Música e Instrumentos Musicais Chineses

1.ª Conferência de Lisboa

Chinese Music and Musical Instruments

1st Lisbon Conference

中国民乐与乐器:里斯本第一届研讨会

BOOKLET OF ABSTRACTS

23, 24 / 05 / 2016

Centro Científico e Cultural de Macau

Macau Scientific and Cultural Centre

Rua da Junqueira, 30 | 1300-343 Lisboa

www.cccm.pt | museu@cccm.pt | Tel. (351) 213617570

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Centro Científico e Cultural de Macau, I.P.

MINISTÉRIO DA CIÊNCIA, TECNOLOGIA E ENSINO SUPERIOR

PATROCÍNIO SPONSORSHIP

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Índice / Contents

Programa / Program

5

Ethnomusicology in Portugal 9

Salwa El-Shawan Castelo-Branco

Chinese music and Chinese musical instruments in Portugal 10

Enio de Souza

The main stratums of the history and development of the Chinese

instrumentarium

11

Claire Chantrenne

Chinese music: Taoism, Confucianism and Buddhism 12

François Picard

Performing local identity in a contemporary urban society: a study of ping-tan

narrative vocal tradition in Suzhou, China

13

Shi Yinyun

Kunqu: traditional Chinese opera 14

Min Yen Ong

The Musical Cultures of China's Ethnic Minorities 15

Helen Rees

Nós somos o Estado e o Estado é o território: Music and Identity representation

in Macau Chinese Orchestra

16

Leonor Dias Azêdo

Westernization in Chinese music 17

Frank Kouwenhoven

Documentários / Documentary 18

Coro Molihua / Molihua Choir 20

Biografias / Biographies 21

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Programa / Program

Segunda-feira, 23 de Maio / Monday, 23rd May

10h00 Recepção / Reception

10h30 Sessão de abertura / Opening session

11h00 Pausa para café / Coffee break

10h30 Ethnomusicology in Portugal

Salwa El-Shawan Castelo-Branco

12h10 Debate

12h20 Chinese music and Chinese musical instruments in Portugal

Enio de Souza

12h50 Debate

14h30

The main strata of the history and development of the Chinese instrumentarium

Claire Chantrenne

15h10 Debate

15h20 Chinese music: Taoism, Confucianism and Buddhism

François Picard

16h10 Debate

16h20 Pausa para café / Coffee break

16h50

The chime bells from the excavation tomb of Marquis Zeng Houyi

The Netherlands, 2005. Documentary, 43 minutes, colour. Subtitles in English

Directed by Frank Kouwenhoven & Antoinet Schimmelpenninck

Produced by CHIME

17h30 Debate

17h40 Guided tour – Macau Scientific and Cultural Centre Museum

Enio de Souza

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Terça-feira, 24 de Maio / Tuesday, Tuesday, 24th May

10h00 Performing local identity in a contemporary urban society: a study of

ping-tan narrative vocal tradition in Suzhou, China

Shi Yinyun

10h40 Debate

10h50 Pausa para café / Coffee break

11h20 Kunqu: traditional Chinese opera

Min Yen Ong

12h50 Debate

12h10

The musical cultures of China’s ethnic minorities

Helen Rees

12h50 Debate

14h30 Nós somos o Estado e o Estado é o território: Music and Identity representation

in Macau Chinese Orchestra

Leonor Dias Azêdo

15h10 Debate

15h20

Westernization in Chinese music

Frank Kouwenhoven

16h00 Debate

16h20 Pausa para café / Coffee break

16h50

Chinese Shadows

The Netherlands, 2007. Documentary, 58 minutes, colour. Subtitled in English.

