香港中文大學新亞書院第二十三屆錢賓四先生學術文化講座 (片.•• 2010 Ch'ien Mu Lecture in History and Culture, New Asia College, The Chinese University of Hong Kong 、i；^:

數頌香港 m Celebrating the Literary, Dramatic, and Musical Masters and Masterpieces of Hong Kong

6 I B9 曾教授 i ) 大學音樂系教授 45156 DIO I ssor Bell Yung roTessor of Music, University of Pittsburgh ；I- 香港中文大學新亞書院第二十三屆錢賓四先生學術文化講座 2010 Ch'ien Mu Lecture in History and Culture, New Asia College, The Chinese University of Hong Kong

講者：榮鴻曾教授 Speaker: Professor Bell Yung

1st Lecture 香港人蹄香港戲：粵劇與文化權 Hong Kong's Own Theater: Cantonese Opera and Cultural Rights 三下香香 丨三 Date: March 10,2010 (Wednesday) Time: 5:30 p.m. Recital Hall, 3/F, The Hong Kong 主任I Academy for Performing Arts r: Mr. Christopher Pak, Acting Head of Academic Studies in Music, HKAPA

2nd Lecture 重視民間音樂、認識本土文化：瞽師杜煥唱香港 Folk Music and Local Culture: Blind Dou Wun sings about Hong Kong 三上香香 March 12，2010 (Friday) 夫書 11:30 a.m. Sir Run Run Shaw Hall, The Chinese University of Hong Kong Moderator: Professor Henry N.C. New Asia College, CUHK

3rd Lecture 香港文人蔡德允女史 Master Tsar Teh-yun: An Exemplar of Hong Kong's Literati Tradition Date: March 16,2010 (Tuesday) TiniG* 4*30 p m ISgilSI 溫― Moderator: Professor Michael McClellan, Chairman, Department of Music, CUHK J—L

歌頌香; Celebrating the Literary, Dramatic, and Musical Masters and Masterpieces of Hong Kong 目錄 CONTENTS

自現代物理到現代音樂學：....口 一 P1 From Modern Physics to Modern Musicology: Professor Bell Yung Hung Zeng

香港人蹄香港戲：粵劇與文化權 Hong Kong's Own Theater: Cantonese Opera and Cultural Rights

第二講 2nd Lecture 重視民問音樂、認識本土文化：瞽師杜煥唱香港 Folk Music and Local Culture; Blind Dou Wun sings about Hong Kong

第三講 3rd Lecture 香港文人蔡德允女史 Master Tsar Teh-yun: An Exemplar of Hong Kong，！

榮鴻曾教授著作P17 Publications by Professor Bell Yung ‘

自現代物理到現代音樂學1:榮鴻曾教授

香港中文大學音樂系中國音樂資料館館長余少華

榮鴻曾教授在國際學術界的成 於七十年代初已走遍港九新界各 在他令人離羨的履歷 地，背著笨重的錄音器材，紀錄及 中，特別值得重視的是他對香港音 訪問當時香港各大小粵劇圑及藝人 樂研究的貢獻及其前瞻性。榮教授 的活動。頭冠麻省理工學院物理學 的論文（哈佛1976)是中國音樂研 博士及哈佛大學音樂博士光環的國 究領域首篇以香港粵劇為題的博士 際學者在香港研究粵劇，在當時香 論文。當年在西方學術界，研究中 港仍極度崇洋及唯西方音樂馬首是 國音樂的學者鳳毛麟角，更違論以 瞻的英國殖民地，其社會效應及對 香港粵劇作博士論文。而榮博士是 粵劇界的正面沖擊，可以想見，此 較早於中國音樂研究中引入西方民 亦啟發了不少年輕學者踏上研究中 族音樂學方法的少數學者之一。其 國音樂之路。後來中大音樂系的粵 時的美國民族音樂學開始重視人類 劇音樂專家陳守仁教授、江南絲竹 學的實況調查（fieldwork)，榮博士 專家韋慈朋Lawrence Witzleben教

