RED BOAT TROUPES AND CANTONESE ... - University of Georgia

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Bibliography Agawu, Kofi. “The Challenge of Semiotics” in Rethinking Music. Edited by Nicholas Cook, and Mark Everist, 138-161. London: Oxford University Press, 1999. Blacking, John. How Musical is Man? Seattle: University of Washington Press, 1973. Chan, Chiu Ping. “Yuet ju si shan di yuet sai shui yue how ching di mun tai [Some Questions that Needs to be Verified in the History of Yuet Kek].” Paper presented at the Yuet Kek quat cia yin to woo [International Forum of Yuet Kek], Hong Kong, September 5-9, 2007. Chan, Sau Y. Improvisation in a Ritual Context. Hong Kong: The Chinese University Press, 1991. ___. Hong Kong Yuet Kek do lun [Theory and discussion on Hong Kong Yuet Kek], Hong Kong: The Chinese University Music Department Research Program, 1999. ___. Yuet Kek yum gnok di tam to [Investigation into the Music of Cantonese Opera], Hong Kong: The Chinese University Music Department Research Program, 2001. ___. Hong Kong Yuet Kek koi syut: 1900-2002 [Synopses of Hong Kong Cantonese Opera: 1900-2002], Hong Kong: The Chinese University of Hong Kong, 2007. Chow, Si Sum and Cheng, Ling Yan. Yuet Kek kwok zai yin to wui lun man tep. [Thesis on International Yuet Kek Symposium] Volume 1 and 2. Hong Kong: Opera Information Center of the Chinese University of Hong Kong, 2007. Ferguson, L. Daniel. “Cantonese Opera.” In The Garland Encyclopedia of World Music 7, edited by Robert C. Provine et al, 303-310. New York and London: Routledge, 2002. Jiang, Jin. Women Playing Men. Seattle: University of Washington Press, 2009. Jin, Won Dat. Jong kwok yin yur si [A history of Chinese Music]. Beijing: People’s Music Publication, 1994. Lai, Kin. Hong Kong Yuet Kek hou shek si [The History of Yuet Kek in Hong Kong]. Hong Kong: Joint Publishing Co. Ltd., 1995. Lau T. T. and Sin Y. Y. Papers and Proceedings of the International Seminar on Cantonese Opera. Hong Kong: Center of Asian Studies, 1995. Lee, Tong Soon. “Professional Chinese Opera Troupes and Street Opera Performance in Singapore.” Asian Music 131(2000): 35-70 93
___. “Chinese Street Opera Performance and the Shaping of Cultural Aesthetics in contemporary Singapore.” Singapore: Yearbook for Traditional Music 34 (2002): 139-161. ___. Chinese Street Opera in Singapore. Chicago: University of Illinois Press, 2009. Leung, P. G. “Koi Lun Yuet Kek [Discourse on Cantonese Opera]. Paper presented at the International Seminar on Cantonese Opera, Hong Kong, November 18-20, 1992. Leung, W. “Ci sik yuetju keik bun yu coeng ci [Simple Analysis to the Plays and Librettos].” Paper presented at the International Seminar on Cantonese Opera, Hong Kong, November, 18- 20, 1992. Liu Hon Wo. Interviewed with the author, June 14, 2009. ___. Telephone interviews with the author March 4, March 19, 2010. Makerras, Colin, Peking Opera, Hong Kong: Oxford University Press, 1995. Pian, Rulan Chao. “Aria Structure Patterns in the Peking Opera” in Chinese and Japanese Music-Dramas, edited by J.I. Crump and William P. Malm, 65-89. Ann Arbor: The University of Michigan. 1976. Roa, Nancy Yunhwa, “Songs of the Exclusion Era: New York Chinatown’s Opera Theaters in the 1920s” American Music, 20 no 4, (2002): 399-444. Reyes, Adelaida, “From Urban Area to Refugee Camp: How One Thing Leads to Another”, Ethnomusicology, 43 (1999): 201-220. So, Yung. “Yuet Kek pin kek gnai suik lau bean [The Changes in Cantonese opera Libretto/Composition].” in Hong Kong Yuet Kek hou shek si [The History of Yuet Kek in Hong Kong], edited by Lai Kin, 80-87. Hong Kong: Joint Publishing Co. Ltd., 1995. Sun Gum San Zing, “Hung sun kwai tzai kup ke gum gei [ Regulations and prohibitions in hung sun]” in Hong Kong Yuet Kek hou shek si [The History of Yuet Kek in Hong Kong], edited by Lai Kin , 12-20. Hong Kong: Joint Publishing Co. Ltd., 1995. Sun, Ji Nan and Chow, G. C. Jung kwok yin yuk tong sig an pin [A simplified history of Chinese Music]. Shangtong: Shangtong Education Publication, 1999. Tse, B. C. “goo gum Yuet Kek si how yuet duk.”. Paper presented at the International Seminar on Cantonese Opera, Hong Kong, November 18-20, 1992. Tse, Suet Sum. Meeting with the author in Hong Kong 2007 to 2009. ___. Telephone interview with the author March 4, 2010. 94
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RED BOAT TROUPES AND CANTONESE OPER
