Bell Yung
Biographic Data
| ID | 83778 |
|---|---|
| NAME | Bell Yung |
| GIVEN NAMES | Bell |
| FAMILY NAME | Yung |
| SIGNATURE | YUNG B |
| AFFILIATIONS | University of Pittsburgh |
| VERIFIED | No |
| TOTAL WORKS | 32 |
| TOTAL CITATIONS | 28 |
| AUTHOR COUNT | 30 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1980 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Model Opera as Model: From Shajiabang to Sagabong
A Humble Blind Singer's Autobiographical Song: Oral Creation Facing a Hong Kong Teahouse Audience
In 1975, I arranged for the blind professional singer Dou Wun (1910-1979) to sing a traditional narrative genre called naamyam in an old Hong Kong teahouse, three times weekly for three and a half months, facing the teahouse diners. Of the forty-five hours he sang there, he sang an original song composed by himself on his own life for six hours, which he reluctantly did after I pressed him on the idea. It totaled about 1,800 lines of verse, inter…
A Heuristic Theory of Metrical Transformation and Tune Metamorphosis: Tracking Creativity in Traditional Cantonese Opera
This article shows how the ambiguous nature of the metrical structure of the preexistent tunes used in Cantonese opera, which Rulan Chao Pian called "aria types," allows for multiple interpretations. The flexibility inherent in such metrical ambiguity enables singers to create new musical expressions, leading to new versions and eventually to new aria types that enrich the repertoire. In tracking these processes, the article aims to provide a nua…
Exploring Creativity in Traditional Music
The term "traditional music" is widely used in musicological discourse as well as in everyday conversations, and is, indeed, in the name of our organisation: the International Council for Traditional Music.1It was also used in the titles of classic studies of Asian music by our elders, such as Yi Hye-gu (1981), Kishibe Shigeo (1969), William Malm (1959), A. C. Scott (1967, 1969, 1975), David Morton (1976), Judith Becker (1980), Terry Miller (1985…
The Flowing Waters: Guqin Music of Liang Mingyue
Book Review| July 01 2017 The Flowing Waters: Guqin Music of Liang Mingyue The Flowing Waters: Guqin Music of Liang Mingyue. Performed by Liang Mingyue. 2007. Lyrichord Discs Inc. LYRCD 7453. One compact disc. Notes in English (5 pp.).Chine: “Le pêcheur et le bûcheron”: Le qin, cithare des lettrés (China: “The Fisherman and the Woodcutter”: The Qin, Zither of the Literati). Performed by Sou Si-tai. 2006. Recorded by Miller-Lacombe, Studio Axis, G…
An Audience of One: The Private Music of the Chinese Literati
China's qin music is historically associated with the literati, who play primarily for themselves as a private activity. While they consider the meaning and significance of the music more important than communicating the musical sound to an audience, they nevertheless also enjoy it as expressive art. This article argues that in playing privately, the player turns inwardly toward himself rather than outwardly toward an audience. In such a performa…
A Question of Balance: Charles Seeger's Philosophy of Music
Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People's Republic of China Since 1949
Mathematical Rhythmic Structure of Chinese Percussion Music: An Analytical Study of Shifan Luogu Collections
Celestial Airs of Antiquity. Recent Researches in the Oral Traditions of Music 5
Celestial Airs of Antiquity: Music of the Seven-String Zither of China
Harmony and Counterpoint: Ritual Music in Chinese Context
Celestial Airs of Antiquity: Music of the Seven-String Zither of China
The extensive repertory of the seven-string zither is preserved in its own tablature notation in about 150 collections. One of the earliest is Shenqui Mipu, a 1425 three-volume collection with sixty-three compositions. The notation does not give explicit instructions on the rhythm and phrasing of the music; to perform it, the musician must not only research the meaning of the symbols but also interpret them to bring the music to life. This editio…
Harmony and Counterpoint: Ritual Music in Chinese Context
Harmony and Counterpoint: Ritual Music in Chinese Context