此題取自榮鴻曾教授1999年一篇文章，見Bell Yung "From Modern Physics to Modern Musicology: Seeger and Beyond," in Bell Yung & Helen Rees ed.，Understanding Charles Seeger, Pioneer in American Musicology, University of Illinois Press, 1999: 172-183�全文根據榮教授提供之個人履歷（2010)，謹此 致意！ 授，今香港演藝學院中國音樂高 行業亦引起了極大的迴響。主要 級講師白得雲先生及音樂事務署 是榮博士為了貫徹民族音樂學所 中國音樂高級主任徐英輝先生均 強調的音樂環境，説服了上環富 為榮教授的高足，榮教授在香港 隆茶樓的東主，讓杜煥瞽師在該 誠桃李滿門，為香港音樂界造就 茶樓中演唱，使在香港早已絕跡 了不少人材。出自榮教授門下而 於市的南音重聞於上環，重構了 今在美國各主要大學任教中國音 在茶樓南音演唱的場合。這在當 樂的學者亦數若繁星，未能盡 時本港學術界及錄音行內均被視 錄。 為創舉。香港正經歷錄音及音響 新科技的洗禮，自留聲機唱片 1975年在香港的田野工作 過渡至卡式盒帶，以高度原音 期間，榮博士為香港文化保存了 Hi-Fi及先進隔音的錄音室為尚。 一項重要的音樂集體記憶，即為 榮博士把熱鬧的茶樓人聲、鳥聲 失明藝術家杜煥瞽師錄下了四十 及叫賣聲盡收於錄音內，引起了 多個小時的廣東南音演唱，近已 不少熱烈的討論。這些錄音今曰 由中大音樂系中國音樂資料館出 已成了 Hi-Fi迷的至愛，面世時 版了兩套CD:「訴衷情：香港 亦曾熱賣了一陣子，行內正因其 文化瑰寶，杜煥瞽師地水南音精 逼真的現場感而津津樂道。 選J (兩片2007)及「漂泊香江 五年：地水南音•全本失明人 榮教授在其學習中國音樂及 杜煥憶往」（六片2008)，使香 古琴之前，已精於鋼琴演奏。踏 港上世紀極珍貴的音樂及社會風 上學術坦途後，榮教授雖全力於 貌得以流傳於世，僅此一宗，足 學術研究及教學，亦未有終止其 以在香港文化史冊上記上一頁， 鋼琴及古琴的演奏活動。近年更 港人當珍視及感念！ 多次在美國各大學演奏，並發表 了多篇古琴研究論文及書籍《太 此絕世錄音在學術界及錄音 古天韻：中國古琴音樂》（威斯 康生•陌地生A-R版1997)� 局、香港藝術發展局、群芳慈善 其研究始於香港粵劇、古琴、 基金、北山堂基金及李嘉誠夫人 南音、木魚書、西方民族音樂 基金等，可説是人文學科中最具 學理論（Charles Seeger研究，伊 份量的研究基金均先後入其囊 利諾大學出版社1999)，經歷了 中。榮氏著作甚豐，廣及古琴、 京劇、革命樣板戲、中國禮儀 粵劇、南音研究及民族音樂學理 音樂研究（史丹福大學出版社 論。近著有《中國文人絕世遺 1996)，近年更進入口述歷史（蔡 芳：蔡德允其樂、其詩、其人》 德允研究2008，2009)、文化政策 (港大出版社2008)，《音樂 及音樂權益等領域。行內已廣泛 與文化權益》（伊利諾大學出版 引用榮博士的著述，其走過道路 社2009)及《粵劇帝女花》（中 之廣及深遠，均值得後學者借 大出版社2010)等三本英語專 鑑。而榮博士對香港文化之關注 著；更發表了「香港之聲：茶館 及珍惜，更值得港人深思！ 説唱曲藝重建」（載《尖銳地帶》 2009)，「京劇與地方戲」（載《現 榮鴻曾教授原籍江蘇無錫， 代中國百科全書》2009)，「歷 生在上海，長於香港。九龍華仁 史傳奇與當代世界：二十一世紀 書院畢業後隨即赴签美國，先後 古琴音樂與聯合國教科文組織J 獲加州大學工程物理學士，麻省 (載《音樂與文化權益》2009)， 理工學院物理博士，及哈佛大學 「蔡德允十秩春秋：一生詩、書、 音樂博士等學位。榮博士先後任 樂」（載《中國音樂人物》2009) 教於香港中文大學、香港大學、 等英語論文，曾於國內學刊發表 美國加州大學及康乃爾大學，現 論文，並出版各種CD�DVD及 為匹兹堡大學音樂系教授。榮教 授曾獲多項研究基金，包括美國 的古根海姆、福特、梅倫、台灣 榮教授在研究、教學、演奏 蔣經國基金等，及香港研究資助 各個領域貢獻良多，特別於中國 及香港音樂的研究，碩果墨墨，其 影響遍及本港、國內、台灣、韓國 及歐美。我等何幸，能龄聽其研究 心得及學問精粹？盼榮教授彪炳之 學術成就能啟發同學們，對中國音 樂及香港本土音樂另眼相看！ From Modern Physics to Modern Musicology^ Professor Bell Yung Hung Zeng

Yu Siu Wah Director, Chinese Music Archive，Music Department, CUHK __：園 ^^^^^^

i^Hi _

Amidst the many achievements of recording equipment, Yung traveled Professor Bell Yung are his pioneering all over Hong Kong, interviewing contributions to Hong Kong music artists from Cantonese opera troupes studies. For example, his Ph.D. and documenting their activities. As dissertation (Harvard 1976) was an early fieldworker studying Hong the very first on Cantonese opera. Kong music, one can only imagine In those years, a scholar focusing the social impact on and positive on Chinese music and active in the reception of the Cantonese opera West was a rarity, not to mention circle when a scholar of international his choice of Cantonese opera as the repute with the twin halos of a focus of such serious scrutiny, which physics Ph.D. from MIT and a had not attracted serious scholarly musicology Ph.D. from Harvard attention previously. Furthermore, turned his attention to the Cantonese Yung was one of the first academics opera of Hong Kong. Bear in mind to introduce the methodology of that it was at the time when most of western ethnomusicology to Chinese colonial Hong Kong was embracing music studies. With his heavy unquestionably the standards and