Directed by Frank Kouwenhoven. Produced by CHIME and PAN Records

17h50 Debate

18h00 Encerramento / Closing session

18h30 Coro Molihua, dirigido por directed by Maestro Carlos Silva

18h50 Beberete / Cocktail party

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ABSTRACTS

Qin (琴) or guqin (古琴),

Macau Scientific and Cultural Centre Museum, Lisbon, inv. 3602

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Ethnomusicology in Portugal

Salwa El-Shawan Castelo-Branco Instituto de Etnomusicologia – Centro de Estudos em Música e Dança, FCSH/UNL

This presentation will offer an overview of ethnomusicological research in

Portugal since the institutionalization of the discipline at the Faculty of Social Sciences

and Humanities of the Nova University of Lisbon (FCSH-UNL) in 1981. Particular

reference will be given to the research carried out at the Ethnomusicology Institute –

Center for Studies in Music and Dance, a multidisciplinary research center based at the

FCSH-UNL with branches at the University of Aveiro, the Faculty of Human Kinetics

of the University of Lisbon and the Polytechnic Institute of Oporto.

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Chinese music and Chinese musical instruments in Portugal

Enio de Souza Centro Científico e Cultural de Macau; Instituto de Etnomusicologia – Centro de Estudos em

Música e Dança, FCSH/UNL

In 2013 we have celebrated five centuries of political, trading and cultural

relationship between Portugal and China. It's natural that a great number of Chinese

musical instruments has been brought to Portugal throughout this period alongside with

other goods.

Thus our main intention is to inform experts, musicologists, ethnomusicologists

and researches on this subject that Portugal has a substantial Chinese musical

instruments in several public and private collections. Pitifully, there is no Portuguese

experts in Chinese music, even in universities that have a music department.

Considering only six collections in Lisbon, we were able to find more than four

hundred Chinese musical instruments, during our research between November 2011 and

February 2015. This considerable number of species motivated us to focus our study on

the Macau Scientific and Cultural Centre Museum’s collection, which houses one of the

most significant sets of Chinese musical instruments.

Alongside this research framework, we were also able to find a very important

iconography of Chinese musical instruments depicted in many Chinese objects, such as

terracotta, stone, bronze, porcelain, etc. This material has great potential for research,

but it looks like neglected from the point of view of studies.

If we want to be update in Asian organology and in Asian studies, the framework

should be creating very strong scientific and academic networks within its borders and,

then, a very good bonding with Asian and West countries counterparts.

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The main strata of the history and development of the Chinese instrumentarium

Claire Chantrenne Musée des Instruments de Musique (MIM), Bruxelles

We are able to reconstruct the history and development of the Chinese musical

instruments thanks to the abundant archaeological, iconographic and written sources in

China and surrounding areas.

Thanks to its many historical, political and artistic contacts in Asia, China largely

enriched its range of musical instruments. Beside native instruments like stone chimes,

long zithers and mouth organs, China adopted many kinds of instruments coming from

the West, like lutes, two thousand years ago, and conical oboes much later. Since the

last century, many Chinese musicians were trained in Western classical music, while

others adopted Western along Chinese instruments to play Chinese music.

China’s influence on other East Asian civilizations can also be recognized in the

musical instruments they use, mainly of Chinese origin, but obviously adapted to their

own tastes and traditions.

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Chinese music: Taoism, Confucianism and Buddhism

François Picard Université Paris-Sorbonne, Institut de recherche en musicologie

The study of Chinese religious music is not the study of its signification, or

meaning, or its symbolism, but the study of its use, as music, and as ritual. Therefore,

the study of sound (and some not-sonorous) instruments is a key to the understanding of

sound and music in the ritual, as ritual. The key –concept is faqi 法器 “ritual

instruments” as distinguished from yueqi 樂器 “musical instruments”. We will therefore

examine the ritual instruments used in the rituals of various Chinese religions.

The second level will be the distinction between this or that religion according to

the instruments used. The case of the qing 磬 (bell) will particularly attract attention, as

well as the ambivalent drum dagu 大鼓, as two percussion instruments having to very

different respective places in Chinese society, just to remind us that half of the drum

players in the 1980’s had learn from a Daoist master.

If sound and music in China are good links between Heaven and Earth, they are

also simple ways to connect people, and the case of a qin 琴 manuscript dated 1559, the

Sanjiao tongsheng 三教同聲, will specially be studied.