This volume of nine essays draws together leading scholars in anthropology, social history, musicology, and ethnomusicology to address the roles and functions of music in the Chinese ritual context. How does music, one of a constellation of essential performative elements in almost all rituals, empower an officiant, legitimate an officeholder, create a heightened state of awareness, convey a message, or produce a magical outcome, a transition, a …
Themes and Variations: Writings on Music in Honor of Rulan Chao Pian
Cantonese Opera: Performance as Creative Process
Guest Editor's Preface
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Cantonese Opera: Performance as a Creative Process
Piano and Politics in China: Middle Class Ambitions and the Struggle over Western Music
La musique de guqin: Du cabinet du lettré à la scène de concert
Les changements que la Chine a subis au cours de ce siecle ont engendre un nouvel environnement politique, social et ideologique auquel de nombreux arts traditionnels ont du s’adapter pour survivre. Parmi les diverses formes de la musique traditionnelle chinoise ayant subsiste jusqu’a aujourd’hui, l’art du guqin, qixianqin ou simplement qin, cithare a sept cordes, peut servir d’illustration pour etudier tant les conflits qui surgissent inevitable…
China
Yuarn Music Dramas: Studies in Prosody and Structure and a Complete Catalogue of Northern Arias in the Dramatic Style
A Chinese Zither Tutor: The Mei-an Ch'in-p'u
Model Opera as Model: From Shajiabang to Sagabong
Popular Chinese Literature and Performing Arts in the People's Republic of China, 1949-1979
The essays in this volume constitute an exceptionally broad and inclusive account of Chinese literature and performing arts since 1949. Extending beyond fiction to poetry and drama, and covering song, opera, and film as well, these essays reveal a more lively and varied cultural life than that disclosed by studies confined to fiction and literary politics. Rather than stopping at the assumption that art reflects Party or government policy, the es…
Choreographic and Kinesthetic Elements in Performance on the Chinese Seven-String Zither
A lan Merriam proposes a theoretical research model for the study of music which involves three levels of study: conceptualization about music, behavior in relation to music, and music sound itself (Merriam 1964: 32). He further subdivided the level of behavior into physical behavior, social behavior, and verbal behavior. This paper concerns the physical behavior-the tension, posture, and movement of the body-involved in the production of sound. …
Creative Process in Cantonese Opera I: The Role of Linguistic Tones
T he general relationship between words and music in songs has been of concern to composers and a subject of study for musicologists. In a tonal language such as Chinese, the specific relationship between the tones of the syllables of the text and the tones of the melody has interested several scholars (Chao 1956, Levis 1964, Mark and Li 1966, Pian 1972, Schneider 1950, Yang 1981). A tonal language is one in which pitch is used not only as intona…
An Audience of One: The Private Music of the Chinese Literati
China's qin music is historically associated with the literati, who play primarily for themselves as a private activity. While they consider the meaning and significance of the music more important than communicating the musical sound to an audience, they nevertheless also enjoy it as expressive art. This article argues that in playing privately, the player turns inwardly toward himself rather than outwardly toward an audience. In such a performa…
Creative Process in Cantonese Opera II: The Process of T'ien Tz'u (Text-Setting)
Musik fur Ch'in aus 10 Jahrhunderten (China)
Creative Process in Cantonese Opera II: The Process of T'ien Tz'u (Text-Setting)
Creative Process in Cantonese Opera I: The Role of Linguistic Tones
T he general relationship between words and music in songs has been of concern to composers and a subject of study for musicologists. In a tonal language such as Chinese, the specific relationship between the tones of the syllables of the text and the tones of the melody has interested several scholars (Chao 1956, Levis 1964, Mark and Li 1966, Pian 1972, Schneider 1950, Yang 1981). A tonal language is one in which pitch is used not only as intona…
Creative Process in Cantonese Opera III: The Role of Padding Syllables