This title is derived from Yung's paper "From Modern Physics to Modern Musicology in Bell Yung & Helen Rees ed., Understanding Charles Musicology, University of Illinois Press, 1999: 172 le full CV provided by Professor Yung, while the last paragraph is cited from Yung's own biography (2010). Thanks Michael McClellan, the chairman of the music department, who has kindly edited this translation of the Chinese original. aesthetics of Western classical music. late naamyam master Dou Wun in Not surprisingly, the fieldwork 1975, Yung convinced the owner of activities and teaching of Yung's early Fu Loong Tea House in Sheung Wan, career in Hong Kong inspired several to allow him to record there in the younger scholars to embark on the presence of customers during business path of studying Chinese music. hours. Selections from some forty of Professor Chan Sau Yan, an expert on these hours of recording have recently Cantonese opera, Professor Lawrence been remastered and published by the Witzleben, an expert on silk and Chinese Music Archive of the Music bamboo Jiangnan sizhu music of the Department in CD format (2007, Shanghai area, both formerly of the 2008), thus preserving a precious Music Department of the Chinese piece of collective memory for the University of Hong Kong [CUHK], people of Hong Kong. The recording as well as Christopher Pak, Senior was done at the time when Cantonese Lecturer of the Music School of the naamyam singing was no longer heard Hong Kong Academy for Performing in such contexts. People of Hong Arts and Tsui Ying Fai, Senior Kong should be grateful for Yung's Music Officer of Chinese music at the effort in preserving Dou Wun's voice Music Office, Leisure and Cultural and protecting the cultural history of Services Department, all studied with Hong Kong. Professor Yung at the University of Pittsburgh. We can see the numbers The positive response to these of experts Professor Yung has trained unique recordings among academics for Hong Kong. Indeed, many of the and others within the recording prominent academics who now teach industry has been considerable. Chinese music and ethnomusicology Yung's insistence on carrying out the at major universities around the world recording sessions in a real teahouse are former students of Yung. led to a successful reconstruction of an "authentic" context for naamyam. At this juncture, it is necessary By so doing, the ambient sounds, the to highlight one of the ways in which hustle-bustle of the venue, including Yung's research has benefited CUHK conversations among customers, birds students in particular as well and vender calls, have all Kong residents more generally. In been recorded. In the days when high order to approximate the original tech and sound proofed recording context of Cantonese narrative music studio dominated the industry, naamyam for his recording of the such positioning in recording was considered non-mainstream, if not yun (Hong Kong University Press, provocative. Today, these recordings 2008) and Music and Cultural Rights have become favorites among Hi-Fi (University of Illinois Press, 2009). fans. What the fans were going for Yung's works have been frequently is precisely the acclaimed "realistic" cited in ethnomusicological literature, ambient sound captured in the reflecting the enormous impact that recordings. he has had. Prior to starting his studies Bell Yung was born in Shanghai of Chinese music in general and and grew up in Hong Kong. After the seven stringed zither guqin in graduating from Wah Yan particular, Yung was already an Kowloon, he went to the U. accomplished pianist and since for higher education, receiving becoming a professor, he has never a B.Sc. in Engineering Physics stopped performing on the piano and from the University of California guqin, a fact that has informed his at Berkeley, a Ph.D. in Physics scholarship. Indeed, Yung's critical from the Massachusetts Institute of edition, Celestial Airs of Antiquity: Technology, and a Ph.D. in Music Music of the Seven-String Zither of from Harvard University. Professor China (Madison, Wisconsin: A-R Yung is a recipient of numerous Editions. 1997), earned him the honors and fellowships including the Music Publishers Association Paul Guggenheim, Mellon, Ford, ACLS, Revere Award in 1998. In addition NEH, Fulbright, and Chiang Ching to his research on the Cantonese Kuo. In Hong Kong he has received opera of Hong Kong and guqin support from the Research Grants music, Yung has ventured into the Council, Arts Development Council, fields of ethnomusicological theory Kwan Fong Foundation, Bei Shan and ritual music as reflected in his Tang Foundation, and Mrs. Lee Ka Understanding Charles Seeger, Shing Fund. A specialist in the music Pioneer in American Musicology of China, his most recent books and (University of Illinois Press, 1999) articles are: The Last of China's Harmony and Counterpoint: Literati: The Music, Poetry and Music in Chinese Context Life of Tsar Teh-yun (2008)，Music (Stanford University Press, 1996). and Cultural Rights (2009), The Most recently he has produced Flower Princess, A Cantonese Opera The Last of China's Literati: The (2010), "Voices of Hong Kong: the Music，Poetry and Life of Tsar Teh- Reconstruction of a Performance in a Teahouse" in Critical Zone No. 3 (2009), "Peking Opera and Regional Operas" in Encyclopedia of Modern China, (2009)，"Historical Legacy and the Contemporary World: UNESCO and China's Qin Music in the 21st Century," in Music and Cultural Rights (2009), and "Tsar Teh-yun at Age 100: A Life of Qin Music, Poetry and Calligraphy" in Lives in Chinese Music (2009). He has also published in Chinese academic journals, and edited and/or produced a DVD, CDs, and museum catalogues. Professor Yung has contributed tremendously to fields of research, teaching and music performance. His studies on the music of China in general and that of Hong Kong in particular have benefitted those of us working on those areas locally as well as having great influence among the wider international academic world. We are privileged to have this opportunity to hear Professor Yung share his research and thoughts this afternoon. His impressive achievement and success will certainly enhance our understanding of Chinese music and the local music of Hong Kong, offering fresh perspectives and new insights. 香港人睇香港戲： 粵劇與文化權 第•講 Hong Kong，s Own Theater: 1st LECTURE Cantonese Opera and Cultural Rights

