zhang. 51-73.

Hayashi, Yukio and Kuang-yuan Yang, cds. 2000. Dynamics of Ethnic Cu/tllres Across National Boundaries iI/ SOllthwestern China and Mail//and Southeast Asia: RelaTions, Socielies, and Languages. Chiang Mai: Lanna Cultural Center, Rajabhat Institute Chiang Mai; Kyoto: Center for Southeast Asian Studies, Kyoto University. 90 A('AfR Reports. 1'01. /3. 2000

HelfTer, Mireille. 1998. "Du son au chant vocalise: La tenninologic tibetaine a travers les ages (Vllle-Xxe siecle)." Cahiers de IIIlIsiques traditiollllelles 11 :41-62.

110, Edward. 1997. "Aesthetic Considerations in Understanding Chinese Literati Behavior." British Journal ofEtI11l0musicolog~'6:35-50.

110. Wai-Chung. 1999. 'The Sociopolitical Transfonnation and Hong Kong Sccondary Music Education: Politicization, Culturali7ation, and Marketization." Bulletin of the COllncil for Research in Music Education 140:41-56.

. 2000. "The Political Meaning ofl-{ong Kong Popular Music: A Revicw of Sociopolitical Relations Between I-Iong Kong and the People's Republic of China Since the 1980s:' Popular Music 19(3):341-53.

Hofer. Andras. 1997. Tamcmg Rilllal Texts 1/: Ethnographic Sllldies in the Oral Tradition and Folk-Religion ofall Ethnic Minority. Stuttgart: Franz Steiner Verlag. Reviened b)': Lecomte-Tilouine, Marie. 1998. European Bulletin oillimalayan Research 14:87.

Holzman. Donald. 1998. Immortals, Festivals. and Poelfy in Meclieml China. Aldershot; Brookfield: Ashgate.

Jones. Stephen. 1994. Folk Music o/China: Living Instrumental Traditions. Oxford: Clarendon Press; New York: Oxford University Press. Reviewed by: Lee, Tong Soon. 2000-200 I. Asian Music 32( 1):202-205.

. 1997. "Images of Abing." British Joumal ofEthtlOlIlusicology 6: 165~ 87.

-.1999. "Chinese Ritual Music Under Mao and Deng." British JO/ll'llal of£tlll/olllllsicolo1£), 8:27-66.

Knapp. Alexander. 1998 [1999]. "The Current State of Research into the Religious Music of Kaifeng Jews." CHIME 12,13: 109-15. CWI"elll Bihliography on Chil/ese Music 91

Kuoshu, Harry H. 1998. "Will Godot Come by Bus or through a Trace?: Discussion ofa Chinese Absurdist Play." Modem Drama 41 (3):461· 73.

1999. "Beijing Bastard: The Sixth Generation Directors and 'Generation X' in China."" Asian Cinema 10(2): 18-28.

1999. LigJulless oj Beillg in China: Adaptation and Discursil'e Figl/ratioll in Cinema and Theater. New York: Peter Lang.

Lai, Eric C. 1997. "Modal Formations and Transformations in the First Movement of Chou Wen-chung's Metaphors." Perspectives ojNew Mllsic 35( I); 153-86.

. 1999. "Aggregate Unfolding: A Yijing Perspective." GAMUT9:105­ 14.

-. 1999. "Old Wine in ew Bottles: The Usc of Traditional Material in New Chinese Music:' ACMR Reports 12:1-21.

Lam. Joseph S.c. 1998. State Sacrifices andMusic ill Ming China: Orthot/o.\); Creati\"ity. and Expressireness. SU Y Series in Chinese Local Studies. Albany: Siale University of cw York Press. Reviewed by: Kouwenhoven, Frank. 1998 [1999]. CHIME 12/13;201-203. Jones, Stephen. 1999. ACMR Reports 12; 138-42. Lowry, Kathryn. 1999. Journal ojAsian Studies 58:491-92. Swatek, Catherine. 1999. Ming Stlfdies: 42:90·96. Wei, Li. 1999. YearbookJor Traditional Music 31: 148-50.

Lee. Elsa. \998. "The Function of Percussion in Chuanju." Chinese MI/sic 20(3);3-57; 20(4);64-67.

Lee, George B. 1996. Troubadours. Trumpeters, and Troubled Makers: Lyricism, Nationalism. and Hybridit)' i1l China and Its Others. Durham: Duke Univcrsity Press. Reviewed by: Edwards. Louise. 1999. The China JOlirnal42: 186-88. 92 ACMR Rr:/xW!\. Ii)/. 13. ]O()()

Lee, Leo Ou-fan. 1999. "The Urban Milieu of Shanghai Cinema, 1930-40: Some Explorations of Film Audience, Film Culture. and Narrative Con\'entions," In Yingjin Zhang. 74-96.

Lee, Tong Soon. 2000. "Professional Chinese Opera Troupes and Street Opera Perfomlancc in Singapore." Asiall Music 31(2):35·70.

Lian, Xinda. 1999. The IViid alld Arrogant: Expressioll oj Se(fill Xin Qiji ~ Song Lyrics. '\Ie\\ York: Peter Lang.

Lilley. Rozanna. 1998. Staging Hong Kong: Gender and Performance in Trallsitioll. Iionolulu: Uni\o'crsity of Hawai'i Press.

Lo. Kil-lTIlIlg. 1999. ··Some Functions of Music in Chinese Classical Literature." In Word and Music Studies Definillg the Field: Proceedings ofthe F;,:~tllltematiolla!COl~/erellce 0" non!andMusic SllIdies (II Gra::., 1997, cd. Walter Bernhart. Stephen Paul Scher, and Werner Wolf. Amsterdam: Atlanta. GA: Rodopi.

Lum. Casey Man Kong. 1996. III Search of a loice: Karaoke alld the Com/ruction ol/defltitl' ill Chinese America. Mahwah, NJ: Lawrence Frlbaul11 Associates. Rc\ ic\\ cd by: Liu, Terence. 1999. ACMR Reports 12: 150-52.

Ma, WeI, Ma Jianzhong, and Kevin Stuart. 1999. "The Xunhua Salar Wedding." Asiafl Folklore Studies 5R( 1):31 ~ 76.

Maekerras, Colin. 1997. Peking Opera. Hong Kong; New York: Oxford University Press. H.c\'ic\\ cd by: lilli, Yu. 1999. The J!or/do/Music41(1):121-23.

Mamdani, Shelby. 1999. Cultural JOflrlleys: Tradiriol/sfivlII China. Austin, TX: Rainlrcc Stcck.Vaughn. CurrellllJihliogra{Jhy 01/ Chinese Ml/sic 93

McDermott, Joseph P., ed. 1999. State and COlirt Ritual i" China. New York: Cambridge University Press.

Mittler. Barbara. 1997. Dangerous TUlles: The Politics o/Chinese Music in HOllg Kong, Taiwan otld the PRC Since /949. Wiesbaden: Harrassowitz Verlag. Reviewed by: Rao, Nancy Yunhwa and Christian Utz. 1998 [1999]. CHIME 121 13:187-94. Yung, Bell. 2000-2001. Asian Mnsic 32( I): 192-95.

Morrison, Stephen 1. and Cheung Shing Ych. 1999. "Preference Responses and Use ofWrittcll Descriptors Among Music and Nonmusic Majors in the United States. Ilong Kong and the People's Republic ofChina." JOlirl/ol ofResearcll i'/ Music Edl/cation 47( 1);5-17.

Nickson, Noel J. and Laurence Picken, cds. 1997. Music/rom the HlIIg COllrt, Vol. 6. Cambridge; ew York: Cambridge University Press. Reviewed b): Stock. Jonathan P.J. 1998. Music(llu/ Leiters 73(3):421-23 .

. 2000. Music jrom tile HlIlg Court, Vol. 7. Cambridge; New York: Cambridge University Press.

Olivova, Lucie. 1998 [1999]. "Storytelling in Yangshou: Impressions from the Eighteenth-Century Book Yallgshol/ Hua/ang Lu." CHIME 12/ 13:98-108.

Pegg, Carole. 2001. MOllgolioll Music, Dal/ce, alld Oral Narrative: Pelformillg DiI'erse Identities. Seattle: University of Washington Press.

Pian. Rulan Chao. 1997. "Music and the Confucian Sacrificial Ceremony." In Enchanting POlI'el:~: Music i1l the World~· ReligiollS, ed. Lawrcncc E. Sullivan. 237-62. Cambridgc. Mass.: Harvard Univcrsity Press.

Picard. Fran~ois. 1999. "Oralite et notations. de Chine en Europe." Cohiers de musiques tradilionnelles 12:35-54. 94lCIIR Reports. 1'01. /3, :!(J()(J

Plo\\ right. Poh-Sim. 1998. 'Thc Art ofManora: An Ancicnt Talc ofFcminmc Power Presen cd in South-East Asian Theatrc:' Vell' Theatre Quarter/i' 14(4):373-94.

Qi. Iluimin. Zhu Yong7hong. and Kevin Stuart. 1999. "Vlanhe Mangghuer Wedding Songs: Musical Characteristics." ,·,:,illll Fo/k/ore SlUdies 58( I):77-120.

Qiao. Jianzhong. and Fcng Jicxuan. 1999. ChiliesI' M/lsIc. Chinese Culture and Art Series, I3cijing: Culture and Arts Publishing House.

Qiao, Jianzhong, and Xuc Yibing. 1999. "Establishmcnt of thc Modern Chinese Orchcstra and thc Interchange betwccn Chinese and Western Musical Culture,'" Translated by Helen Rces. In /II/ercultllra/ Music I'a/lime J. cd. Cynthia Tse Kimberlin and Akin Euba. 15·30. Point Richmind, CA: MusIc Research Institute (published for the Centre for Intcrcuhural \r1usic Arts).

Rayn. Jay, 1999... 'Chinese IlamlOny' and Contcmporary 'Jon·Tonal Music Theory.·· ClInadian l.:nl\'ersjty .\1/1sic Re\·jell· Rel'ue de musique dl's ullil'ersities cllllm!iel1lleS 19(1): 115-14,

Rccs. Ilelen. 1000. Echoes (?/Hi.~lory: ,,\'axi Almjc ill .\:Iodem China. \1C\\ York: Oxford Uni\'crsity Press.

Riley. Jo. 1997. Chillese Thea/re and the AelOr ill Performance. Cambridgc and New York: Cambridgc University Press. Re"iewed by: Guy. Nancy. :::WOO. Compara/il'e Drama 33(4):522-25. KOllwenhmcn. Frank. 199R [1999]. CII/ME 12,13:208-1 L VittinghoO-, 'latascha. 1997·1998. Chilla Ill/orma/ioll 11(3): 184-X5.

Ross. Joanna. 1995. Llama. Opera /imll fhe Ro%//lu! florid. 'Je\\ Delhi: Paljor.