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Performing local identity in a contemporary urban society: a study of ping-tan

narrative vocal tradition in Suzhou, China

Shi Yinyun Durham University, UK

China has many rich traditions of storytelling and story singing, which are deeply

rooted oral traditions in their particular geographical areas, carrying the linguistic and

cultural flavours of their localities. In Suzhou, the central city of the Yangtze Delta’s Wu

area, the storytelling genre pinghua and the story singing genre tanci have become

emblematic of regional identity. Since the 1950s, the two genres have been referred to

under the hybrid generic name ‘Suzhou ping-tan’ after the city, or simply ping-tan in

abbreviation.

Ping-tan has maintained popularity up to the present day. Each afternoon, people

go to the unique performance venue of the shuchang (‘story house’), which combines

teahouse, performance venue and social centre, to enjoy performances given by shuoshu

xiansheng (‘storytellers’). The sung episodes are set to an accompaniment of sanxian

banjo and – in duet performance – also pipa lute. In the context of face-to-face

communication, establishing an empathetic bridge between storyteller and audience is of

paramount importance, necessitating storytellers to polish and tailor their artistry

efficiently in response to audience feedback.

This research seeks to explain how Suzhou ping-tan has maintained its vitality in

contemporary society: a great many Suzhou citizens still take for granted that ping-tan

represents their local cultural identity. By analyzing performer/audience ‘feed-back loop’

communication within a variety of fields of ping-tan activity, in particular on the

following areas: the nature of the mutual relationship between words and music; the

employment of performance gestures; the role-playing and identity presentation of

storytellers and audience members; and the effects of mass media dissemination on ping-

tan culture, this research focuses in introducing how local identity is constantly brought to

life at the hands of the storyteller in the story house, facilitating the multi-faceted

involvement of all participants within a flexible and unpredictable shared experience.

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Kunqu: traditional Chinese opera

Min Yen Ong School of Oriental and African Studies (SOAS), University of London

In 2001, Kunqu (one of the oldest forms of Chinese opera) was selected as one of

the Masterpieces of Oral and Intangible Heritage of Humanity by UNESCO. This paper

investigates the different representations of kunqu in the People’s Republic of China

today. It examines the roles of the professional performer and amateur practitioner in

kunqu opera practices. An extensive amateur literati tradition has been central to

kunqu’s creation and development through the centuries and a vibrant amateur

community still exists today. The term “amateur” has multiple contemporary meanings

within the kunqu community and has evolved throughout the course of the genre’s

history. The divide between the amateur and professional has always been distinct.

Drawing from extensive fieldwork in four cities in China, this paper seeks to highlight

the importance of the Chinese amateur in musical practices and to raise the awareness of

the diverse and important roles that various types of amateurs play in the transmission

and safeguarding of kunqu today. I demonstrate, through the reconstruction of social

memory, the historical continuity of ardent amateur practice, the profound layers of

meaning that these amateurs access through singing kunqu, and the implications for the

genre’s musical practices today. I also examine the dynamics of collective cultural

remembering and forgetting that have become intertwined in a political web of

representations that seek to regulate, reinstate or recreate kunqu’s musical identity.

In addition to addressing the questions of what is meant by transmitting

“traditional” Chinese kunqu opera, how is kunqu represented today and what it means

for the amateur practitioner to sing kunqu, I also analyse the relationship between

performing and promoting kunqu and its associations to Suzhou as a region and place,

and how music provides an important and emotive narrative for tourists and for the local.

Underlying all this, this paper investigates the aesthetics, power and agency that lie in

the safeguarding practices of kunqu transmission today.

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The musical cultures of China’s ethnic minorities

Helen Rees World Music Center, University of California, Los Angeles

China's population today stands at close to 1.4 billion. The Chinese government

classifies 91.51% of its citizens as members of the Han Chinese ethnic majority, i.e.

those people whose ancestors were bearers of mainstream Chinese languages and

cultures. Almost all the remaining 8.49% – over 113 million people, mostly

concentrated in China's western and border regions – are divided among fifty-five

officially recognized ethnic minorities. These include Manchus and Koreans in the

northeast; Muslim Turkic-speaking peoples such as the Uyghur in the northwest;

Tibetans in the west; and a profusion of Tibeto-Burman, Miao-Yao, Tai, and Mon-

Khmer groups in the southwest. Some of these groups are found only within the

People's Republic (PRC), while many others have co-ethnics in Korea, Russia, or the

central, south and Southeast Asian countries that border China. Similarly, some of

China's ethnic minorities traditionally led relatively isolated lives, while others have

long histories of linguistic, trading, and cultural interactions with the Han Chinese

and/or each other.