“文化權”是這幾年在海外學 護。2003年聯合國文教組發起保 術界漸受注意和關心的題目，意義 護人類非物質文化遺產宣言，2006 和“人權”有相似處卻又不盡相 年付之實行，也正是反映了文化權 同。“文化權”的概念開始於約十 意識的提高。 年前某些學者關心北美原居民（印 粵劇是香港粵人生活中重要的 地安人）文化遺產被摧毀，隨而推 一環。對世界各地的粵人來説，粵 廣至關心世界各地本土文化的消 劇不只是藝術、娛樂和神功戲，而 失，包括各類戲曲，音樂等。歷史 是一種強烈的凝聚力。粵人雖然散 悠久的傳統藝術是民族、文化區、 居全球各角落，卻能從粵劇中達到 社群等建立起相互認同和自尊自傲 共識，相互認同，肯定文化的自我 的重要工具和媒介；傳統藝術的消 和自傲感。但是粵劇前途迷惘，炭 失能引起失落感，甚至毀滅民族、 炭可危，香港行內外有心人士奔走 文化區、社群的團結精神和凝聚 呼呼，為粵劇出力以挽轉面對的危 力。因此民族、文化區、社群必須 機，確保粵劇健康的將來，保護和 擁對本土文化藝術的基本自主權 發揚粵劇的歷史、文化、社會、及 力，傳統藝術也必須受到絕對的保 藝術等價值。本講以“文化權”的 觀念，希望加入討論及作出貢獻。 "Cultural Rights" is a concept that has received increasing attention in 去年聯合國文教組把粵劇列入《人 recent years from Western scholars 類非物質文化遺產代表作名錄》固 and social activists. Related to "Human Rights", the term first caught attention 然可喜，但是還得靠香港自己各方 about a decade ago because of concern 面人才，包括政界、商界、教育界 over the desecration and destruction of cultural artifacts of the Native 和粵劇業界同心合力 Americans, but the concern soon 做好。 spread to the performing arts in many other parts of the world. Scholars and activists were troubled by the fact that many traditional art forms were slowly, and sometimes rapidly, disappearing, potentially leading to the loss of a sense of shared identity within the community that long practiced and enjoyed the art, a loss which in turn may ultimately lead to the loss of a people's sense of self. The scholars and activists propose that the community and its future generations have the fundamental "right" to preserve, control, develop, and enjoy Cantonese Opera is in question, and its artistic heritage. The protection concerned artists and citizens have of such traditional art forms was been calling for external assistance thus urgently called for. The matter in its survival, preservation, and was echoed by the UNESCO's 2003 development. While the historical, Convention for the Safeguarding cultural, social and artistic significance of Intangible Cultural Heritage for of Cantonese Opera is beyond Humanity, which subsequently dispute, and in itself argue for such "entered into force" in 2006. assistance, it may be illuminating to Cantonese Opera has played a apply the concept of "cultural rights" central role in the lives of its audience to shed new light on the urgency for over a century in many parts of of such a call. That UNESCO last Mainland China, in other parts of year proclaimed Cantonese Opera the world, and particular in Hong as on the "representative list’，of the Kong. This art form has provided Masterpieces of Intangible Cultural its audiences with a sense of cultural Heritage certainly deserves notice; pride and identity that goes beyond but such an accolade from a distance just creativity, entertainment and is meaningless if the local parties of ritual, an identity that reaches across power, be they government, business, oceans to bind the citizens of the academia, and the Cantonese Opera Cantonese Diaspora into a global community itself, do not themselves community despite the great distances band together to chart a vision and a between them. Yet the future of plan.

11 重視民閭音樂、認識本土文化： 瞽師杜煥唱香港 溝 Folk Music and Local Culture: 2nd LECTURE Blind Dou Wun sings about Hong Kong

瞽師杜煥，是地水南音的一代 和香港人自己的故事，是土生土長 宗師，香港的文化瑰寶，二十世紀 的藝術，本地文化的精粹，身為香 突出的民間藝人，也擅長木魚、龍 港人能不去嘗試認識嗎？ 舟、板眼等充滿泥土氣息的廣東民 我一九七四至一九七五年間從 間説唱。他在香港渡過了五十多年 美國回到香港研究粵劇，在偶然的 的職業演唱生涯，在煙館、妓院、 機會下認識了杜煥，隨後幾個月把 茶樓、住家、電台、街頭等，留下 他珍貴的歌聲錄成了五十多小時的 了無數的音容。二十世紀的香港是 錄音帶。曲目除了知名的短曲如 殖民地文化，崇尚歐洲高級古典音 《客途秋恨》、《男燒衣》等外， 樂，或是從美國日本等地傳來的流 也有長篇故事《梁天來》、《武 行歌曲。本土的華人藝術如南音木 松》等的片段，及中篇的《大鬧廣 魚等被賠為不登大雅之堂的糟粕， 昌隆》和《觀音出世》等。最突出 除了三數位學者搜集及研究外，大 及最珍貴是他唱的自傳史詩，六小 眾媒介極少注意，更遑論不懂粵語 時長的《失明人杜煥憶往》，和只 的英國統治者或是喝洋墨水的中國 在妓院才能唱的板眼曲《兩老契啦 高級知識分子。香港的民間説唱結 交》。 合廣東口語和民間曲調，講中國人 杜煥作古已三十年，他所擅長

12 的民間説唱只能在粵劇舞台上或 The blind singer Dou Wun 者業餘歌手裡撲捉到一些影子。 was a great artist of 20th century Hong Kong by being a master 在今天的二十一世紀還有有多少 of many kinds of Cantonese folk 人知道南音板眼？記得杜煥？香 narrative songs, including Muk，yu, Longzau, Baan 'ngaan, and especially 港人若要建立起自信，自傲，自 naamyam. He sang professionally in 我，讓我們到民間藝術和本土文 Hong Kong from the mid-1920s to ， 化裡去尋找罷。 the late 1970s in many venues such as opium dens, brothels, teahouses, private homes, radio stations, and street corners. Twentieth century Hong Kong was a British Colony; European Classical Music was highly valued, and American and Japanese pop songs were widely embraced. Local folk genres such as those which Dou Wun sang were considered not worthy of note. Aside from a very few scholars who collected and studied them, these songs were largely ignored by the public media and were completely beyond the

13 awareness of the British officials as in naamyam, and one called "The well as the elite Chinese many of Lovers' Feud," sung in Baan'ngaan, whom were educated in the West. a kind of song that were sung only in Yet these songs, insofar as they tell brothels. well-known stories that reflect upon Dou Wun died thirty years ago. Chinese culture and use colloquial His songs exist only in recordings. Cantonese as their linguistic medium Some form of these songs can still combined with folk musical idioms, be heard on the Cantonese Operatic are the essence of local art and stage and as performed by amateur culture. How can the Hong Kong singers. In this 21st century, how people not treasure them and try to many people still know of naamyam know them? and Baan'ngaan? And how many In late 1974 I returned to Hong people still remember Dou Wun? If Kong from the U.S. to do research on Hong Kong is to establish and assert Cantonese Opera and came upon Dou its own cultural identity, one place Wun. For three months in the Spring to seek is in its folk song and other of 1975 I recorded about 50 hours kinds of local culture. of his singing. Among the songs are some well-known stories of local Cantonese culture, as well as some national culture. Perhaps :interesting of these songs are his ur autobiographical song sung

14 a* _

香港文人蔡德允女史 第v^講 Master Tsar Teh-yun: An Exemplar of Hong Kong's 3rd LECTURE Literati Tradition