Saanchez Ungriia. \1ana Josee. 1998. ··~oticias exoatlcas de los misioncros Jcsuiil1cos {F\otlc nc\\ s ofthc Jesuit nw..sionarics]. \'assurre: Rerisla lragollesa de \ll/.\il'O/ogia 1-t(::!):279-88. Cllrre/ll Bihliograpln' 011 Chin('se \1l11ie 95

Samson. Valerie B. 1999. "Chmese Music in the San Francisco Bay Area:' .-ICUR Reports 12:47-101.

Schechncr. Richard. 1998. "The Street Is the Stage:' In Radical Street Pe,.J(Jrmallce: AllllltematiallalAlithology. cd. Jan Cohell-Cruz, 197­ 207. London: New York: Routledge.

SehimJl1clpcnninck, Antoinct. 1997. Chillese Folk SOllgs alld Folk Singers: Shall 'ge Traditions ill SOlithem Jiallgsli (with compact disk: ·'Folk Songs of SOllthem China:' PAN Records I990AS). Chime Studies 111 East Asian Music. 1. Lciden: Chime Foundation. Re\ ie\\ ed b.): }loITman. Jan. 1998. Chilla Xu 1998( I):21-22. II ui. Yu. 1999. }earhoak (ar Traditional MI/sic 31: 147-48. Lcc. Joanna. 1999. The Il'orld aI,\lltsii' 41(2): 175-76. Tuohy. Sue. 1999. ACHR Reports 12: 143-49.

Scott, A. r. 2001. The Classical Theatre (?!"Chill{/ (originally published in 1957 by Macmillan). Mineola. NY: Dover Publications.

Scott. Derek B. 1998. "Oricntalism and Musical Style." /l1ltsical Qu{/rter(I' X2(2):309-35.

Sener. Lcc. 1999. Asian Pop Cinema: Boml",y 10 ToA.J·o. San Francisco: Chronicle Books.

Shao, Junzong. (rans. 1999. SIIII Jingxuan \" Ocean Lyrics: As Translated hy Shoo JI/Il=ong. Mid-America Press.

Shen, Sin-yan. 2000. China: A Journey illio Its Musical Art. Chicago: Chinese Music Society of North America.

-. 2000. Chinese ,Hltsh' in Ihe 10th Cel1lllry. Chicago: Chinese Music Society of orth America.

Skal. Bnmg Nor Bu and Kc\ III Stuart. 1996. "The Rdo Sbis Tibetan Wedding Ceremonies:· AI1IIIrOI)().~ 91 (4-6):441-53. 96 AC.HR Repol'/.s. 10/. 13. 1000

Snow. Edgar. 1998. "Red Theater:' In Radical Street Performallce: An International Allthologr. ed. Jan Cohen-Cruz. 26·30. London; ew York: Routledge.

So, Jenny F., ed. 2000. Music in the Age ofCOl~r/{cius. Washington, D.C.: Freer Gallery of Art and Arthur M. Sackler Gallery. Smithsonian Institution: Seattle: Distributed by the Univcrsity ofWashington Press.

Stecn, Andreas. 1998 (1999]. "Buddhism and Rock Music: A New Music Style?"CIIIME 12/13:151-64. Stephenson, Shelley. 1999. "'J-lerTracesAre Found Everywhere': Shanghai, Li Xiangian, and the 'Greater East Asia Film Sphere'." In Yillgjill Zhallg.222-45.

Stock, Jonathan P.J. 1996. Musical Creativity ill TlI'entieth-Century China: Abing. /-lis Music, a"dIts Clulllging Meanil/gs. Rochester: University of Rochester Press. Rc\'ic\\ cd by: Zheng. Suo 1998. Yearbook/or Traditional Music 30: 170-72. Lau. Frederick. 1999. ACMR Reports 12: 153-56.

1999. "A Reassessment of the Relationship Between Text, Speech Tone. Melody. and Aria Structure in Beijing Opera." Journal of Musicological Re.<;earcll 18(3): 183-206.

Tai. Chen-to. 1999. A Modification ofall Old Chinese Musical Scale and Irs Comparison lI'itll 011I S Equal Tempered Scale. Ann Arbor: University of Michigan, Radiation Laboratory, Department of Electrical Engineering and Computer Science.

Tan, Sooi Beng. 2000. '"The I-Iuayfle nWII (Chinese Orchestra) in Malaysia: Adapting to Survive." Asian Music 20(2): I07-28.

Teo. Stephen. 1997. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute.

Thompson. John. 1998. Music Beyond SOllnd: Transcriptiolls ofMusic/or the Chinese Silk String Zither(\\ ith compact disk). Hong Kong: John Thompson. Clirrem Bihliography 01/ Chinese Music 97

Rel'iewed by: Huang, Yi-ping. 1999. ACMR Reports 12: 133-37. Dujunco. Mercedes M. 1999. Yearbook/or Traditional Music J I: 145­ 47.

Thrasher. Alan. 2001. Chinese Musicallnstrumellts. ew York: Oxford University Press.

Tian, Min. 1999. "Mcycrhold Meets Mei Lanfang: Staging the Grotesque and the Beautiful:' Comparative Drama 33(2):234-69. Tuohy, Sue. 1999. "Current Bibliography on Chinese Music." ACMR Reports 12: 157-83.

. 1999. "Metropolitan Sounds: Music in Chinese Films orlhe 1930s." In Yingjing Zhang, 200-21.

Vtz, Christian. 1998. "Komponieren zwischen Abstraktion und Konkretion: Die Tradition des Chinesischen Musiklheaters als Folie heutiger chinesischer Musik [Composing between the abstract and the concrete: The tradition of Chinese music theater as a foil for comemporary Chinese music]. Osterreichische Musik=eitsd,r!{t 53(5):35-45.

. 1998 [1999]. "'Extreme Cross-Over ,Extremely Personal Music': Tan Dun's Art for a New Generation." CHIME 12/13: 142-50.

Witzleben, J. Lawrence. 1999. "Cantopop and Mandapop in Pre-post-colonial Iiong Kong: Identity Negotiation in the Performance of Anita Mui Yim-Fong." Popular Music 18(2):241-57.

Wells, Marnix. 1998 [1999]. "Three-Line Tail Sounds: The Operatic Thrcc­ Line Coda." CII/ME 12/13:41-69.

Xiao. Zhiwei. 1999. "Constructing a New ational Culture: Film Censorship and the Issues of Cantonese Dialect, Superstition. and Sex in the Nanjing Decade." In Yingjin Zhang. 183-99.

Young. John P. and Margaret Sehedel. 2000. "fCMC '99" (highlights International Computer Music Conference in Beijing, October. 2000). Computer Music Joul'1laI24(2):77-83. 98lC\lR R('pOrll', I(}/. /3. :!OO(J

Yung. Bell, cd. 1997. Celestial Airs ofAlltiqlli~l': Mllsic ofthe Sel'ell-Slrillg Zither orChilla. Recent Research in (he Oral Traditions of Music. vol. 5. Madison: A-R Editions. Rcvic\\cd by: Dujunco. Mercedes. 1998. Yearbook/or Traditional Mllsic 30: 167­ 70. Evans. ChriSlopher. 1998 [1999]. CHIME 1213:203-205. Samson. Valcric. 1999. Quarter(r Journal (~r Ille \/usic: Lihrarr Association 55(4):988-91.

Yung. Bcll ct al.. cds. 1998. Gems ofAncient Chinese Zithers: SlllIm S Collection or.-Incient Qin/ivm the Last Millennium. lIong Kong: Uni\crsity of Hong Kong Dept. of Music and Univcrsity Museum and An Gallery. and Deyin Qin Society.

Yung. Bcll. Evelyn S. Rawski. and Rubie S. Watson. eds. lIarmonyalld Counterpoint: Ritual Music ill Chinese COlltext. Stanford: Stanford Univcrsity Press. Rc\ ic\\ cd b): KlIzay. Steren. 1998 [1999]. CHIME 12.13:195-98.

Zc\-ik. Emma and Zou. Xianping. 1998 [1999]. "Sichuan Street Songs: The E\-cryday Cries of Strcet Vendors in Chengdu." CII/ME 12 13:87­ 97.

Zhang. Que. 1992. Akkultllralioflsphiinomene ill der gegellwaiirtigen MI/sikk//Illll' Chillos. Bcitrage zur Ethnomusikologie Vol. 29. Ilarnburg: Verlag dcr Musikalicnhandlung Karl Dieter Wagner.

Zhang, Yingjin. cd. 1999. O'neil/a and Urball Cltlillre ill Shallg/wi. /922­ /943. Slnnford: Stanford University Press.

Zhang. Yillgjin. 1999. "Prostitution and Urban Imagination: Negotinting the Public nnd the Private in Chinese Films of the 1930s." In Yingjin Zhang. 160-80.

Zhang. Zhen. 1999. "Teahouse, Shadowplay. Bricolage: Laborer :\. LOI'e and the Question of Early Chinese Cinema." In Yingjin Zhnng, 27-50. Currelll Bihli()~ra"hl'011 Cflil/elt! \flllie 99

Zhcng. Suo 1999. "Rcdcfining Yin and Yang: Transfonllation of Gcndcr Scxual Politics in Chinese Music:' In ./udihle Traces: Gemlel: Idel/rir\", and Music. ed. Elaine Barkin and Lydia Ilamessicy. 153-76. Zurich. Switzerland: Carciofoli.

Dissertations

Bai.Di. 1997. "A Fcminist Brme Ne\\ World: The Cultural Rc\ olution Model Thcatcr Rcvisited:' Ph.D. diss.. Ohio State Uni\crsity. U.S.A.

Chcn. Lu·llsuan Lucy. :WOO. "Chinese Folk Song: Ilidden Treasures of an Old \jation:' Ph.D. diss.. University of Maryland. College Park. U.S.A.

Chen. Moh·Wei. 1997. "Myths from Afar: 'Chinese Myths Cantata' by Chen Yi." Ph.D. diss.. Uni\ ersity ofSouthem Califomia. U.S.A.

Chcn, Zhi. 1999. "From Ritualization to Sccularization: The Shaping of the 'Book ofSongs'." Ph.D. diss.• University of Wisconsin, U.S.A.

Chcng. De·llai. 2000. "The Creation and Evolvement of Chinese Ballet: Ethnic and Esthetic Concerns in Establishing a Chinese Style ofBallet in Taiwan and Mainland China (1954-994)." Ph.D. diss.. New York University, U.S.A.

Cheung, Iloi Van. 1999. "Music and the Body in The Whife·//a;red Girl: The Political Ritual ofFanshen ill Red China:' M.M. thesis. University of Texas at Austin, U.S.A.

Cheung, Pillg-kuen. 1999. "Xiqu Elcments in Modern Chinese Theatre: An Analysis." Ph. D. diss., Chinese University of Iiong Kong.

Clalls-Bachmann, Martina. 1997. "Mahayana-Buddhistischc Liturgic im Ilelitigen Indonesicn: Musikkulturclle Oberliefenmg Chincsischcr Migrantcn:' Ph.D. diss.. Musikctnologic. Hamburg. Gcnllany 100 ACMR Repol'ts. 1(,1. /3.2000

Davis. Sara Lcila Margarct. 1999. "Singers of Sipsongbnnna: Folklore and Authenticity in Contemporary China." Ph.D. diss.• University of Pennsylvnnia, U.S.A.

