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

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.

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