半世紀前香港被稱為“文化沙 常作雅集，相互切礎研習作伴，正 漠”。此冠募一方面來自留學海外 如畫家周士心前輩説：「〔南來 華人回港後留戀歐美大城市如倫 者〕在香港這塊暫時的安樂土上， 敦、巴黎、紐約等燦爛的高級西洋 香花野草中，猶如涸轍之鮒，相响 文化；另一方面來自從北南移的江 以溼，彼此照顧。」其中蔡德允老 南和嶺南居民，為了逃避動盪的政 師是佼佼者，在香港居住了半世紀 治，在天涯海角的香港暫作棲身， 以上，桃李滿門。有理想涵養才氣 其中少數人士緬懷培育他們成長的 的本地年青人，不止學習了老師所 文人休閒文化。此兩類社群默默地 最受敬仰的詩、字、曲和琴，更承 耕耘，隨着經濟的發展，把香港 受了老師的藝術和人生哲理，對香 建設成兼“後殖民地”和“前社會 港的文化氣候作出特有的貢獻。 主義”的“一城兩化”（套用一句 現成話）世界級大都會。

在南來的江南文人群中，有 詩、字、畫、崑曲、古琴、影劇等 學者和藝術家，在五、六十年代經

15 Hong Kong during her refined arts that were beloved by colonial days and shortly after the the literati, who met regularly in establishment of the People's Republic yaji or "elegant gatherings" to share was often considered and labeled as their artistic endeavors and, as one a "cultural desert." This reputation writer put it, act like "Fish in a bone- was created and perpetuated from dry place, spitting at each other to two directions. On the one hand were keep themselves wet." Among these those who went abroad to study, were was Madam Tsar Teh-yun, a poet, exposed to and fell in love with the calligrapher, Kun opera singer, and elite arts of the West, and returned to qin musician, an exemplar of the find Hong Kong lacking the cultural group who, during her more than richness of great cities such as half a century of residence in Hong London, Paris, and New York. On Kong, trained many local students not the other hand were highly educated only in the refined arts but also in the Chinese Northerners, particularly philosophy of the Chinese literati. those from the Jiangnan and the Pearl River Delta areas, who fled to Hong Kong to find refuge from political instability, and discovered a city that could in no way be compared to the cultural sophistication of their hometowns in the traditional Chinese arts and literature. These were the early pioneers that helped build a budding metropolis in the subsequent decades, which developed, to paraphrase a well-known slogan that came years later, into "One City, Two Cultures," one postcolonial, the other pre-socialist. Northerners that arrived here after 1950 were poets, essayists, painters, calligraphers, Kun opera singers, qin musicians and other instrumentalists, film- makers, and practitioners of other

16 榮鴻曾教授著作 Publications by Professor Bell Yung

I. Books in English and Chinese, authored and edited

The Flower Princess，A Cantonese Opera. Editor, Translator, and Author of Introduction, with assistance in translation from Sonia Ng and Katherine Carlitz. Hong Kong: The Chinese University Press. February 2010. Music and Cultural Rights. Co-Editor (with Andrew Weintraub) and contributor. Champagne, IL: University of Illinois Press. 2009. The Last of China's Literati: The Music, Poetry and Life of Tsar Teh-yun. Hong Kong: The Hong Kong University Press. 2008. Exhibition Catalogue: The Musical Arts of Ancient China. Co-Editor. University Museum and Art Gallery, University of Hong Kong. 2001. Xuanlu yanjiu lunji [Essays on the Study of Melody]. Associate Editor and contributor. Beijing: Wenhua Yishu Chubanshe. 2000. Yinyinshi qinpu [Guqin Repertory from the Yinyin Study]. Co-Editor and contributor. Music Department, University of Hong Kong. 2000. Understanding Charles Seeger，Pioneer in American Musicology. Co-Editor (with Helen Rees) and contributor. University of Illinois Press. 1999. Exhibition Catalogue: Gems of Ancient Chinese Zithers. Chief Editor. University Museum and Art Gallery, University of Hong Kong. 1998. Celestial Airs of Antiquity: Music of the Seven-String Zither of China. Madison, Wisconsin: A-R Editions. 1997. Harmony and Counterpoint: Ritual Music in Chinese Context. Co-Editor (with Evelyn Rawski and Rubie Watson) and contributor. Stanford University Press. 1996. Themes and Variations: Writings on Music in Honor of Rulan Chao Pi an. Co- Editor (with Joseph Lam) and contributor. Co-published by the Music Department, Harvard University and the Institute for Chinese Studies, The Chinese University of Hong Kong. 1994.

> Opera: Performance as Creative Process. Cambridge University Press.

Journal Articles and Book Chapters 2009a "Voices of Hong Kong: the Reconstruction of a Performance in a Teahouse" in Critical Zone No. 3，37-56. 2009. b "Tsar Teh-yun at Age 100: A Life of Qin Music, Poetry and Calligraphy" in Lives in Chinese Music, ed. Helen Rees, 65-90. Champagne IL: University of Illinois Press. 2009. c "Peking Opera and Regional Operas" in Encyclopedia of Modern China, 4 vols. ed. David Pong. Detroit, Ml: Charles Scribner's Sons. 2009. d "Historical Legacy and the Contemporary World: UNESCO and China's Qin Music in the 21st Century." In Music and Cultural Rights, ed. Andrew Weintraub and Bell Yung, 140-168. Champagne, IL: University of Illinois Press. November 2009. 2008 "Creativity in Traditional' Music: Introducing an Ancient Composition for the Chinese Instrument Qin" in Festschrift for Dr. Lee Hye-ku, 1033-1049. I National University. 2008.