Egert, Janine Eve. 1998. "The Strings ofthe Gandhan'a's Lute": Continuity and Change in the Cross-Societal Transmission ofTibetan Buddhist Ritual.'· Ph.D. diss.. University ofCalifomia. Berkeley, U.S.A.

Goldstein. Joshua Lewis. 1999. "Theatricallmagi-nations: Peking Opera and China"!) Cultural Crisis. 1890-1937," Ph.D. diss., University of Califomia, San Diego. U.S.A.

Hsu. Chiung-Tan. 1999. "Fusion of Musical Styles and Cultures in Bright Sheng'~ Opera The Song oj Majlllm:' Ph.D. diss., Ohio State University. U.S.A.

Huang, Jiamin. 1998. "Developing a Graduate Dance Curriculum Model for the Beijing Dance Academy in China." M.A. thesis, Brigham Young Univcrsity. U.S.A.

Hung. Yu-Chicn. 1998. "An Exploration of the Musical Composition Background Experience, Process, and Pedagogy of Selected Composers in Taiwan." Ph.D. diss., Columbia University Teachers College. U.S.A.

Jiang, Jin. 1988. "Women and Public Culture: Poetics and Politics ofWomen's rue Opera in Republican Shanghai, 19305-19405." Ph.D. diss., Stanford University, U.S.A.

Lee, Ying Chuen. 1999. "The Practice of Marginality: A Study of the Subversivencss of Blackbird." M.A. thesis, Chinesc University of Hong Kong.

Light, Nathan. 1998. "Slippery Paths: The Perfonnance and Canonization of Turkic Literature and Uyghur Muqam Song in Islam and Modernity." Ph.D. diss., Indiana University, U.S.A.

Lim, Yang-Yuill R. 2000. "Chinese An Songs by Chinese-Malaysian Composer Guan Liang Khaw." M.M. thesis, Department of Music, C/lrrelll Bihhograph.r 01/ Chinese Music 101

Southern Illinois University at Carbondale, U.S.A.

Lin. Hsiang-Hsiu. 1999. "Cultural Identity in Taiwanese Modem Dance:' M.A. thesis. San Jose State University, U.S.A.

Liu. Han-ching. 1999. "Jing-chu: The MakingofPeking Opera:' M.A. thesis, Michigan State University. U.S.A.

Liu. Shao-Shan. 1998. "Chiang Wen-Yeh: An Overview with an In-Depth Analysis of His Masterwork "Folk Festival Poem"." Ph.D. diss., University ofTexas at Austin. U.S.A.

Lo, Wen Tzu. 1999. "A Comparative Study of the Guitar and the Chinese Lute-Pipa: An Overview of Their Origins, Construction, and Techniques." Ph.D. diss., Ball State University. U.S.A.

Luo, Ming-Hui. 1998. "The Taoist Ritual Music Study ofYunnan Jian-Chuan Bai People." Ph.D. diss., Chinese University of Hong Kong.

Mangahas, Minette Lee. 1999. "Sacred Music. Sacred Dance: Culture and Politics in the Movement to Save Tibet:' Undergraduate Iionors thesis, Department ofCultural Anthropology, Duke Uni\ersity, U.S.A.

Micic. Peter. 2000. "School Songs and Modernity in Late Qing and Early Republican China:' Ph.D. diss., Monash University, Melbourne. Australia.

Sun, Guozhong. 1997. "Zhu Jian-er's Symphonies: Context, Style, Significance." Ph.D. diss., Department orMusicology, University of California-Los Angeles, U.S.A.

Tsang, Christina K. 2000. "Development of a Music Team in a Traditional Cantonese Church." M.A. thesis, Moody Bible Institute.

Wong. Marina Wai-yee. 1999. "Elementary Teachers' Expressed Beliefs and Observed Practices ofMusic Education in Vancouver and Hong Kong: A Descriptive, Exploratory Study." Ph.D. diss., University of British Columbia. Canada. 1021C\tR Repol'fI'. 1,,/ /3. ]()()()

Wu. Rung-shun. 1996. "Le Chant du Pasi but but Chez les Bunun de Taiwan: Unc Polyphonic Sous Fonne de Destruction et de Recreation:' Ph.D. diss., University of Paris. France.

Yang. Xlaoxun. 1998. "Studies on Taoist Ritual Music. DII Jie. as Practised Among the Yao Nationality at Shicai Village. Yunnan Pro\ mce. China:' Ph.D. diss.. Chinese Uni\crsity of Hong Kong.

Yee, Ruth Wing-Yu. 1999. "The Wedding Lament of the TUJIa Pcople in Western lIubci Province. China: Music and Contc."t." Ph.D. diss.. Chinese University of Hong Kong.

Yu, Yang. 1999. "Today's Chinese Contemporary Music." M.A. thesis, composition. Mills College, U.S.A.

BriefArliclcs

ACMR

1999. "Happy 90th Birthday to Dr. Laurence Ernest Rowland Picken." 12:191-92.

1999. "Reports on Recent Meetings and Conferences:' 12: 185-89.

Wei. Li. 1999. "News and Truth; Orientalism vs. Occidentalism," ACMR Reports 12: 125-26.

Yung, Bell. 1999. "Chinese Musicological Research in China, Abroad and Other Issues." ACMR Reports 12: 127-31.

Zhcng. Su. 1999. "The Oldest Playable Instrument in the World: Whose World? Whose Credit? What Date?" ACMR Reports 12: 123-24.

American Music Teacher

Allen. Ramona Sohn and 11ao Huang. 2000. "Transcultural Aspects ofMusic: What Did Confucius Say?" 49(5):33-36. Curr{'/1/ Hihliographl' 011 Chilw,>e \fIHie lOJ

AsiaH'eek

1999. "CoCO's Eyes 011 Amcrica" (CoCo Lcc Wcn to introducc English. languagc album in U.S.). 25(42):59.

2000. "From Pirate to Partner." 26( 14): 18.

2000. "A rri7c Moment as Lcon Changes Ilis Mind" (singer Lcon Lai Ming). 26(6):44.

Cheng. Allcn T. 2000. "Sounds Like Troublc" (music piracy and the recording industry). 26(2):46-47.

Schwal11kcrt, Stephen. 1999 "Rock or Ages" (rock group Tang Dynasty). 25(28):40-41.

Seno. Alexandra A. 1998. "New Thrills for Fans or Andy LaLl Tak-Wah." Asiall'eek 24(26):57.

Seno. Alexandria A. and Fons Tuinstra. 2000. '"8 Things You Didn't Kno\\ About Chinese Consumers" (influence ofJapanese music and fashion on Chinese consumers). 26(16):42-47.

BBC All/sic Afaga=inc

Church, Michael. 1998. "Pleasures Forbidden No Longer." 6( 11): 14.

HewclI, Ivan. 1999. "Earth Wind and Fire: Thc Elcl11elllS ofChinese Music." 8(3): 39-40.

Pappenhcim. \1ark. 1998. "Sellar's Ne\\ Take on Chinesc Opera:' 7(1): 18.

Seckerson. Ed\\ard. 1999. "Class of97:· 7( 10):32.

Sherriff, Kate. 1998. "Rccording Rcport: Chinesc Takcaway.'" 6( II ):60. 104 ACMR Reporls. 101. /3.2000

.2000. "Premiere: A Symphony to Shake the Sky." 8(5): 16.

Waleson, Heidi. 1998. "Pavilion of Pornography." 7( I):8 .

. 2000. "Music that Changed Me: Tan Dun. Composer"· 9(1):122.

Wood. ChrislOpher. ··From Our Own Correspondent: Optimism in the Orielll." 8(2): 16.

Beijing Rel'iell'

1998. "Folk Operas Tum to Musical for SUI' i"I." 41(39):29.

1999. "Those Good, Old, Revolutionary Days" (re-staging of the Guerilla oflIol/gill/ Lake). 42(25):32.

1999. "When East Meets West"' (European tours oftraditional Chinese music: foreign performance groups in China). 42(36): 14-16.

2000. "A Fair for Ileking Opera Fans" (2000 Beijing International Amateur Peking Opera Festival). 43(32)30-31.

2000. '" Ilave My Own Way" (interview with composer lie Xuntian). 43( t8):34.

2000. "Smokic Will Perform in Beijing" (British band Smokic at the Beijing Exhibition Center). 43(37):32.

2000. "Swedish Music to Sweep Beijing." 43(35):31.

2000. "Yesterday Once More" (China Ancient Art Troupe 111 Ilenan Zhengzhou Museum). 43(20):32.

Cui Lili. 1999. "Peking Opera Entering a New Century." 42(9-10):9-12.

Gao, KUll. 1999. "A Gift of Music to the 50th Birthday of New China:' 42(39):31.

Mo, San. 1999. "Traditional Chinese Operas." 42(36): 16-17. Currenl Bihliography on Chinese Ml/sic 105

Billboard

2000. "Cheung Switches Labels" (recording career of Jacky Cheung. 112(31 ):48-49.

2000. "Real Dolls. Taiwan R&B. Eurasian Fusion" (Taiwanese music). 112(34):54.

Chan, Jerry. 2000. "Trouble-Free 2nd Year for CCTVIMTV Show" (music honors ceremony in Beijing). 112(27):43-44.

Chan, Jerry and Gavin Phillips. 2000. "Mainland China Bans Taiwan's A­ Mci for Anthcm Pcrformance." 112(25):71.

Chung, Winnic. 2000. "Asian Stations Comc Together for Pop Chart:' 112(39):57-58.

. 2000. "Hong Kong Album List Closed for Renovations" (Hong Kong Office of Intcrnational Federation of the Phonographic Industry). 112(40): 14.

. 2000. "W amer Succeeds with D A" (rccording industry). 112(44):69­ 70.

Chung, Winnie et a!. 2000. "Asian Artists Moving Beyond Image and Targeting Talent." 112(48):72.

. 2000. "Cracking thc Chinese Puzzlc" (Chincse music industry). 112(48):69-70.

. 2000. "The New Contenders" (music industry; new labels). I 12(9):APQ 1-3.

Eliczer, Christie. 2000. "Managers Forum Looks to China" (recording industry). 112(44):69-70.

Fuller, Chris. :WOO. "Asia" (piracy problem in music industry). 112(12)62.

Ko\"Skaya. \1aya. 2000. "China Seeks Managers' Advice·' (recording industry). 112(47):10. 106 AC\lR Re/)(II"f.,. Ii:JI. 13. ]O()O

.2000. "Chinese Music Industry Is United Against Piracy," 112(46):69­ 70.

. 2000. "Thm \I1an' s 'Healthy Rock' Is Changing Ihe Definition of \I1alllstreal1l" (rock music; rock band Thin Man), 112(34):54.

Konk

McClure. Sieve. 2000. "When East Met West" (recording Induslry). 112(9):APQ 1-2.

McClure. StC\C and Billiiolland. 1999. "Music Biz Eyes Growlh m China:' III (48):5-6.