This paper provides an overview of the different musical cultures found among

China's ethnic minorities. Based on extensive field and archival research, it concentrates

on traditional genres, but also takes account of the handful of superstar minority popular

singers who have arisen since the foundation of the PRC in 1949, and the effects on

local musical cultures of the political, social and economic developments of the last

sixty-plus years. These have included the disastrous Cultural Revolution of 1966-76,

which suppressed traditional culture of all types; the "reform and open" era since the

late 1970s, which has allowed for a considerable cultural revival, but has also brought

an influx of modern media that have discouraged transmission; the positive and negative

aspects of the current tourism boom; and the impact of China's recent embrace of

UNESCO-style intangible cultural heritage protection policies.

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Nós somos o Estado e o Estado é o território: Music and Identity representation in

Macau Chinese Orchestra

Leonor Dias Azêdo Instituto de Etnomusicologia – Centro de Estudos em Música e Dança, FCSH/UNL

Political and social transition in a territory raises a set of variables that affect the

music developed by groups of individuals involved by this process. By studying the

expressive activity produced in Macau, specifically the Macau Chinese Orchestra, I try

to analyze its importance in the political-historical and cultural context. The study of

musical performance of the Macau Chinese Orchestra allows to understand how local

identities are constructed and represented. The presentation and representation of the

Orchestra abroad is made by a Chinese instruments and a repertoire that, according to

this institution integrates various musical genres from traditional Chinese melodies,

songs adaptations produced in Portugal, western music and contemporary Chinese

music. Founded by the Macau Cultural Institute in 1987, the Macau Chinese Orchestra

consists of 40 musicians and already has performances in various parts of the world,

since the Special Administrative Region of Macau, China, Portugal and other European

countries. The structure and the public presentation of the Orchestra is made in

accordance with the public and space performance. In their performances the repertoire

and orchestral disposition are adapted depending on the time of year, the location (eg.

churches, museums, gardens) and the audience.

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Westernization in Chinese music

Frank Kouwenhoven CHIME – European Foundation for Chinese Music Research, Leiden

Major changes took place in traditional Chinese music in the course of the 20th

century. In the wake of various wars with foreign colonial powers and collective bursts

of popular rebellion and revolution, China witnessed a remarkable transition from a

traditional self-sufficient empire into a modern nation. Music conservatories and music

departments in Chinese universities were founded, and they took their cues primarily

from Western (notably) classical music and music teaching methods. As a consequence,

traditional music in China underwent a major metamorphosis. Rural musical

traditions live on in local settings, and only a limited number of them have been

incorporated in urban music education. At Chinese conservatries, traditional repertoires

are often taught on modernized ('improved') instruments, and on the basis of Western

musical training methods. So what sort of musical culture has resulted from this? How

did the traditional artists cope when they first began to teach their art in a drastically

modernized system of education? And how did students respond? What kind of changes

did the music undergo? And what are the future prospects of musical tradition in China

under a heavily politicized system of education, training and promotion? [This talk will

be illustrated with video excerpts.]

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The Bells of Marquis Yi

The Netherlands, 2005. Documentary, 43 minutes, colour. Subtitles in English.

Directed by Frank Kouwenhoven & Antoinet Schimmelpenninck. Produced by CHIME.