17 "Musicological Discourse and Graphic Imagination: Charles Conceptual Artist," in Festschrift to Commemorate the 70th Birthday of Prof. Tokumaru Yoshihiko, special issue of Otyanomizu Ongaku Ronshu (December 2006): 89-106. "La musica nel teatro cinese" in Enciclopedia della Musics III: Musics e culture, pp. 889-924. Ed. Jean-Jacques Nattiez. Torino: Giulio Einaudi editore. 2003. Written in English. "Ethnomusicologist at Work: East Asia and North America" in Garland Encyclopedia of World Music Vol. 10. Ed. Ruth Stone. New York: Routledge. 2002. "Five Short Compositions for the Qin as Played by Tsar Teh-yun" in Essays in Musicology: An Offering in Celebration of Kim Chong-Ja on her Sixtieth Birthday, 941-960. Seoul: Seoul National University. 2002. Entries of "Opera", "Qin" and "Cantonese Narrative Songs" in China Section, Garland Encyclopedia of World Music Vol. 6: East and Inner Asia, ed. Robert Provine, Tokumaru Yoshihiko, J. Lawrence Witzleben. 2001. "Introduction," in Understanding Charles Seeger, Pioneer in American Musicology, pp. 1-11. Ed. Bell Yung and Helen Rees. University of Illinois Press. 1999. "From Modern Physics to Modem Musicology: Seeger and Beyond," in Understanding Charles Seeger, Pioneer in American Musicology, pp. 172- 183. Ed. Bell Yung and Helen Rees. University of Illinois Press. 1999. "Chinese Musicological Research in China, Abroad, and Other Issues," ACMR Reports: Journal of the Association for Chinese Music Research, Vol. 12 (1999)，127-132. "Music of Qin: From the Scholar's Study to the Concert Stage" ACMR Reports: Journal of the Association for Chinese Music Research, vol. 11 (1998); 1-14. ！ of Shenqi Mipu: Translation with Commentary" co-authored with Georges Goormaghtigh, ACMR Reports: Journal of the Association for Chinese Music Research, vol. 10，no. 1 (Spring 1997)，1-12. "The Nature of Chinese Ritual Sound，，，in Harmony and Counterpoint: Ritual Music in Chinese Context, ed. Bell Yung, Evelyn Rawski, Rubie Watson (Stanford University Press, 1996): 13-31. "Introduction," co-authored with Evelyn Rawski and Rubie Watson, in Harmony and Counterpoint: Ritual Music in Chinese Context, pp. 1-12. "Music on China" in Music in Cultural Context: Eight Views on World Music Education, ed. Patricia Shehan Campbell (Reston, VA: Music Educators National Conference, 1996)，33-40. "Not Notating the Notatable: Reevaluating the Guqin Notational System," in Themes and Variations: Writings on Music in Honor of Rulan Chao Pian, pp. 45-58. Co-published by the Music Department, Harvard University and the Institute for Chinese Studies, The Chinese University of Hong Kong. "Introduction," co-authored with Joseph S. C. Lam, in Themes and Variations: Writings on Music in Honor of Rulan Chao Pian, pp. 1-7. "Bibliography on Guqin Music" in ACMR Newsletter {Vol 6, No. 2):29-31.

18 1991 "The Relationship of Text and Tune in Chinese Opera" in Music, Speech and Brain ed. J. Sundberg, L. Nord and R. Carlson, Wenner-Gren International Symposium Series, Vol. 59 (London: The Macmillan Press, 1991):408-418. 1989a "History and Structure of Chinese Music-Dramas" (in Japanese), in Music Traditions of Japan, Asia and Oceania vol. 5, ed. Tokumaru Yoshihiko (Tokyo: Iwanami Shoten Publishers): 185-199. Written in English, b "La musique du guqin: Du cabinet du lettre a la scene de concert," in Cahiers de musique traditionnelles 2 (Geneva), pp.51-62. Written in English. 1988 "Blind Singers of Guangzhou" (translation) in Chinoperl Papers No.15 (1986)，pp.61-76. 1987 "Historical Interdependency of Music: A Case Study of the Chinese Seven- String Zither" in The Journal of the American Musicological Society, XL.1 (Spring 1987): 82-91. 1985 "Da Pu: The Recreative Process for the Music of the Seven-string Zither" in Music and Context: Essays in Honor of John Ward ed. Anne Dhu Shapiro, Music Department, Harvard University, pp. 370-384. 1984a "Model Opera as Model" in Popular Chinese Literature and Performing Arts in the People's Republic of China, 1949-1979 ed. Bonnie McDougall, University of California Press, pp. 144-164. b "Choreographic and Kinesthetic Elements in Performance on the Chinese i-string Zither" Ethnomusicology XXVI 11.3 (Sept. 1984): 505-517. rocess in Cantonese Opera I: The Role of Linguistic Tones" Ethnomusicology XXVI1.1 (Jan. 1983): 29-48. b "Creative Process in Cantonese Opera II: The Role of Text Setting" Ethnomusicology XXVI1.2 (May 1983): 297-318. c "Creative Process in Cantonese Opera III: The Role of Padding Syllables" Ethnomusicology XXVI 1.3 (Sept. 1983): 439-456. d "Popular Narrative in the Pleasure Houses of the South, Part 2" Chinoperl Papers No. 12, pp. 143-53. 982 "Popular Narrative in the Pleasure Houses of the South, Part 1" Chinoperl Papers No. 11，pp. 126-149. 981 "Music Identity in Cantonese Opera" in Report of the Twelfth Congress (International Musicological Society) Berkeley 1977 ed. Daniel Heartz and Bonnie Wade (Kassel: Barenreiter): 669-675. 980 "China—Theory" entry in The New Grove Dictionary of Music and Musicians 6th. ed. "A Trip to Sok Gu Wan with a Cantonese Opera Troupe" in Chinoperl Papers, No. 7，pp. 49-59. "Reconstructing a Lost Performance Context—A Field Work Experiment" in Chinoperl Papers No. 6, pp. 120-143. "Role of Speech in Chinoperl Papers (Journal for the Performing Literature, published in Ithaca, New York) No. 5, pp.157-167. "Role of Specular Reflection of Electrons in the Radio Frequency Surface Magneto Impedance of Metals" in Physics of Condensed Matter, XII: 81-96. III. Review Articles, Other Publications, Radio Broadcasts, Compact Discs, CD ROM