\I1cClurc. StC\C and Cho lIyun-]in. :WOO. "Asian Acls Cross Cuhural and l\a1ional Boundaries" (internet and tele\ision expansion of music lIldu;tryl. 112( 15):49-50.

McClure. StC\C ct

Mok. Da\cn

. 2000. "China Admits 10 Rampant Piracy." 111( 13):54.

. 2000. "Mainland China Artists Get Boost al Awards" (Chincsc Music A"ards, 1999). 112(7):45.

-.2000. "MTV Goes Online in Mainland China." 112(21 ):85-R6.

Pride. Dominic. 1999. "MTV Awards Aired in China. Europe," 111(48):64.

Primont. Michacl ct al. 2000. "One Exec's Vic\\- from Beijing" (sound rccordlllg llH_lustry). 112(48):70. Cllrrell/ IJihlio~m"hl" 011 Chillese ,Hu\"ic 107

Bulletill o(lhe. Intemational Council.fOr Traditiol1al.\lusic

\1CI. Xiao. 1998. '-Rcport: Liaison Officer, China," 93:29-30.

Van Zantern. \Vim. 1999. "Looking Back: 35th ICTM World Confercnce." 95:8-12.

CII/ME

1998 [1999]. "Meetings." 12,13:231-35.

Butter1cy. Nigel. 1998 [19991. "Alley in Wellington: Jaek Body's Opera Abolll a New Zealander in China." 12/13: 165-69.

Du. Yaxiong. 199R [1999]. "Gansu -Flower Songs' Bloom in Wellington: Chinese Folk Singers Perfonn in an Avant-Garde Opera:' 12 .. 13: 170­ 74.

Kou\\ enho\en. Frank. 1998 [1999]. --From Mahler to China: The Heidelberg Concerts and Luo Zheng's Oil Paintings..' 12,13: 181-86.

. 1998 [1999]. "Music III Cities. Music in Villages'" 12113:4-7.

Tarocco. Francesea. 1998 [1999]. "Report on the FOllrth International Chime Meeting. Heidelberg:' 1213: 175-80.

Chilla Toda)'

IILla. Zhang. 2000. "Gao Tian and Ilis Music Therapy Cenler." 49(2):60-61.

Lan. Xu. 1000. "Blind Piano Tuner Li Renwci." 49(4):55-57.

Ran. Tao. :WOO. "Chaos and Collision" (rock music; Cui Jian). 49(6):46~"'9.

Xiao_ LI. 1000. "ramou:-. Arlists Gathcr in l\annlllg" (Zhuang Singing Festi, a1). 49( 1):36-41. 108 AC\1R RepOrl,\', 1'01. /3. lOO(}

Chinese Music

2000. "The Chinese Classical Orchestra:' 23( I): 16-17.

Da\is, Sara. 2000. "Zhangkhap Singers ofYunnan Province:' 23( I): 12-15. flu, Yaohua. 2000. "Music Theory: Is It Time That the Flatted II of Minor Enters inlO Key Signatures?" 23( I): 18-20.

Shao, Ying. 2000. "Li Iluanzhi Remembered." 23(2):31.

Shao, Ying. 2000. "Ren Guang and 'Fisherman's Song'." 23(3):47-49.

Shen, Sin-yan. 2000. "A Concise History ofChinese Musical Instruments." 23(3):50-55,

. 2000. "Aesthetics and Criticism: The Arlistic Pathways of Chinese Music: On .hc A Bing SySlem." 23(2):24-30. 32-35.

. 2000. "'Galloping on the Prairie' and 'Ma-An Mountain Overture': The Brilliance of lie Wu-qi," 23( 1):4-11.

.2000. "Revie\\' of Xiao shudi clllti:=oll rumen" [Xiao and vertical flute playing for beginners). 23(2):38-39,

Su, Xiao. 2000. "Musicians: China Releases Video Commemorating Peng Xiuwen:' 23(2):36-37,

Classical Guitar

Kilvington, Chris and Shuko Shibata. 1999. "Miao Xiaoyun and the Chinese Pipa:' 17(8):20,22.

Dirt1' Linen

Collison, Ellen. :2000. ""Recordings: Betty A Siu Junn Wong, 'In Xinjiang Time'." 89:57. Current Bibliography all Chinese Music 109

Kih ington, Chris and Shuko Shibata. 1999. "Miao Xiaoyun and the Chinese Pipa." 17(8):20,22.

Folklife Center News.

Yeh, ora. 1998. "The Tradition of rile Jii Cantonese Opera." 20(2): 10-12.

The Hom Call: Journal qlthe IntematiOlwl Hom Society

Mcng, Paul. 2000. 'The I-lorn's Heritagc in China." 30(1):33-38.

. 2000. "Thc 110m' s Heritage in China, Part 2: Second and Third Generations." 30(2):53-58.

International Mllsic Connectioll

Topp Fargion, Janet. 1998. "China's the Place." 11: 1-2.

Vatcr, Thomas and Samantha Murphy. 1998. "Sounds of the Himalayas." 13:5-6.

JAZZIZ

Hazell, Ed. 1999. "In Order to Form a More Perfect Union: Exploring Chinese Folk Musie and American Jazz, Pianist JOI1 Jang Deepens His Sense ofSelf." 16(9):48-51.

Hwang, Jason Kao. 1998. "Beijing International Jazz Festival: Beijing, China." 15(5):70-71.

\1I1sh.: Teacher

Denton, Da\ id. 1999. "Performers in Education: 'oise Flood." 110 ACMR Ne,wm. Vol. 13, 2000

78( II ):20-21.

Huehns. Colin. 1999. "Erhu: Tied Bow." 78(11):30-32.

New }ark Times

Ansfield, Jonathan. 2000. "It's Only Rock 'n' Roll, But the Chinese Like It." 150(51 ):E2.

Rolling Stone

Smith, Da\id Shadrack. 1999. "Rock and Roll: Red Rock Radio: Beijing's First Rock DJ Brings Dylan and Beck to China:' 810:41.

SE/\.f Nell'stetler

K,hirp;,iilli. J.i

Wit7leben, Larry. 1999. "Enigma and Li Fangkuo." 33( I):8-1 0,

71,e Village J.y)ice

Ko. Claudine. 1999. "Rage Against the Regime." 44(33): 114.

Starita, Angela. 1999, "The Other New York City Opera: Chinese Traditions Survive a Transplant." 44(7):51.

Audio-Visual Materials

(Please note: Materials arc listed according to date ofpublication rather than of composition or performance. Additional discographies can be found through many of the web sites listed in the next section,) Clirrem Bihliography 01/ Chinese Music III

AntllOlogyq(Chinese Folk Songs. 1999. Ellie Mao Mok, perfonner. Program notcs by R.T. Mok in English, and tcxt5> of the songs in Chinese. Recorded circa 1963. Washington. D.C.: Smithsonian Folkways Recordings, FW 8877. One compact disk.

Anthology a/World Music: China. 1998. Variou5> pcrfonncrs: pipa. =heng. qill, xiao. Accompanying notes by Wang QlIn. Originally issued in the Unesco Collection: Musical Anthology of the Orient and edited for the International Music Council by the Institute for Comparative Music Studies and Documentation. Cambridge: Rounder CD 5150. One compact disk. Reviewed by: Kouwenhovcn, Fronk. 1998 [1999]. CII/ME 12113:218.

Bhattacharya, Debell. compiler. 1998. Sacred Temple Music from Tibet. Recorded 1962-1979. East Grinstead, West Sussex, Great Britain: ARC Music. EUeD 1479. One compact disk.

Bornback. Joseph, producer. 1998. China: Time to Usten. Compilation of recordings ofChillese traditional music with 56-page accompanying book. Roslyn. .Y.: ElIipsisArts. CD359O-3593. Threccompact disks. Revie\\ ed b~: Kouwenho\CI1, Frank. 1998 [1999]. CII/ME 12,13:221.

Canzio, Ricardo. compiler. 1993. Tibet: TraditiollS Rituelles des BOl/pos. Recordings from the early 1980s of Bonpo ritual music at the Mcnri monastery in the Western Himalayas (India). Ocora, C580016. One compact disk. Reviewed by: Kouwcnhovcn, Frank. 1998 [1999]. CHIME 12/13:219-20.

Chen. Xiaoyong. composer. 1998. Works hy Chell Xiaoyollg. Dcutsche Kammerphilharmonie; Mlihai Tang. conductor. Bremcn: Radio Bremen, CD 99.001.2. One compact disk. Reviewed b~: Kouwcnhovcn, Frank. 1998 [1999]. CII/ME 12,13:221-22.

China Institute Gallery. 2000. Resonance o{the Qin. Documentary film directed and written by Willow Hai Chang with curator Stephen Addis: 112 ACMR ReWJrls. Vol. IJ. 2000

Yuan lung-ping, perfonner. New York: China Institute in America. One videocassette, 33 min.

Chinese Feng SllIIi Music. 2000. Program notes in English and Chinese. Taipei: Wind Records. TCD 3165. One compact disk.

Chinese New Year: Celebration Music. 1999. Long Branch, J: Kimbo Educational, KIM Ie. One sound cassette.

Cui, Jian. 1998. The Power o/the Powerless: Rock Music/rom China. 1991­ 2000. Lyrics and music by Cui Jian. Recorded in Cui Jian's home studio. In Chinese; words printed as texts in insert, with English translations printed on supplementary insert. World Bcst Records. One sound disk.

Daniclou, Alain and Peter Crossley-Holland, compilers. 1999. rhe Music 0/ Tibeum Buddhism. Various performers; music of the Nyingmapa, Kagyupa, Sakyapa, Gelugpa sects. Originally editcd for the International Music Council by the International Institute for Comparative Music Studies and Documentation in I960s or 1970s on Musieaphon BM 30 L2009, BM 30 L20 I0, BM 30 L20 II, Unesco Collction, Musical Anthology ofthe Orient. Recorded May 26-lune 14, 1961 in Tibct by Dani6lou. Rcissuc in memory of Oaniclou. Program notes. Cambridge, Mass: Rounder Rccords C05129; CO 5130; C05131. Threc compact disks.

Oingxiang Eight Note Troupes, Shanxi, pcrfonners. 1997. Da desheng: Jinbei gllyue [Triumphal command: Wind and percussion music ornorthem Sh':lJ1xi]. North Chinese wind music from central Shanxi recorded in the provincial studio in 1992. Hong Kong: Hugo, HRP 759-2. One compact disk. Reviewed by: Jones, Stephen. 1998 [1999]. CHIME 12/13:211-12.

Farewell My Concubine: Greal Film ThemesJrom Modem Chinese Cil/ema. 2000. Nic Raine and Mike Townend, conductors; City of Prague Philharmonic. New York: Silva Screen Records. SSO 1107. OIlC compact disk. Currcm BihliogralJlly 011 Chinese Music [13

I/o/ding Up 1-laJfthe Sky: Voices ofAsian Women. 1999. Performers include Liu Sola, Yungchen Lhamo, Choying Drolma, and Steve Tibbetts. Principally popular music. Newton, NJ: Shanachie Entertainment 66015. One sound disk.