In 1978, soldiers of the People’s Liberation Army cleared a hill near Suizhou in

northern Hubei in order to build a radar repair station. They stumbled upon weirdly

coloured clay. Two soldiers with an interest in archaeology suspected that there might

be some important archaeological spot right underneath their feet. They alerted the local

government, but the local Party officials were not impressed. They ordered the PLA to

blast the hill. Fortunately, the PLA ignored the order and repeatedly invited

archaeologists to inspect the site. Soon it became clear that the hill contained an ancient

burial site. Large-scale excavations began, and hundreds of thousands of spectators

watched as the site gradually yielded its amazing secrets. The grave turned out to belong

to a nobleman from the Warring States Period, Marquis Yi of Zeng. His skeleton was

recovered, as were the remains of 21 women who had been strangled or hanged to keep

him company in the grave. The grave also contained over 10,000 kilos of bronze,

including the magnificent set of 65 chime bells which has by now become the best-

known emblem for ancient music in China. The film records the story of the

excavations, and it shows how a new musical tradition was born. A replica of the bells

forms the basis of a new performance tradition. Tourists are now entertained by

performances on the chime bells at the Hubei Provincial Museum in Wuhan. But the

music of the ensemble, inevitably, is new. So how do the ensemble’s musicians

compose music for a 2,500 year-old ensemble of bells for which no original music

survives? What can the characters on the bells tell us about the music of Marquis Yi’s

era? How, and for what purposes, were the bronze bells played during the Marquis’

lifetime? What happened to the local site where the bells were excavated? And how do

villagers of the Suizhou region where the bells were found look upon the heritage of

their remote ancestor? What do they think of the bells?

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Chinese Shadows

The Netherlands, 2007. Documentary, 58 minutes, colour. Subtitled in English.

Directed by: Frank Kouwenhoven. Produced by CHIME and PAN Records.

‘What I remember of seeing shadow puppet theatre the first time? Oh, such a

mystery it was!’ Seventy-year old Hu Zhenming is a puppeteer and musician in

Huanxian, a barren region in Gansu Province. In this splendid and nostalgic portrayal of

an age-old village art we meet with Hu and his fellow artists, who introduce the world

of Chinese shadow puppetry with plenty of passion. Their rough-hewn faces and the

images of the arid landscape and the (equally unpolished) puppet performances

determine the tone of this film.

We follow the performers on their journey with a donkey from one village to the

next, and while they are doing shows in cave dwellings and near temple sites. We

record the disappointment and sadness of these men over the gradual decline of a truly

superb theatrical art. There’s almost nobody left who wants to learn and pick up the

trade. But the singing and music making during the shows is amazingly passionate and

energetic.

The contrast may even come as a bit of a shock: on the one hand there are the

finely carved and delicate shadow puppets, on the other, the almost brutal force and

wild shouting with which they are cast against the screen. The narrative figures, cut

from animal skin, are hardly any less fantastic and capricious than the paintings of

Hieronymus Bosch or Hokusai.

In spite of the changing times, a ray of hope remains for the traditional shadow

theatre, as the scenes in a rural village school movingly illustrate.

Camera: Chen Sunyi, Frank Kouwenhoven. Photography: Dao Jinping, Yang

Yiqin, Bai Xueming. Interviews: Antoinet Schimmelpenninck. Editing: Roel Verhallen.

Music editing: Jan van Rhenen. Co-sponsored by The Netherlands China Arts

Foundation and VSBfonds.

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Molihua (Jasmin) Choir

葡萄牙茉莉花中文合唱团

Molihua (Jasmin) Choir, from Portugal, was founded in November 2009 by

suggestion and with the guidance of professors Lu Yanbin and Wang Suoying. The

Molihua Choir is part of the Chinese Language and Culture Course taught at the Macau

Economic and Commercial Office and is also an honorary member of the House of

Macau, both located in Lisbon.

It is a non-profit group whose main goal is to make the Chinese culture known

and to connect people of different cultures through the performance of Chinese songs.

All the choir members and the conductor are Chinese language students of non-chinese

nationality. Although performing mostly a cappella, the Molihua Choir also performs

with instrumental support singing solos and duets with choir in karaoke style.

By invitation of several municipalities, cultural institutions and Chinese

community associations, the Molihua Choir performed at Cascais, Mafra and Arcos de

Valdevez City Halls, Funchal, Lisbon and also at Macau and Beijing.