in Ingrid Furniss, Music in Ancient China. Amherst, NY: Cambria Publications. "Blind Dou Wun Remembers His Past: 50 Years of Singing Naamyam in Hong Kong", a six compact disc set published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. "Naamyam Songs of Love and Longing", a two compact disc set published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. "Introduction to The Flower Princess" in the Booklet that accompanies the DVD-Audio "The Cantonese Opera The Floral Princess'", Crown Records Company, Hong Kong. "A Blind Singer's Story: Fifty Years of Life and Work in Hong Kong", a 50-minute DVD. Published by the Hong Kong Museum of History. Music CD-ROM for Undergraduate Teaching (China). Contributor. The Chinese University of Hong Kong and Hong Kong University. Contemporary Chinese Societies: Continuity and Change: curriculum in I studies in interactive CD-ROM. Contributor. Columbia University :001. "Tsar Teh-yun: The Art of Qin Music". ROI Productions Ltd., Hong Kong. 2000. RB-001006-2C. A two-CD set of about 120 minutes of music with a 63-page bilingual booklet, including a short biography of Tsar. Review of Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People's Republic of China since 1949 by Barbara Mittler. Asian Music, Vol. 32.1 (Fall/Winter 2000-01), 192-6 Review of Mathematical Rhythmic Structure of Chinese Percussion Music: An Analytical Study of Shifan Luogu Collections by Boyu Zhang. In Ethnomusicology 43/2 (Spring/Summer 1999). 369-71. Guest host of program on Radio Television Hong Kong Radio 4: "My Ideal Concert", August 27. Twenty music reviews in South China Morning Post (Hong Kong) (and one of five performers) of a compact disc "Qin Music on Instruments." 67 minutes. Music Department, University of Hong Kong (1998). HKU-001. "Music on Campus: An International Journey in Sound," in Interflow, The University of Hong Kong Magazine 79, pp. 38-41. "Entertainment? Art? Science? - The Place of Music in a University". Inaugural lecture for the Kwan Fong Chair in Chinese Music, delivered November 11, 1998 at the University of Hong Kong. Printed by the University of Hong Kong. 5 pages in English and 5 pages in Chinese. Feature article on Chinese Opera, South China Morning Post (Hong Kong) October 5th. Review of Suspended Music: Chime-Bells in the Culture of Bronze Age China by Lothar von Falkenhausen (Berkeley: University of California Press, 1993). In Journal of Asian Studies (May 1996): 161-4. Area Editor and Consultant, RILM Abstracts of Music Literature XXVII (1993) (New York: Repertoire International de Litterature Musicale, 1996). 993 Review of Listening to Theater: The Aural Dimension of Beijing Opera by Elizabeth Wichmann. In Notes (Sepember 1993) 77-80. 991 Review of Piano and Politics in China: Middle-Class Ambitions and the Struggle over Western Music by Richard Curt Kraus (New York: Oxford University Press, 1989). Ethnomusicology 35.2 (Spring/Summer 1991):

989 Review of Musica Asiatica 5, Ed. Richard Widdess (Cambridge: Cambridge University Press, 1988). Journal of Asian Studies Vol. 48，No. 4 (November 1989): 813-814. 987 Review of "A Musical Anthology of the Orient: China", UNESCO. Collection, BM 30 SL 2032, Stereo. Yearbook for Traditional Music 19，pp. 159-60. 986 Review of Yuarn Music Dramas: Studies in Prosody and Structure and 3 Complete Catalogue of Northern Arias in the Dramatic Style by Dale R. Johnson (Ann Arbor: Center for Chinese Studies of the University of Michigan, 1980). Ethnomusicology XXX.2 (Spring/Summer 1986): 349-51. 985 Review of yA Chinese Zither Tutor by Fredric Lieberman (Seattle: University of Washington Press, 1983). Asian Music XVI-2 (Spring-Summer 1985): 190-194. 984 Review of Flying Dragons, Flowing Streams—Music in the Life of San Francisco's Chinese by Ronald Riddle (Westport, CT: Greenwood Press, 1983). Ethnomusicology XX\/\\\.2 (May 1984): 357-9. 981 Review of A Critical Study of Chu Tsai-yu's Contribution to the Theory of Equal Temperament in Chinese Music by Kenneth Robinson (Wiesbaden/ Germany, 1980). Journal of Asian Studies XL.4 (August): 775-6. • t of IFMC (International Folk Music Council) as liaison officer in Hong Kong on the state of folk music in Hong Kong; published in the IFMC Bulletin, April. Review of two recordings: Musik fur ch'in aus 10 Jahrhunderten (China), Museum Collection Berlin (West) MC7; Chine Populaire: Musique Classique (Musiques traditionnelles vivantes III. Musiques d'art), Ocora 558519. Ethnomusicology XXIV.3 (September): 607-9. "Cantonese Opera: A Living Tradition" in the Souvenir Book of the 1980 Hong Kong Arts Festival. A series of twenty radio lectures on the Music of China, Radio Hong Kong.

IV. Chinese journal articles and other publications in Chinese

2010 北美中国音樂硏究--学术、教学与文献资源[Chinese Musical Studies in North America] in北美中国学硏究--学术、教学与文献资源[Chinese Studies in North America]. Beijing: Zhonghua Shuju. Forthcoming in 2010.