Kun. lIu, and Olga Sitkovetsky, performers. 1999. Chinese '10/i" Music. Program notes. ASV. CD DCA 1068. One sound disk.

Lallem. Ahmed, director. 1998. Chine Jmme. Chi"e Bleile [China yellow, China blue]. Part One, The Time ofTroubles; Part Two, The People's Republic of China. A two-part documentary which uses historical film footage to portray the struggle and changeover between the t\I,:O Chinas: rural agrarian China and coastal China founded on maritime trade. Part one examines the social and political history of China from the Manchu emperors of the early 20th century to 1949. Part two commences with the establishment of the People's Republic of China. New York: First Run/Icarus Films. Two videocassettes.

Liu. Zhenyu. performer. 1999. Chinese Music: Professor Lill ZhellYII. Concert at Sonoma State University Department ofMusie. Rohnert Park, CA: Sonoma State University Music Department. One videocassetlc.

Lo. Candy. performer. 1998. Miao. Voted Best Newcomer of 1998 by Commercial Radio, Lo's Cantopop album revolves around idea of eats. Iiong Kong: Sony Music Entertainmcnt. 493131.2. Compact disk with video compact disk. Ilevicwcd by: De Kloet, Jeroen. 1998 [1999]. CHIME 12113:212-15.

LUI/ar New Year SOl/g. 1999. Lyrics by Angi Ma Wong. Lunar New Year song and Chinese zodiac animal song (English and Chinese). Paci fic Ilcritage Books. Onc tapc.

Miller, Peter, et a1. 2000. The Internatiollale. Using rare archival footage and interviews with historians, musicians, and archivists, tells the story of this I004year4old anthem of the oppressed and exploited, and celebrates the relationship between music and social change. New York: First Run/lcams Films. One videocassette, 57 min. 114 ACMR Repol'ls. HI!. /3. :!OOO

Mui, Anila, performer. 1999. Larger than Life. Canlopop musicians. Hong Kong: Capital Artists Limited. CD-04-1280. Compact disk. Rcvic\\cd by: Dc Kloct, Jcroen. 1998 [1999]. CHIME 12,13:212-15.

Paakspuu, KaliL director. 2000. When East Meets East. When an aspiring Chinese actress is told in an audition "You should be more Chinese," she is confused. What exactly does it mean to be "more Chinese" for people ofAsian dcscent \\ho have relocated 10 or werc born in North America? Documentary explores issues ofethnic and cultural identity through inter\'ie\\ s \\ ith prominent Asian and Chinese American fihnmaker:s, actors. and actresses in the United States. Canada, Taiwan, and China. Princeton, J: Calipix Productions; Films for the Humanities. One \ideocassette. 53 min.

Picard. Franc;:ols, compiler. 1996. Chine Ke-Le: La Ceremo"ie tlu bo"heur (The festival of happiness). Puppet Theatre of Quanzholl, Fujian. European tour and village perfonnances recorded in 1994-1995 by Errol Maibcn and Franc;:ois Picard, with notes. Archives intemationales dc musique populaire, AIMP47. Geneva: VDE-Gallo. CD-911. Compact disk. Revic\\cd by: Brocker, Mariannc. 1997. Yearbook ofTraditional Ml/sic 29: 195. Guy, Nancy. 2000. Asian Music 20(2): 192-94.

Qin. Daping, composer. 1999. Timber of Time: Compllter Mllsic Works By Qill Da/Jillg. Program notes. Teosto, QDP-1957. One compact disk.

Sheng, Bright and Sharon Bezaly, composers. 2000. Chil/a Dreams. Flute Mooll. Postcards. Biographical and program notes by Peter Laki in English, with French and German translations. Sharon Bczaly, flute! piccolo soloist; Lan Shui, conductor; Singapore Symphony Orchcstra. Recorded January 2000. Djursholm, Swedcn: SIS CD-I 122. One compact disk.

Shu Kei's Creative Workshop and Another Film Company, producers. 1999. fl'O:en. Directed by Wu Ming. A look at the avant-gardc arl world of Beijing. Ayoung perfomlance artist decides to make his OWI1 suicide his last \"ork ofart. On the longest day ofthe year. he plans to melt a huge block of icc with his own body heat and die of hypothennia. Cllrr('11/ Bibliographr Oil Chillese Music I 15

!lis "Ice Burial" is a chilling expression ofpost-Tiananmcn Squarc ennui in China. Ncw York: Fox Lorber Films; distributcd by WinStar TV and Vidco. Onc vidcocassette, 95 min.

SOllt" Bree:e Lyric Ensembles ({C"inese Traditional Stringedand IJoodll'ind Instrllments. 1999. Shine Hom: 5C-I 002. Onc compact disk.

Tan, DUll. composer and conductor. 1999. Bilter Lm'e, Lyrics by Tang Xianzu. translated by Cyril Birch: Ying Huang, soprano; cw York Virtuoso Singers: NchiCa·Orchestra. program notes and text. New York: Sony Classical, SK 61658. One compact disk.

Tang Xianzu (1550-1616). composer. 1995. Le Pm'illoll altx Pil'Oines: Opera chinoi.f kunqu (.\1udan ting). Perfonners: Lan Ting Chinese Opcm Troupe (1994); Two compact disks with notcs and libretto (French and English). Paris: Maison des Cultures du Monde W260060. I~c\ ic\\cd by: Ferguson. Daniel. 1998. Yearbook/or Traditional Music 30: 198. Ko",'enho' en. Frank. 1998 [1999]. CHIME 1213:222.

Thompson. John. pcrfonner. 1998. Music Beyond Soulld: T"e Silk String lit"er. With book. IIong Kong: Toadall Sound TDS 10001. Rc\'ic\\ cd by: Iluang. Yi-ping. ACMR Reports 12: 133-37.

Tianjin Buddhist Music Ensemble and Dayan Ancient Music Association (Dayan guyuchui). 2000. Budd"isf Music oj'Tianjil/ alld Naxi Music Fom Lljiallg. Originally released in 1994 and 1997. Disk one contains wind and percussion music ofTianjin; disk two contains sacred and folk music of the Naxi. Monmouth, Great Britain; Charlottesville. VA: Nimbus NI7064-NI7065. Two compact disks.

Tibetall SOllg-alld-Dallce Music. 1995. Notes in English and Chinese. Includes performances ofNallg-l11a and 5tod-gzhas. Wind Records TeO 1603. One compact disk.

Wei. Chung-loh. composer. 1996. Traditiollallnstrumellta/ Pieces by Wei CluIIIg-lo" (Wei Zhong/e). Accompanied by a 249-page booklet with illu~trations and anitles. Hong Kong: ROI. RB 961010-2C. Two 116 ACMR Reports. Vol. /3.2000

compact disks. I~cvic\\'cd by: Kouwenhoven, Frank. 1998 [1999]. Cf-IIME 12/13:218-19.

Wen, Deqing. composer. 1995. Compositions, 1992-1995. Ensemble Contrechamps; Giorgio Bernasconi and other players. Recorded in Geneva by Radio Suisse Romande. Stradivarius STR 33471. One compact disk. Revie\\ ed by: Kouwenhoven. Frank. 1998 [1999]. CH/ME 12/13:220.

Wu, Man. 2000. Chinese Traditional and Contemporary Music/or Pipa and Ensemble. Erhu. pipa, gaohu. zheng. dizi, xiao, suona. Nimbus I 7043/4. Two compact disks.

Xiao and His Lu Sheng. 51. Louis. MO: CoronetIMTI Films and Video. Videocassette.

Xu, Feng Xia, perfonner and composer. 1999. Difference and Similarity. Music composed for traditional Chinese stringed instruments played either in a conventional manner or cmploying various extended techniques. Sanxian, qin. zheng, and drum computer overdubs. Recorded ill 1997-1998. Berlin: Free Music Production, CD 96.

Yu, Zhou, performer. 1999. The Art 0/Chinese E,.11II. Includes: Pure white hada scarf; Welcome home our soldier brother; Miss shepherdess; Lament of the river house; Moonlight reflection 011 lIui spring; Gymkhana; My long way home; Gypsy melodies. Program notes. East Grinstead, England: ARC Music Productions, EUCD 1555. Olle compact disk.

Zang, Tianshuo, perfonner. 1995 [1996}. Pellg)'o/l [Friend]. Prominent figure in Beijing's first generation of rock musicians. The tell songs composed at different stages in Zang's career reflect difTerent styles and combinations of musical genres. Hong Kong and Beijing: Colorway Records Co. Lid. and Beijing jiuba jillbaxing yinyue /huangzuo. CWR 0004. Compact disk. Rcvic\\cd by: Steen. Andreas. 1998 [1999]. CH/ME 12.13:215-16. Cllfrelll lJibliograp/n' 011 Chillese Mu~i(' 117

Zhang Xingrong. 1995. Baishibai: Songs ofthe Millority Nationalities of )llImal1. Field recordings, 1982-94. Leiden: Pan Records. Pan CD 2038 (P.O. Box 155,2300 AD Lcidcn, Holland). Onc compact disk. Rc\ ic\\ed by: Rccs. Helen. 1998. Yearhookfor Traditional Music 30: 198.

Zhao. liping. composer. 2000. Electric Shadows: Film .Husk. China Symphony Chorus with China Symphony Orcheslra. Recorded al the China Beijing Film Studio, March 1999. Hamburg. Germany Tcldcc. One compact disk.

Zhu. lian'cr, composer. 1994. Symphonic Fantasia Etc. Chinese Composer Scries. Shanghai Philharmonic .. Cao Peng: Marco Polo. DOD 8.2239-11. One compact disk. Re\ iewed b)': Kou\\cnho\cn. Fronk. 1998 [1999]. CII/ME 12.13:220-21.

Zollitsch. Robert. compiler. 1999. Tibetan Folk Music: Traditional Songs and Instrumental Music. Urban and rural secular music in Tibet. with program nOles by Zollitsch. Recordings made in Lhasa in 1997-1998. WOllon-under-Edge. England: Saydisc CD-SDL ..t27. One compact disk. Reviewed by: Kouwcnhovcn. Frank. 1998 [1999]. CII/ME 12/13:219.

\Veb Sites (Please scc previous editions of ACMR Reports for additional siles.)

Cheng Yu's Ilomepage (hllp:l/members.aol.com/Chl1lllsic l/cy. htm). Primarily 011 gllqill. pipa. and Xi 'an guyue.

Folk Dances in Yunnan (hnp:l/www.sinohosLcom/yunnan_travcl/festivall folk dance.html).

1I0-Lo Taiwanese Opera Troupe Homepagc (hltp:llw5.dj.ncuw/-holol index.hlm). 118 ACMR Nl'pOrl,\, Ih/. I J, 2000

IIUMANUM (hltp://www.arts.cuhk.edu.hkl). Research Institute for the Ilumanities, Chinese University of Iiong Kong, a research oriented web site: meta-indices ofhumanities resources worldwide, and texts, lools, and pages covering humanistic scholarship.