The text of bong wong, or aria types, in Cantonese opera has to observe prescribed verse structures. In an actual performance, however, the singer very often sings a greater number of syllables in a line than are prescribed. The extra syllables are called ch'en tzu, or padding syllables,1 and may be either written into the script by the scriptwriter, or added extemporaneously on stage by the singer. This paper2 studies the role of padding syllabl…
Model Opera as Model: From Shajiabang to Sagabong
Popular Chinese Literature and Performing Arts in the People's Republic of China, 1949-1979
The essays in this volume constitute an exceptionally broad and inclusive account of Chinese literature and performing arts since 1949. Extending beyond fiction to poetry and drama, and covering song, opera, and film as well, these essays reveal a more lively and varied cultural life than that disclosed by studies confined to fiction and literary politics. Rather than stopping at the assumption that art reflects Party or government policy, the es…
Choreographic and Kinesthetic Elements in Performance on the Chinese Seven-String Zither
A lan Merriam proposes a theoretical research model for the study of music which involves three levels of study: conceptualization about music, behavior in relation to music, and music sound itself (Merriam 1964: 32). He further subdivided the level of behavior into physical behavior, social behavior, and verbal behavior. This paper concerns the physical behavior-the tension, posture, and movement of the body-involved in the production of sound. …
Flying Dragons, Flowing Streams: Music in the Life of San Francisco's Chinese
A Chinese Zither Tutor: The Mei-an Ch'in-p'u
Yuarn Music Dramas: Studies in Prosody and Structure and a Complete Catalogue of Northern Arias in the Dramatic Style
China
La musique de guqin: Du cabinet du lettré à la scène de concert
Les changements que la Chine a subis au cours de ce siecle ont engendre un nouvel environnement politique, social et ideologique auquel de nombreux arts traditionnels ont du s’adapter pour survivre. Parmi les diverses formes de la musique traditionnelle chinoise ayant subsiste jusqu’a aujourd’hui, l’art du guqin, qixianqin ou simplement qin, cithare a sept cordes, peut servir d’illustration pour etudier tant les conflits qui surgissent inevitable…
Cantonese Opera: Performance as a Creative Process
Piano and Politics in China: Middle Class Ambitions and the Struggle over Western Music
Guest Editor's Preface
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Cantonese Opera: Performance as Creative Process
Themes and Variations: Writings on Music in Honor of Rulan Chao Pian
Harmony and Counterpoint: Ritual Music in Chinese Context
This volume of nine essays draws together leading scholars in anthropology, social history, musicology, and ethnomusicology to address the roles and functions of music in the Chinese ritual context. How does music, one of a constellation of essential performative elements in almost all rituals, empower an officiant, legitimate an officeholder, create a heightened state of awareness, convey a message, or produce a magical outcome, a transition, a …
Celestial Airs of Antiquity: Music of the Seven-String Zither of China
The extensive repertory of the seven-string zither is preserved in its own tablature notation in about 150 collections. One of the earliest is Shenqui Mipu, a 1425 three-volume collection with sixty-three compositions. The notation does not give explicit instructions on the rhythm and phrasing of the music; to perform it, the musician must not only research the meaning of the symbols but also interpret them to bring the music to life. This editio…
Harmony and Counterpoint: Ritual Music in Chinese Context
Celestial Airs of Antiquity. Recent Researches in the Oral Traditions of Music 5
Celestial Airs of Antiquity: Music of the Seven-String Zither of China
Harmony and Counterpoint: Ritual Music in Chinese Context
Mathematical Rhythmic Structure of Chinese Percussion Music: An Analytical Study of Shifan Luogu Collections
Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People's Republic of China Since 1949
Art (24 works) · Computer Science (16 works) · History (15 works) · Literature (13 works) · Musicology and Musical Analysis (12 works) · Visual arts (12 works) · Opera (9 works) · Psychology (8 works) · Archaeology (7 works) · Chinese history and philosophy (7 works)