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RED BOAT TROUPES and CANTONESE OPER
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Electronic Version Approved: Mauree
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ACKNOWLEDGEMENTS I am grateful to D
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LIST OF FIGURES Figure 1. Map of Ch
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transcriptions retain the old Yale
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y me, by people from the estuary, b
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properties from town to town in the
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perform at venues such as Caesar’
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After reading Lai Kin’s proceedin
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This report includes voices from va
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Chinese is a comprehensive referenc
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seven looks into issues of class an
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performers were selected from ladie
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places gathered in Peking to perfor
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home. But Dr. Sun Yat Sen, a leader
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the river is shallow, these flat bo
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Chapter Three The Red Boat Society
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Foshan was an Earth Boat, which has
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Troupes] were all-female troupes th
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on a hill, or at the river-bank ear
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Soeng. Another brought lists of pla
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o’clock a.m. After the main featu
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Chapter Four The Plays According to
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The performance practice of ritual
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I have not seen ritual playlets per
Page 53 and 54: ecome a zong jyun, bon aan, or tam
Page 55 and 56: Chapter Five The Music Cantonese op
Page 57 and 58: Recitatives in a Cantonese opera in
Page 59 and 60: The bright sound was desirable espe
Page 61 and 62: two). 115 The new instrument, calle
Page 63 and 64: goe tan are actually more attractiv
Page 65 and 66: Many ji ceong 120 lie in the backst
Page 67 and 68: of the eyes upward and ties it tigh
Page 69 and 70: 1911 and 1949. Audiences are no lon
Page 71 and 72: performing industry when I was youn
Page 73 and 74: Chapter Seven Hong Kong— Social I
Page 75 and 76: To attract spectators, Sit and Ma h
Page 77 and 78: women looking forward to troupes co
Page 79 and 80: After his teacher 13 th Son of Nam
Page 81 and 82: made up new industries in the 1960s
Page 83 and 84: Peking opera fa dan (leading female
Page 85 and 86: Selecting virtues of a few male fri
Page 87 and 88: Chapter Eight China and Vancouver M
Page 89 and 90: violin, the koh hu, and he also tra
Page 91 and 92: Figure 13. Mr. C. Chan at the Qing
Page 93 and 94: The 94-year-old gentleman walked ad
Page 95 and 96: Ling: What is in your mind when you
Page 97 and 98: legendarily departed from Hong Kong
Page 99 and 100: A Chinese instrumental orchestra, s
Page 101 and 102: Ms. Chan was the lead singer in the
Page 103: Cantonese opera is not static; it i
Page 107 and 108: ___. “Narrative Song: Southern Tr
Page 109 and 110: second jester Ga Lueng Yee, a serva
Page 111 and 112: 4. As the two young people are havi
Page 113 and 114: features, he turns to Ci Yung. Wai
Page 115: Appendix B: Interviewees 104
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