The conductor and artistic director of the choir is Carlos Santos Silva, a computer

science professional, who, is also a musician, having been a composer, solo organist and

conductor for more than 30 years.

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Biographies

Salwa El-Shawan Castelo-Branco. Professor of Ethnomusicology, Director of the

Instituto de Etnomusicologia – Centro de Estudos em Música e Dança, Universidade

Nova de Lisboa, Portugal; President of the International Council for Traditional Music

since 2013. She received her doctorate from Columbia University, taught at New York

University (1979-1982), was visiting professor at Columbia University, Princeton

University; Tinker Professor at Chicago University and Overseas Visiting Scholar at St.

John’s College, Cambridge University. Carried out field research in Portugal, Egypt and

Oman resulting in publications on: cultural politics, musical nationalism, identity, music

media, modernity and music and conflict. Main publications include: “Jazz, Race and

Politics in Colonial Portugal: Discourses and Representations (1924-1971),” (with

Pedro Roxo), in Philip Bohlman and Goffredo Plastino (eds.) Jazz Worlds/World Jazz,

Chicago: Chicago University Press (2016); “The Politics of Music Categorization in

Portugal” in Philip Bohlman (ed.) The Cambridge History of World Music, Cambridge:

Cambridge University Press (2013); Enciclopédia da Música em Portugal no Século XX

(4 vols) (ed.), Lisboa: Círculo de Leitores/Temas e Debates (2010); Music and Conflict,

(co-editor with John O’Connell and author of the Epilogue), Urbana: Illinois University

Press (2010); Traditional Arts in Southern Arabia: Music and Society in Sohar, Sultante

of Oman (with Dieter Christensen), Berlin: VWB Verlag für Wissenschaft und Bildung

(2009). Past academic responsibilities and awards include: Vice President of the Society

for Ethnomusicology (2007 – 2009) and of the International Council for Traditional

Music (1997-2001 and 2009-2013); Vice Chancellor of the Universidade Nova de

Lisboa (2007-2009). Recipient of the Glarean Award for music research of the Swiss

Musicological Society (2013), the Gold & Silver Medals for Cultural merit of the City

Halls of Lisbon and Cascais, respectively (2012 & 2007), and the Pro-Author Award of

the Portuguese Author’s Society (2010).

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Enio de Souza. Head of the education service of the Macau Scientific and Cultural

Centre Museum in Lisbon (1999- ). PhD candidate in Ethnomusicologie, Universidade

Nova de Lisboa; Master in Asia Studies, Universidade Católica Portuguesa. University

Degree in History, Faculty of Human Sciences, Universidade de Lisboa. Music

attendance (six years) in Conservatório Nacional de Lisboa (Piano). Level 5 of Chinese

Language and Culture (CCCM). Research area: music and Chinese musical instruments

in Portugal and Macau, cultural policies and cultural infrastructures, in Macau. Head of

the performing arts department of the Macau Cultural Institute – ICM (1985-1991),

where was involved in a strong cultural movement, encouraged by ICM, to support

Macau society creates a cultural infrastructure and several cultural projects such as

Conservatory of Macau (Music and Dance), Chamber Orchestra of Macau, Macau

Chinese Orchestra, Macau International Music Festival, Macau Arts Festival, Macau

Fine Arts Academy, Macau Fine Arts Biennial. Also, he was involved in the

organization of many music recitals and concerts in Asia and Europe, several

international fine arts exhibitions, international cinema retrospectives, and Portuguese-

Macau cultural week in Goa, Mumbai and New Delhi. He took part in several national

and international seminars, seasonal courses, conferences and workshops concerning

education in museums, art history and music. He is the CCCM’s representative in

Committee for Education and Cultural Action (CECA/ICOM).

Claire Chantrenne. Curator of the East Asian musical instruments and librarian of the

Musical Instruments Museum in Brussels. Master in Medieval History and Musicology

at the University of Brussels. After having worked in the Belgian National Library, she

entered the MIM in 1999. Having a deep interest in Chinese and other East Asian

civilizations, she specialized in their traditional music and musical instruments.