21 "Yueyu shengdiao yu yueju changqiang"粵語聲調與粵劇唱腔[Cantonese Linguistic Tones and Cantonese Operatic Arias]. In Yueyu kuaxueke yanjiu: di shishanjie guoji yuefangyan yataohui lunwenji《粵语跨学科硏 究：第十三届国际粵方言硏讨会论文集》�Multi-Disciplinar yApproaches to Cantonese Studies:Papers from the 13th International Conference on Cantonese and Yue Dialects),亚洲语言：计算暨语言学硏究专刊第四号）. Pp. 41-56.钱志安、郭必之、李宝伦和部嘉彦编辑。香港城市大学语言资 讯科学硏究中心出版• City University of Hong Kong. Binyan de Yinyue Shenghuo"姚丙炎的音樂生活[The Musical Life of Bingyan]. Yinyue Yishu [Arts of Music], 2008, No. 2, pp.11-15. "Xige'er yinyuexue lilun canxi"西格尔音乐学理论阐释[The musicological theories of Charles Seeger]. In Chinese. Huangzhong (Journal of Wuhan Conservatory of Music) 2008, no. 4，90-98. "Cai Deyun laoshi yu renlei kouchuan weiwuzhi wenhua yican"蔡德允老 師與 < 人類口傳非物質文化遺產>.In Hong Kong Economic Journal信報. June. "Yueyang Kan Dindhua，，越洋看帝女花[Comments on Princess Changping from Across the Ocean], in Playbill for The Flower Princess, performed Nov. 2-9，2006, Hong Kong Cultural Center. Pp. 48-52. "Liu Xianggang Xue, Yin Xianggang Shui, Van Xianggang Xi"流香港血， 飲香港水’演香港戲[Hong Kong Blood, Hong Kong Water, Hong Kong Theater]. In Ming Pao Daily, Nov. 13, 2005. p. D10. "Tsar Teh-yun laoshi qinyi fengge chutan"蔡德允老師琴藝風格初探 [Preliminary study of musical style of Tsar Teh-yun], in Deyin Tongxun [Newsletter of Deyin Qin Society], 2005，pp. 53-60. "Yueju yinyue yanjiu di jiazhi he fangfa"粵劇音樂硏究的價値與方法[The significance and method in the research of music of Cantonese Opera], in Yueju yinyue di tantao [Investigation of the music of Cantonese opera], pp. 1-7, ed. Chan Sau-yan (Music Department, The Chinese University of Hong Kong, 2001). "Yanjiu xuanlu jiazu de sanzhong quxiang: shengwu fenleifa, jiyinfa, wenhua benweifa"硏究旋律家族的三種趨向[Three approaches to the study of tune families: taxonomic, genetic, and cultural], in Xuanlu yanjiu lunji [Essays on the Study of Melody], pp. 3-11, ed. Zhao Songguang (Beijing: Wenhua Yishu Chubanshe, 2000). "Guqin yu dangjin shijie yuetan"古琴與當今世界樂壇[The guqin in the context of world music], Guqin wenhua daguan [An overview of guqin culture] (Hong Kong: Zhonghua wenhua chujin zhongxin, 1997): 19-22. Reprinted in Exhibition Catalogue: Gems of Ancient Chinese Zithers. Chief Editor: Bell Yung. Hong Kong: University Museum and Gallery, University of Hong Kong. 1998. "Chongjian-yanchu changhe: Yige shidi kaochade shiyan"重建演出場合 [Reconstructing a Lost Performance Context—A Field Work Experiment], in Shidi kaocha yu xiqu yanjiu [Fieldwork and Chinese operatic research], pp. 297-318，ed. Chan Sau Yan (Hong Kong: Center for Chinese Opera 1997).

22 "Zhongguo yinyue zai meiguo: cubu diaocha fang'an"中國音樂在美 國[Chinese Music in the U.S.: A Research Strategy], Jiuzhou xuekan [Chinese Culture Quarterly], vol.5, no. 3，pp. 139-43. 1 Chinese Musical Activities in North America", Zhongguo yinyue nianjian, 1991 [The Annal of Chinese Music - 1991](Research Institute of Music, Beijing). "Dangqian minjian yanchang wenxue di souji: Fulong chalou chang nanyin"當前民間演唱文學的搜集[Collecting folk performing literature: nanyin performance in Fulong Teahouse" in Hanxue yanjiu [Chinese Studies], Vol. 8, No. 1 (Taipei, Taiwan, 1990): 647-654. "Dapu: qixianqin yinyue zaichuangzuo de guocheng"打譜：七絃琴音 樂再創作的過程 Chinese translation of 111.1985 by Xu Jian, published in Zhongguo yinyuexue [Musicology in China], 1988.2 (Institute of Music Research, Beijing, China): 138-143.1985 "Yueju de tianci"粵劇的塡詞 Chinese translation of 111.1983b by Fan Weici, published in Yinyue wenzhe [The Musical Digest], 1985.1 (Taipei, Taiwan): 145-153. "Yueju zhongdi chenzi yinyue wenti"粵劇中的襯字音樂問題 Chinese translation of 111.1983c by Chen Yingshi, published in Yinyue yishu [Arts of Music, Journal of Shanghai Conservatory], 1984.3 (Shanghai, China): 23- 29. "Lun yueju banqiang de tongyixing jiegou chengfen"論粵劇板腔的同異 性結構成份 Chinese translation of 111.1981 by Chen Yingshi, published in Minzu minjian yinyue yanjiu [Studies in Ethnic and Folk Music] 1983.2 (Canton, China): 58-63. "Lun shengdiao zai yueju yinyue chuangzuo zhongdi gongneng"論聲調 在粵劇音樂創作中的功能 Chinese translation of 111.1983a by Li Yan and Chen Yingshi, published in Guangzhou yinyue xueyuan xuebao [Journal of the Canton Conservatory] XIII，1983.4 (Canton, China): 69-76. "Vueh ch'u ch'ang ch'iang t，i chih"粵曲唱腔體制[Forma丨 Structure in Cantonese Opera] in Mng Pao Monthly (Hong Kong), February issue. "Cong yinyuexue guandian shigei minge xia dingyi"從音樂學觀點試給民 歌下定義[A definition of 'folksong' from the musicological perspective]. Program booklet for the 12th annual folksong competition among colleges and universities (Hong Kong), February/March,

23 CUHK

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