Jim Binkley's Homepage (http: www.cs.pdx.edul-jrb.chin/index.hunl). Translation of sections of the Yllguzhai Qinpu which describe the construction ofa guqill.

Julian Joseph's Homepage (http: members.aol.com JMGJoseph) Chippcnham, UK: concerning the guqill.

e\\ Zealand Digital Library (http: www,nzd1.org 'cgi-bin library), Collections held at the University ofWaikato. and links to other remote sites. reference collections and humanitarian and United alions collections, demo sites. and sites containing soundtracks. film strips. interviews. etc.

NEXTmedia Web (http: www.nextmedia.com.hkl).llong Kong based online information and entertainment web site. Sections include ext Magazine, Sudden Weekly, Eat and Travel. Chinese. Politics. Entertainment. Lifestyle, Movies. Music. Celebrities, Photographs.

Nonh American Guqin Association (http://www.chineseculture.net/guqin/). Information on guqin, players, CD samples.

Peony Pavilion Symposium. UC Berkeley, March 6-7. 1999 (http:// www.lib.berkeley.edu/MRC/LitCrit.html#pcony).

Travel in Taiwan Monthly, Authorized by the Tourism Bureau, Ministry of Transportation and Communications, ROC (http://www.siniea.edu.tw/ tit/arts/). Lan Yang Dance Troupe; (http://www.sinica.edu.tw/tit/ cuhure/). Chinese opera; "clIre for Chinesc Opera phobia" at Fu Iising Academy; puppetry.

Wang Fci's Guqin CD Clips (http://www.chineseculture.netwangfci/ guqincd.html). GlIqill player and teacher from Beijing, now based in California. RelX)r/\ 119

Some Thoughts on the 1999 Conference in ~Iemory of ~lr.Yang Yinliu

Yang Yinlill (1899-1984) \\as a music scholar with an important place in twcntieth-century Chinese history. A memorial conference entitled "Twentieth Century and Musicology in China: International Symposium of Yang Yinliu"s One Hundredth Binhday Anniversary" was held on ovcmber 9-12.1999 at the Jiuhua Villa (Jillhua Shanzhuang) in Beijing. ' Thc confcrence was eo-organized by the \r1usic Research Institute of the Chinese Academy ofArts. the Chinese Musicians Association. Cemral Conservatory ofMusic. China Conscf\atory of Music. and Shanghai Consef\atory of Music. It attracted mer eighty Chinese music scholars from lIong Kong. Mainland China. Tai\\an. U.K.. U.S., and other Asian countries.

Regarded as "the dean ofChinese musicology" (pian 1984:289) and "the founder oftwemieth-ccntury Chinese musicology" (Lam 1995: I), Yang wrote and published over one hundred works on a vvide range ofChincse music topics (Pian 1984: 290; Ilan 1980: 483-529). His Zhongguo yil1yue shig(mg [An Out­ line IlislOry of Chinese music] (1952) and Zhollgguo gudai .r",~\·ue shigao [A Draft Ilistory ofAncicn! Chinese Music] (1981) are standard works in the his­ tory of Chinese music.~ A number of Chinese music scholars have wrillen a number of articles and books in honor of Yang (Pian 1984; Hua 1992; Qiao. Mao 1992; L1m 1995; Qiao 1999). Othcrs have compiled bibliographies of Yang's works (ilan 1980; Ilua 1992). demonstrating their undeniable and greatly revered contribution 10 Chinese musicology. Ilere, I would like 10 report my thoughts on that historical conference.

The opening ceremony of Ihe conference was highlighted by the appear­ ance ofeao Anhe, a life-long co-worker ofMr. Yang and a Chinese music scholar who has also made a great contribution to the history ofChinese music. She was in her nineties but she was in good spirits. 1

The conference organizers suggested two main themes for paper presenta­ tion and discussion: "Mr. Yang Yinliu's music theory and his work" and "twen­ tieth century developments and cross-cultural prospects for Chincse musieol­ ogy.''-l The firstthcme included topics about Mr. Yang's contribution to the his­ tory ofChinese music and reviews ofhis work and I11cmories ofhis teaching and research methodology. The second theme featured a number oftopics, such as the history ofanCienll11l1sic. organology. notation. ritual music. the relationship 120 ACMR Repor/s, Vol. /3, 2000

between Westenl and Chinese music, music education and national music, I attended the paper presentation and discussion, and I had mixed feelings be­ cause the occasion was almost like a testimony of faith in Christianity. I was delighted to find that some Chinese music scholars have done in·dcpth research work. However, I was a bit baffled by those who spem all their presentation time in expressing their gratitude to Yang.5 They cried and leO little time for appreciating Yang's work or presenting their papers. Nevertheless, their reaction reflected the esteem that they held for Yang and his model ofstudying Chinese music history.

Aside from the regular sessions, there were other activities. such as an exhibition ofYang's personal belongings. a field videotape show and a memo­ rial concen. The exhibition was held throughout the conference in onc of the conference rooms. The organizers selected quite a lot ofvaluable items. which included Yang's musical instruments, manuscripts and photos. In addition, a steel wire machine thai Yang used for recording Abing's (Hua Yanjun) perfor. mance was displayed. Among the musical instruments exhibited were asalLriall (three-stringed. long-necked lute) and a pipa (four-stringed, pear-shape lute), which deserves special mention. According to the caption described in the cxhi­ bition,6 the PI;:}(J belonged to CaoAnhe, who lent it toAbing for his 1950 record­ ing under Yang's direction. Later Yang and Cao transcribed the perfonnancc and published the transcriptions inXia=iAbillgqlc.f [Collected music ofBlindAbing] (1952). According to Cao's field report published in 1952, she clearly described Abing's pipa (Ms. Cao's) as having four xiang (angular frets) and thirteen pin (straight frets) (p.16),7 which is, however, significantly different from the dis· played pipa in the exhibition (1999).g It has roughly four xiang and seventeen pin, As indicated by scars left on the instrument, it once had more frets. Ilow· ever, these frets were missing from the exhibit. It was clear that the frets had been changed anerAbing used it for his recording. Thus, the original fretting of the pipa, which was typical in the first half of the twentieth century in China. was missing. The fretting that we observed in the conference was not the origi. nal. This means that the organizers (Yang's students) have presented neither the fJlj)a with its proper fret positions nor the "important story" behind the pipa. Educated visitors would find the briefcaptions included in the exhibit a bit too sketchy,9

On the first night ofthe conference, the organizers arranged for an expert on Xinjiang music to show a fieldwork videotape. He was supposed to share his field experience and to introduce the music ofXinjiang, but he focused more on the scenes than on the music. The video included not only music perfOnllanCe, Reports 121 but also the customs and beautiful scenery of Xinjiang; music-making scenes were scanned over quickly. After watching the tape, the audience had more mental pictures about the beautiful scenery than the music ofXinjiang. Later the presenter confessed that the tape was produced by a professional TV team who shaped it like a travel agency's promotional show.

On the second night ofthe conference, a memorial conceIt was held in the conccIt hall of the Central Conservatory of Music. The overall program was devoted to Yang's transcriptions of traditional and historical repcItoire. First, three vocalists sang Yang's transcription of six of Jiang Baishi's (1\55-1221) songs. the original perfonnance practice of which had long disappeared. That the perfonncrs sang in Western bel canto style was surprising, as it was outside the Chinese tradition. Moreover, the accompaniment of the songs was prere­ corded on a tape. In a way the perfonnance was similar to a karaoke perfor­ mance of popular songs. As a whole the conceIt reflected Western musical aesthetics and perfornlance practice that did not match Chinese music styles in general. I think tile memorial conceIt was not conducted as seriously as it could have been. A live perfonnance instead ofmechanical music-making would have been more appropriate.

The influence ofWestem aesthetics and perfomlancc practice in the con­ cert was also evident in the instrumental music perfonnance. Abing was a weJl­ known traditional folk artist in China. 'O In the concen, the pipa soloist Wu Yunxian played two pieces ofAbing's work, "Zhaojun chusai" ("Zhaojun Crosses the Border") and "Dalang taosha" ("Great Waves Washing the Sand"), while Song Fci, a famous erlllf player in China, played Abing's "Erquan yingyue" ("The Moon Reflected on the Second Spring'') and "Ting song" ("Listening to the Pines"). Neither soloist's perfonnance cmulatcd the original style preserved in Yang's recordings ofAbing's performance. Wu, for example, used a modem and chromatic pipa with six xiallg and twenty-four pin, not the traditional one with four xiang and thirteen pin. Song's erllll used metal strings, not thc silk strings used by Abing. DilTerent strings produce different tonc colors. Song played in an overly "rcfined" and "accurate" way that reminded the audicncc ofviolin play­ ing; as presented in Abing's recording, his tone color was more coarse and more textured. Furthennore, WU and Song's facial and body exprcssions were a bit exaggeratcd in an obvious imitation ofWestern romantic perfonnance practice.

Ilaving reported my observations on the conference, I would like to con­ clude with somc thoughts on what I learned from this experience. I think the conference reflected the present situation of Chinese music in general. Many 122 ACMN Neporl\. l'ill. 13.2000 scholars and perfonners rely on Western methodology or theory, which has be­ come the standard direction in handling Chinese music at the expense of tradi­ tional Chinese ones. This is a clear inclination towards Westerni7..3tion, and concert hall perfornmnces are preferred. As traditional Chinese instruments were not designed to meet the requirements of Western perfonnanee practice, it is necessary to change the musical instruments. For instance. steel strings arc more durable and brighter than silk strings, and thus they areconsidered more suitable for perfornmnee in a large auditorium. Furthennore. the convenience of using steel strings has developed an aesthetic in which the traditional silk strings are \'iewcd as inferior; they have l:Mxn practically abandoned. Singers have given up traditional singing styles and adopted bel canto. Conservatory training leads to the lise of Western standards to evaluate traditional Chinese music. As a result. many genres oftraditional Chinese music have been changed.

The ne\\ generation ofChincsc music scholars who took part in the confer­ ence is different from that of Yang's, a fact that is reneeted in the way they treated the pipa used by Abing. Mr. Yang and Ms. Cao meticulously described the original condition of their research objeets and processes. Yang's students did not explain the reasons for the changes found on thepipa, and how and why theeaptions were written. Chinese music has gone through a lot ofchanges, and scholars like Mr. Yang and Ms. Cao have done a good job of describing and documenting them. Nevertheless, from what I heard and saw in the conference, the new generation of scholars seems to be less meticulous with regard to the changes that have taken place, and did not make an effort to explain or document them. Such n "take it for granted" attitude docs not help further rcscnrch. A better understanding ofChincsc music needs more explanation and seriolls docu­ mentation ofall musical details.

Yinyee Kwan The Chinese University of Hong Kong Repom' 123

Notes

•. I would like to express my gratitude 10 Professors Chan Sau Yan, Michael McClellan, J. Lawrence Witzlcbcn and Yu Siu Wah for proof reading my En­ glish and giving im-aluable comments.