François Picard is professor of analytical ethnomusicology at the Department of Music

and Musicology, Paris-Sorbonne University. He is a researcher at IreMus UMR 8223

(CNRS / Paris-Sorbonne / BnF / Ministère de la Culture et de la Communication). He

first studied drama, flute, saxophone and electroacoustic composition. After ten years of

work for drama and opera, he specialised in the study of traditional Chinese music and

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went to China where he studied mouth organ sheng, end-blown flute xiao, qin zither and

guanzi shawm as well at Chinese music history and theory at the Shanghai conservatory

of Music (1986-1987). Focusing on Buddhist music, his doctoral thesis was defended

under the supervision of Iannis Xenakis. He has made research for École Française

d’Extreme Orient and the International Institute for Asian Studies based in Leiden, The

Nederlands. He has taught three years in Strasbourg before being nominated to the first

chair of Ethnomusicology created in France. He is a member of several scientific

associations (CHIME, Société Asiatique, SFE, SEM, ICTM, SFM, SFAM) and

comitees (CoNRS), and participate in research groups in musicology (PLM, IReMus),

sinology (on Shen Gua, Réseau Asie), drama studies (PRITEPS), and religious

anthropology (GSRL, Resmed). He has been from 2010 to 2013 the head of the research

team Patrimoines et Langages Musicaux. He has published three books : La Musique

chinoise, 1991, You-feng 2003; Lexique des musiques d’Asie orientale, You-feng 2006,

L’Incantation du patriarche Pu’an, Peeters 2012, several articles, and more than thirty

CD recordings, including many field recordings. He has been working as artistic

director for many musical or dramatical productions from China, Taiwan or Tibet to our

in Europe. He has founded a group of Chinese musicians in France, Fleur de prunus,

focusing on the restitution of old scores, where he plays Chinese flute, shawm and

mouth organ. He is presently researching on the exchanges between Jesuit Missionaries

and musicians in Peking during 17th and 18th centuries. He has been the main organizer

of two international conferences on Chinese music (CHIME) and Chinese arts and

culture (Luoshen fu) held in Paris.

Shi Yinyun is currently a PhD candidate of Ethnomusicology from the Department of

Music of Durham University, UK. Her doctoral research explores traditional oral

performance Suzhou ping-tan in urban Suzhou, China. This ethnomusicological project

builds upon the fieldwork since 2011. Ethnography of the extensive various

involvement and social life that surrounds ping-tan is employed to investigate the

intercommunication between all parties of ping-tan participants. This work draws upon

the narrative theories, folklore theories, linguistic and phonologic theories, as well as

employing the means of performance analysis to depict a social communication that is

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materialized through storytelling and story singing genres. Yinyun received a BA in

Musicology from the Shanghai Conservatory of Music in 2011. Her MA Research study

was upgraded to the current PhD study in 2012. She has published articles both in

English and Chinese. She is taking teaching assistant role to deliver lectures in the

department in Durham.

Min Yen Ong is a Postdoctoral Research Associate at the School of Oriental and

African Studies (SOAS), University of London, UK, where she also received her PhD in

Ethnomusicology. Her doctoral dissertation analysed the influence of UNESCO and

People’s Republic of China safeguarding initiatives and explored creative and musical

aesthetic developments in the Chinese opera genre, Kunqu. She is currently working on

a book manuscript based on her doctoral thesis and incorporating new research from the

past two years. Min has taught at SOAS, University of Sheffield and University of

Liverpool and has presented on her research in the UK, USA, Canada, Australia, Fiji,

Korea, Denmark and Switzerland. Her research themes include: intangible cultural

heritage policy and practice; preservation and sustainability; tourism; amateur and

professional performer dynamics; music, memory and place. Her primary region of

research is China, but she is also pursuing her developing interest in music and dance of

the South Pacific. Min has also previously worked in various sectors of the music

industry in the UK.

Helen Rees is a professor of ethnomusicology and director of the World Music Center

at the University of California, Los Angeles. She is also a visiting professor at the

Shanghai Conservatory of Music, where she spent two years in the late 1980s on a

British Council scholarship studying Chinese music, before going on to a Ph.D. at the

University of Pittsburgh. Since 1989 she has conducted extensive field and archival

research in southwest China, which has resulted in the book Echoes of History: Naxi

Music in Modern China (2000), numerous articles, and several AV collaborations.