1. This is an oflicial English lranslation of"Ershi shiji yu Zhongguo yinyuexlIe, jinian Yang Yinliu xiansheng danchen yibai zhollnian guoji xueshu yanlaohui".

2. For publicalion details, sec Lam (1995: 1-2).

3. When the host requested Cao to make a short speech, she declined and wept. One could feci she was overwhelmed.

4. "Yang Yiuliu xi

5. Each speaker was given 15 minutes to present.

6. "This pipa was played by Ms. Cao Anhe for a long time, In the summer of 1950, Mr. Yang Yinliu and Ms. Cao Anhe went to Wuxi to visit Abing. Since Abing had no instruments, Mr. Yang and Ms.Cao decided to lend this pipa 10 Abing in order to let him play again. After a fe\\ days, Abing recorded several pieces. They were 'Oalang taosha' ('Greal Waves Washing the Sand'). .Longchllan'('Dragon BoalS') and 'Zhaojun chusai'('Zhaojun Crosses the Bor· der'r' (Cao 1952: 16: English translalion by the author).

7. For further discussion, see Stock (1996: 64·66

8. [n the CD "Commemoration of the Renowned Folk Musician Hua Yanjun (Abing)" published by ROI Productions Limited (1996). the program booklet shows a photograph that depicts "the pipa with whieh Abing made his record­ ings (preserved by Cao An-her' (1'.59). That is the pipa shown in the exhibition of the conference. In this pholograph, the pipa has five to six xiallg (angular frelS) and eightccnpill (straighl frets). It reveals that thcpipa's freuing had been changed long before the conference. This desen-es further research.

9. See footnole 6.

10. For funherdiscussion on Abing'spipa and erllll pieces which were recorded in the 19505. sec Stock (1996) and Yu (1985). 124 ACMR Repo/'/I', 1'01. f 3, 2000

References

Ilan, Kuo-Iluang. 1980. "Special Bibliography-Three Chinese Musicologists: Yang Yinliu, Yin Falu, Li Chunyi." EJllllomw;icologl,24(3): 483-529.

Hua Weifang. 1992. "Yang Yinliu Nianbiao." In ZhOllggliO yinyllexue yidai zongshiYang Yinlill (jillialljl) [Yang Yinliu, The Doyen ofa Gcncralion of Chinese Music Scholarship (A Commemorative Collection)], edited by Qiao Jianzhongand MaoJizheng. 105-117. Taipei: Zhongguo Minzu Yinyue Xuehui.

Lam, S.c. Joseph. 1995. "Chinese Music Historiography: from Yang Yinliu's A Dra(i IlistOl)' ofAI/cient Chinese Music to Confucian Classics:' ACMR Reports 8(2): 1-45.

Pian Rulan Chao. 1984. "In Memoriam Yang Yinliu (1899-1984)," £tJmom/isicology 28(2): 289-290.

Qiao JianLhong noted and arranged. 1999. "Yang Yinliu xiangshcng de yinyue zhilu" [Musical Journey ofMr. Yang Yinliu. ZJlOllggliO yinylle.xlle [Musicology in China] 1999 (/): 5-14.

Qiao Jianzhong and Mao Jizheng, cd. 1992. Zhongguo yill)'uexueyidai zOllgshi ¥rlllg Yinliu (JiniclIl Ji). [Yang Yinliu, the Doyen ofa Generation ofChi­ nesc Music Scholarship (A Commemorative Collection)]. Taipei: Zhongguo Minzu Yinyuc Xuchui.

Stock, Jonathan P.J. 1996. Musical Creativity in Twentieth-Centlll:v China. New York: University of Rochester Press.

Yang, Yiuliu. 1952 ZIIOI/gguo yinyue shigang. [An Outline l-listOly of Chinese music] Shanghai: Wanye shudian.

__. 1081. Zhol/gguo gudaiyill)'lfe shigao. [A Draft History ofAncient Chi nesc Music] Beijing: Rcnmin yinyue chubanshe.

Yang Yinliu, Cao Anhc and Chu Shizhu, cds. 1952 Xiazi Abing quji [Collccted Music of Blind Abing.] Shanghai: Wanye shudian.

Yu, Siuwah. 1985. "Three Erhu Pieces from Jiangnan." MA thesis. Queen's University of Belfast. Reports 125

Melody 2000 Hong Kong Conference Report

Compared with the First Melody Conference (1998, Iluhhot), the Ilong Kong eonferencc went further in terms ofdepth and range. The P.1pers presented in the conferencccovcred a wide spectrum ofaspects and perspectives ofmc1ody studies, which can be summarized as follows: 1) folk melody and ethnic melody studies; 2) historical studies ofclassic tunes in both Chinese and Western classi­ cal music: 3) melody studies in the West: 4) analyses ofmelody structure in both Western classical music and China's contemporary music; 5) the impact ofpcr­ formancc practice (vocal and instrumental) on the stylistic evolution ofmclody: 6) the correlation between tonalJrhyrne scheme of pocnvnarrative and music structure; 7) the correlation between melodic fonn and its aesthetic connota­ tions; 8) the fonnalistic and interpretative aspects of melody; and 9) the arith­ metic implication in the mechanism ofmelody.

Although the study ofmelody is not particularly distinct from any other fields in ourstudies ofmusic (as far as methodology is concerned), yet its unique characteristics hold their own place in our music studies. As Professor Bell Yung summarized, the study ofmelody has the following characteristics (the follow­ ing arc based on my own understanding and interpretation): a) compared with other studies emphasizing socio-cultural issues of music, the study of melody lends to focus more on melody (music) itself; b) it tends to look at music from "linear"' and monophonic rather than polyphonic points of\iew; c) it tends to emphasize the correlative/compatible rather than individual/dissimilar aspects of music in Ihe cross-cultural context; d) because of this, it tcnds to establish research models applicable 10 all musical cultures in our comparative study of melody; and e) the current trend in melody studies in China sccms to focus on Chinese music as a basis in developing comprehensive theories for comparative music studies ill cross-cultural context.

Gcnerously sponsored by University of Hong Kong, a collection ofpa­ pers prcscnted in the First Melody Conference has reccntly been published. University of Iiong Kong and several cultural organizations havc pledged to fund the publication for the second melody conferencc papers. It has been de­ cided to hold the third melody conference in Chengdu in 2002 or 2003; hosted by the Sichuan Conservatory ofMusic, it indeed is a good sign ofan increasing enthusiasm in the study ofmelody in China.

Zhao Song-guang Translated by Li Wei 126 ACMR Reports, Vol. /3.2000 //1 Memoriam 127

Remembering an Old Friend

In my IIrst meeting with Liang Tsai-Ping, in Paris on 4 August 1958, I was introduced not only to the ::heng and its music, but also to Mr. Liang's generosity and his eagerness to share his devotion to Chinese music \'vilh others who appreciate it (or might learn to}-charactcristics that infuscd my many subsequent contacts with him in Taipei, Iionolulu and c1se\\here. On that memorable occasion, Mr. Liang was in Paris on a world tour. and I had arri\ed there on 3 August. immediately following the conference of the In­ ternational Folk Music Council (now International Council for Traditional 'v1usic) in Liege, Belgium. Upon receiving a message that Mr. Liang would come to the hOle I to meet me at 7:30 pm, I ex.pected that. when he arrived. I would be called to the lobby to talk a bit about Chinese music on which. at that time, I was seeking advice on how it could be incorporated more ad­ equately into course work at the Univcrsity of Hawai'i. To my surprise, at 7:25 the floor steward knocked on my door carrying a small table and straight chair and told me to wait. A few moments later, Mr. Liang knocked and after we had introduced ourseh'es and exchanged a few comments, he glanced around the tiny room. then placed the chair with its back touching the wall and the table between it and the bed. Because there wasn', enough space for another chair. hc asked me to sit on the edge ofthe bed, placed his ::hel/g on the table. and explained that. traditionally, the instrument was not played in a concert hall as it is today. but rather to a private audience ofjust one. two or Ihree respected friends. and that he wanted to introduce me 10 the instrument that way. Then. after a briefcomment about each piece. he played several of the pieces he had performed at the Musee Guimct on 21 July. As I write this, I think especially abolll his description and his playing ofone ofthose pieces: "Remembering an Old Friend."

Barbara B. Smith University of Ilawai'i 128 ACMR ReIJOrrS, Vol. 13,2000

Remembering Liang Tsai-ping

The first Chinese music that reached me was Liang Tsai-ping's per­ fonnancc of "Yuzhou Changwan" ("Evening Song on the Fishing Boal") on the onesuch Explorer Series recording, China: Shantung Folk Music and Traditiol/allnstrumental Pieces. In 1974, 1 spent a few months in Taipei teaching English, and asked around about the possibility of studying the =I,eng, It turned out that a family fried was a student of Liang Tsai-ping himself, who kindly agreed to teach me, Although I only had half a dozen lessons and was hardly his most gifted or diligent student, those visits to his basement studio filled with Chinese and other Asian musical instruments were my first steps on a journey that continues 10 this day.

In 1984, I spent the summer studying Chinese language in Taipei, and although Liang Tsai-ping had almost retired from teaching, he intro­ duced my to Li Feng, a disciple who specialized in his =heng pieces, along with playing and teaching the qill, Although by this time 1had learned what I thought were much more technically demanding pieces while studying at the Shanghai Conservatory, 1found that Liang's music was challenging in a very different way. lie had an idiosyncratic and elusive sense of sal/ball ("scattered beat," a Oexible sense of pulse) which was difficult to master. Taking inspiration from the qitl and the Vietnames dall tranll (rather than the harp and piano), he developed left-hand nuances of vibrato, sliding tones, and tapping the strings which exploited the long sustain ofnotes played on a zllel/g with wire strings (as opposed to the nylon and steel wound strings used on (he modem Shanghai zlteng taught in conservatories). In some pieces, he would change key several times by manipulating the way the strings were pressed with the left hand, In compositions like "Xiaowll" ("Mist at Dawn") and "l3eicaikoll" (the name of his hometown in Hebei), he combined these ideas and techniques into an expressive, artistic, and personal musical state­ ment. He will be missed as a teacher, a performer, and a man who loved Chinese music and culture, and was always eager to share his enthusiasm with the world,

Larry Witzleben Chinese University of Hong Kong /11 Memoriam 129

In Memoriam: Hsu Tsang-houci (1929-2001)

Introduction

Iisu Tsang-houei, a leader ofthe Taiwan music circle for almost four decades, passed away on January 1,2001 due to brain illness. His sudden death at the end of the 20th century not only concluded his forty-year-Iong career as a composer, teacher. ethnomusicologist, activist, and administra­ tor, but also marked the end of an important era in Taiwan's music history. Hsu was so importam a figure that by 1997, three books had already been written about his life and his writings (Su 1997, Hsu 1997, and Chiu 1997). Based on the infonnation provided in these three books, the following ac­ count will first describe his childhood and student years, and then focus on his ethnomusicological activities as a collector, researcher, and el1trepeneur ofChinese and Taiwanese music since 1959, the year he launched his career in Taiwan.

Childhood and Student Years

lisu was born in 1929 in Changhua County in the middle part of Taiwan. His father was a medical doctor. In 1940. at the age of twelve, he ...vcnt to Japan to study. In the following year, he began studying violin with a Japanese teacher, a study that was howeverinterrupted in 1943 by heavy warfare.

Hsu returned to Taiwan in 1945 when World War II ended, entered high school in the following year, and soon resumed his violin study. From 1949 to 1953, Hsu received his first fomlal music training in the Department of Music at the Taiwan Provincial Nonnal College (now National Taiwan Nornlal University). From 1954 to 1959, Hsu pursued further study in music in Paris. lie Studied western music history and ethnomusicology with Jacques Chailley. hannony and analysis with A. Dommel-Dieny, and notation with Marc Honegger at the Universite de Paris. After he completed his Certificate d'Etudes Superieures in 1958, he audited Olivier Messiaen's course on mu­ sic analysis, and studied composition with Andre Jolivet. Inspired by Debussy, the writings ofWang Guangqi, and Bartok in par1icular, Hsu decided that his 130 ACA/R Reports. I'of. 13. lOon life-long mission was to compose "contemporary Chinese music," that is, music that combines traditional Chinese musical clements with contempo­ rary weSLern compositional techniques. Then, he began to compose music and write essays on western music history and contemporary Chinese mu­ sic. He also completed a book on Debussy and a diary documenting his life in Paris. Ilis composition Op. 5 no. 2, "Zuo zi haishang lai" ("Coming from the sea yesterday") won a prize at the ISCM composition contest in Rome. Italy in 1958. In 1959, IIsu decided to "go back to China. go back to Chinese music." This China. however. was Taiwan.

Ethnomusicological Career

After his return to Taiwan in 1959, Hsu quickly beeame thepioneering spokesman for contemporary Chinese music. Following Bartok's footstep, he began collecting folk songs for compositional purposes. In 1960, he re­ corded Buddhist chanting in various temples in middle and northern Tai­ wan. In 1967, he and Shih Wei-liang (a composer who shared Hsu's beliefin creating contemporary Chinese music) led a group ofmusic teachers to carry out the so-called "folksong collection movement". They went around the island and collected over two thousand pieces of folk songs of Ilan and ab­ original peoples. In 1978, one year after the death ofShih. Iisu organized a Minzu yinyue diaochadui (traditional music investigation team) to under­ take the second island-wide collection movement. As reflected in Ihe name of the team, the goal of this team was to collect not only folk songs but also other genres of traditional music in Taiwan. Beside collecting, Iisu also or­ ganized a series of concerts of traditional music in 1977 and 1978, founded the Chinese Folk Arts Foundation in 1979, and published the lieldnotes of his two collection movements, and several books and numerous articles on the music and music environment ofTaiwan.

1980 marked the beginning of a new phase in IIsu's ethnomus­ icological career. It was a year when the National Taiwan Normal Univer­ sity, i.e. Ilsu's alma maler, founded the first graduatc institute of music in Taiwan, and invited Hsu to resume his full-time tcaching position there, a position thaL he held from 1959 to 1964. !-Isu was in charge of the musicol­ ogy division of the Institute, and began offering courses on music history and ethnomusicology. By 2000, he had advised morc than sixty master's theses, many ofwhich represented the first book-length studies ofparticular genres in Taiwan's musical traditions, thus laying a foundation for later re- 11/ Memoriam 131 scarchcrs. Jlsu himsclfalso shifted from gencral surveys that characteri7cd his previous scholarly efforts to more in-dcpth studies of particular music genres and locales in Taiwan. Thc genres he had wrinen most about included the Fulao folk songs and the music of the aborigines. In the 1980s, he often took his students to conduct fieldwork in various parts ofTaiwan. The more important ones that were carefully documented included his 1984 fieldwork in Changhua County and his 1989 fieldwork in Taiehung County. Commis­ sioned by the Taiehung County Cultural Center, the latter resulted in a two­ volume collection. TaiclllUlg xian yillylle fadllUlshi (All/sic HisIOI)' of Taiclllwg COIlIl~l'), the first volume of which surveys various music genres in Taichung County while the second one presents a fieldwork diar)". Two years later, Iisu used the survey as the foundation to write Taiwan yinylles!ri c"ugao (A oraflllisiory ofTaiwan Music History, 1991). This book is the first comprehensive o\'ervie\\ of all music genres in Taiwan (including tra­ ditional. popular. and western art music), and has become a standard tex.t book for Taiwan music and music history.

Beside teaching and writing, Hsu also played leading roles in found­ ing and organizing musical-scholarly societies and conferences in not only Taiwan but also Asia. including, for ex.ample, the Asian Composers' League (founded in 1973), the R.O.C. Society for Ethnomusicology (founded in 1991). and the Asia-Pacific Society for Ethnomusicology (founded in 1994). lie had served as president in most ofthe societies that he founded. Between 1986 and 1992, Iisu organized a series offour biannual international confer· enees on ethnomusicology in Taiwan, with participants coming not only from Asia but also from Europe and USA. In 1999, after Hsu's twenty-year ef­ forts, Ihe governmcnt finally founded the Planning Office of the Center for Musicailieritage. reali7inga dream that Iisu had held since his first folksong collection movement back in the mid-1960s.

In addition to his domestic and international activities, Ilsll had also fllnctioncd as an important bridge bctween music researchers across the Taiwan Straits. lie was not only the first person to invite mainland Chi­ nese musicologists to visit Taiwan. but he was also one of tile first Taiwan­ ese musicologists to visit mainland China. Throughout the last decade ofhis life. he made frequent trips to China. travelling widely to conduct fieldwork. gi\"e lectures. and participate in conferences.

During his forty-year-long career. Iisu taught countless students. wrote more than thirty books and numerous articles. received many domestic and 132 ACMR Report!;, 1'01. 13, ](}OO

international awards. and created many societies and organizations. His amiable and easy-going personality won him friend~ all over the world. His lifeconstituted an important part of Taiwan's music history, and his cOlltri­ bution to Taiwan's musical life will be long remembered.

Wang Yingfen Taiwan alional University

Reference

Chiu Kun-liang. 1997. ZliO =i haishang lai: HSll Chang.JlIIi de shengming =hi ge ("Coming from the Sea Yesterday": The song oJthe life of HSII [mng-houei). Taipei: China Times Publishing Co.

Hsu Li-sha. 1997. CJllIalltollg yll xiandai jicm-Hsu TslllJg-JlOliei yillyue IUII::JlII yaly'iu (Between tradition and modernity: A SlLl{~\' of Ilsu Tmng-houei:~ writings on music). Zhanghua: Zhanghua County Cultural Center.

Sll Yll-tai. 1997. Ilsli Chllng-JllIi nicwpu (Chronology of Hsu Tsang.houei's life.) Zhanghua: Zhanghua County Cultural Center. COl1r,.ihlllo,..~ 133

Contributors

Yaxiong Du was born in 1945. He got his M.A in Nanjing Art Uni· \'crsity in 1981 and since that time he has been teaching in the Musicology Department, the Conservatory of China in Beijing. From 1987 to 1999. he was the chair of the department and he is a professor of the conservatory. Du did his fieldwork in China and many other countries. From 1987-1988. as a visiting scholar, he worked in Hungarian Musicology Institute in Budapest. From 1991-1992, he taught Chinese music in Indiana University and studied Native American music. In 1986, Du was awarded as National Outstanding Expert by the government ofChina. In 1989, hc got the Cultural Medal, Republic of Hungary. lie also won Fulbright Fellowship, Rockefeller Foundation Bcllagio residency award and Izaak Walton Killam memorial fellowship in Canada. Du has published 12 books and over 200 papers in Chinese, English and Ilungarian. At this moment, he is the vice-chair of Association of Minorities' Music ofChina and the vice-chair of World Mu­ sic Research Society of China.

Nancy Guy is currently an assistanl professor of music at the Uni\'crsityof California. San Diego. She recci\'cd her Ph.D. from the Uni­ \ersity ofPittsburgh in 1996 with a dissertation entitlcd "Peking Opera andPolitics in Post-1949 Taiwan." Specializing in thc musical life ofTai­ wan. Guy is particularly interested in political and cultural policy. Her most recent areas of inquiry have included issues of cultural ownership as they relate to the experiences of Taiwan aboriginal musicians and cultural iden tity fonnation as articulated in Taiwan's popular music.

Kwan Yin Yee is currently working as a research assistant in the Music Department of The Chinese University of Ilong Kong from where she gradu­ ated in 1998 wilh a B.A .. Iler research interests includc music and politics in post 1949 China, gender issues and revolutionary model operas.

Joseph Lam is professor of music al the University of Michigan. lIis currellt projects include a monography on Southern Song dynasty state sacrifi­ cial music and music historiography. and an extensive study ofSong Iluizong and musical emperorship. 134 ACHR Reports, Ibl. 13, :lOOO

Joanna Li is currcntly an assistant professorofmusic at the University of Ilong Kong.

Barbara B. Smilh is Professor Emeritus of Music al the University of Ilawai'i where she initiated the program in ethnomusicology.

SueTuohy is Assistant ProfessorofFolklore. Ethnomusicology.and East Asian Studies at Indiana University where she leaches courses on ethnomusicology. ethnography. and East Asian musics and cultures. Shc has conducted extensive ficld research in the People's Republic of China. particu­ larly on folksongs and festivals in Northwest China and on cultural studies scholarship. She now is completing a book on the multiple meanings of music and pcrfonnance in contcmporary China.

Wang Ying-fen got her Ph.D. in ethnomusicology from the University of Pittsburgh in 1992. Currelltly she is an associate professor at the Graduate Institute of Musicology at ational Taiwan University. She specializes in nanguan music as well as the social history ofmusic in Taiwan. Recently she is expanding her research into the disciplinary history of music research in Taiwan.

1. Lawrence Witzlebcn is Associate Professorr Senior Lecturer in the Music Departmcnt ofChinesc Uni"'crsityofHong Kong. lie is the authorofSilk and Bamboo Music in Shanghai (Kent, 1995) and many other studies.

Su Zhcng is Associate Profcssor of Music and Women's Studies at Wesleyan University. and Director ofGraduate Studies in Music. She received her Ph.D. in cthnomusicology from Wesleyan University in 1993. She won an ACLS/CSCC fellowship for her project "Gendering of Music and Women's Musical Traditions in Modern China" in 1996. Her articles have appeared in The World ofM/lsic, Dia.wora, Chinoperl, and JOll,."al Qf I1vmen.s His(OIY. Iler mOSI reccnt works include "Redefining Yin and Yang:Transfonnation of Gen­ der/Sexual Politics in Chinese Music," in Audible Traces: Music. Gel/del; alld Identity. edited by Elaine Barkin and Lydia Ilamessley (Zurich. Switzerland: Carciolfoli. 1998): and a book, Claiming Diaspora: Music. TrallSualiona/ism. and Cultural Politics in Chinese (Asian) America (forthcoming). Information for Authors

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