Currently she is completing a biography of Dai Shuhong, the renowned xiao (endblown

flute) performer who taught her this instrument in Shanghai. She has provided

interpreting, translation and presenting services for the Amsterdam China Festival, the

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Smithsonian Folklife Festival, the BBC, Asian Music Circuit, Pan Records, and New

Zealand's Ode Record Company.

Leonor Dias Azêdo. PhD student in Musicology at the Faculty of Social Sciences and

Humanities – New University of Lisbon. Between 2009 and 2012, obtained a

undergraduate in Musicology (FCSH-UNL). The interest on the relationship between

musical practices and cultural policies was one of the main reasons leading to the

realization of the master's degree in Musicology- specialty in Ethnomusicology (2012-

2016). Her master thesis, Nós somos o Estado e o Estado é o território: Music and

Identity Representation in Macau Chinese Orchestra was based on fieldwork conducted

in Macau (2014) and Lisbon (2014 and 2015). In 2014-2015, she obtained a scholarship

research from the Fundação Macau and Instituto do Oriente (ISCSP – UL), under the

scholarship program "Estudos sobre Macau".

Frank Kouwenhoven initially worked as a journalist and a researcher in the fields of

Western music, literature and science before engaging on Chinese traditional music

research from 1986 onwards. He teaches Chinese music as a Lecturer at the University

of Leiden, is Director of CHIME, The European Foundation for Chinese Music

Research, main editor of the CHIME Journal, and author of numerous publications on

Chinese music. He has written extensively on Chinese folk songs (on the basis of annual

fieldwork in China from 1986 until the present), and on Chinese contemporary

(composed) music. Much of his work has evolved in close cooperation with his partner,

the Dutch sinologist Antoinet Schimmelpenninck. Kouwenhoven is also active as a film

maker, cd-producer, organizer of exhibitions and international conferences on Chinese

music, and as an archivist. He initiated the CHIME Archive, a collection of 4,000 books,

and 10,000 hours of sound recordings and films which will find its permanent home at

the new Asian Library of the Sinologisches Seminar at Heidelberg University in

Germany from 2017 onwards. Kouwenhoven wrote contributions for the New Grove

Dictionary of Music and Musicians, and guest-lectured at numerous universities and

music conservatories in the world (i.e. Beijing, Shanghai, Wuhan, Fuzhou, La Sapienza

in Rome, Heidelberg, Venice, Prague, Leuven, Pittsburgh, Oxford, London, Hannover,

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Brussel, Gent, Amsterdam etc.). He was active during many years as a Board Member

of The European Seminar in Ethnomusicology (ESEM), the Bake Society for

Ethnomusicology and the Performing Arts Worldwide (The Netherlands) and European

Meetings in Ethnomusicology, and acted as artistic advisor for numerous major cultural

festivals, (i.e. Amsterdam China festival (2005), Triënnale Köln (2007), China Festival

Carnegie Hall (2010) and Europalia China in Belgium (2009-2010).)

Carlos Santos Silva. Maestro, studied piano with Mavíldia Andrade, Organ with

Gertrud Mersiowsky and Composition with Jorge Croner de Vasconcelos at the

National School of Arts in Lisbon (1964-1973) and attended a Choral Conductor Course

in Lisbon in 1983. He is a Chemical Engineer since 1978 and was an IT professional

until his retirement in 2012. Nowadays, he studies music, plays keyboard instruments,

conducts choirs and writes new pieces for choirs and instrumental ensembles. He also

dedicates some of his time to study Chinese language and Chinese Culture. Often, he

plays the Organ as soloist or supporting choirs. He founded and conducts Grupo Coral

“Ars Musica” in 1984 and Portuguese Jasmine Choir (葡萄牙茉莉花中文合唱团) in

2009. He also conducts the choir of Ordem dos Engenheiros in Lisbon. At Beijing he

was awarded the “Excellent Performance Award” in 2014.