209 pages
English

Encounters: Musical Meetings Between Australia and China

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Addressing the themes of: music and history; tradition versus innovation; cultural diversity/intercultural creativity; and music and the related arts; this book  focuses on encounters between China and Australia from the earliest imaginings and representations to the latest cultural exchanges. Here, the reader will find of stories of forbidden love, prejudice and deceit, of gestures of harmony and the fulfilment of dreams and wishes. Ethnomusicologists, composers, performers, historians and cultural theorists alike explore the past, present, and future of a long, complex and culturally rich interaction. Their writings, so varied and diverse, celebrate a multiplicity of identities, and present a challenging array of research avenues and perspectives through which to view the Australian-Chinese connection.

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Publié par
Date de parution 30 mai 2013
Nombre de lectures 0
EAN13 9781922117076
Langue English
Poids de l'ouvrage 23 Mo

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Encounters
Musical Meetings between Australia and China
Edited byNicholas Ng
Musical Meetings between Australia and China
Edited byNicholas Ng
AUSTRALIANACADEMICPRESS
First published in 2012 Australian Academic Press Level 5, Toowong Tower 9 Sherwood Road Toowong QLD 4066 Australia
www.australianacademicpress.com.au
© 2012 Copyright for each contribution in the book rests with the identified authors.
Copying for educational purposes The Australian Copyright Act 1968 (Cwlth) allows a maximum of one chapter or 10% of this book, whichever is the greater, to be reproduced and/or communicated by any educational institution for its educational purposes provided that the educational institution (or the body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act.
For details of the CAL licence for educational institutions contact: Copyright Agency Limited, 19/157 Liverpool Street, Sydney, NSW 2000. E-mail info@copyright.com.au
Production and communication for other purposes Except as permitted under the Act, for example a fair dealing for the purposes of study, research, criticism or review, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without prior written permission of the copyright holder.
National Library of Australia Cataloguing-in-Publication entry: Author: Ng, Nicholas, 1979-Title: Encounters : musical meetings between China and Australia / Nicholas Ng.
ISBN:
9781922117069 (pbk.) 9781922117076 (ebook)
Subjects: Music--Chinese influences--Congresses. Music--Australia--Congresses. Music--Western influences--Congresses. Dewey Number: 780.6 Typesetting and Cover design by Maria Biaggini — www.thelettertree.com.au
Acknowledgements
CONTENT
Foreword Emeritus Professor Colin Mackerras, AO Griffith Business School, Griffith University
Introduction Musical Meetings Nicholas Ng
Part One Historical Perspectives
Chapter 1 The Gangzhou Yueju Quyishe (“Gangzhou Society Cantonese Opera Group”) in Melbourne, Australia Wang Zhengting
Chapter 2 Australian encounters with an imagined China in early musical entertainment Aline Scott-Maxwell
Chapter 3 By the Bund and beyond: Music-making in the Shanghai and overseas Jewish communities Kim Cunio
Chapter 4 Thirty years of Australia-China encounters in ethnomusicology — A personal memoir Yang Mu
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Part Two Socio-culturalPerspectives
CONTENT(CONT.)
Chapter 5 Researching Kam minority music in China Catherine Ingram
Chapter 6 ‘The Asian Björk’— Is Sa DingDing the voice of the ‘New China’? Tony Mitchell
Chapter 7 “Sounds Chinese”: Musical meetings with China in contemporary Australia Nicholas Ng
Part Three ArtisticReflectio s
Chapter 8 Stylistic development and performance practice: From unpublished Chinese folksongs to new Australian compositions Shan Deng
Chapter 9 Qin Tony Wheeler
Chapter 10 Musical encounters in The Wide Alley Erik Griswold and Vanessa Tomlinson
Chapter 11 My performance pieces — a self-reflection William Yang
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Part Four Co versatio s
Gangzhou Society Cantonese Opera Group
CONTENT(CONT.)
Chapter 12 Conversations with Gao Ping and John Huie Transcribed by Michael Barkrnchev
Chapter 13 Conversations with Anne Boyd and Julian Yu Transcribed by Jaret Choolun
Chapter 14 Conversations with Larry Sitsky and John Curro Transcribed by Jaret Choolun
Chapter 15 Conversations with Ash Dargan Transcribed by Nicholas Ng
Biographies
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ACKNOWLEDGEMENTS
My deepest thanks and gratitude go first and foremost to Professor Huib Schippers, Director of Queensland Conservatorium, Griffith University, for his unending guidance and support. Without his vision and patience, this volume, and the four-day event that inspired it, would never have eventuated. I am eternally grateful to the authors, who participated inEncounters: Musical meetings between China and Australia(6–9 May 2010) and contributed to this volume with great forbearance and understanding. My sincerest thanks go to the peer-reviewers for their conscientious and diligent assessment of the papers included in this volume. In addition too, I would like to acknowledge the selfless dedication of Jaret Cholun, Michael Bakrnchev and Clare Said in the transcription and proofreading process. Special individuals include Emeritus Professor Colin Mackerras, for his collegial support with our project; Stephan May, and the staff of Australian Academic Press, for their generosity and patience; and William Yang and Sharka Bosakova, whose photo-graphic images, taken during the time ofEncounters, have significantly enhanced this publication’s visual presentation. I am also grateful to the National Library of Australia for the use of their historical images. Finally, I would like to convey my utmost feelings of appreciation to my family, col-leagues, and friends, for their limitless tolerance and understanding in the preparation of this volume. Dr Nicholas Ng Queensland Conservatorium, Griffith University December 2011
Encounters: Musical meetings between Australia and Chinais one of the signature events of Griffith University strategic investment 'Music, the arts and the Asia-Pacific' (2009–2013), which explores the shape and role of music and the allied arts in the Asian Century. It is the third in a series of four major events bridging scholarship, creativity, elite performance and community engagement. Earlier editions of this award-winning initiative explored meetings with Aboriginal culture (2005) and the Asia-Pacific (2007). This volume is an outcome of the 2010 focus on China (2010). In 2013, India will be centre of over seventy events including symposia, exhibitions, and performances.
FOREWORD
Since Australia and China established diplomatic relations in 1972, bilateral relations have become of major importance in Australia and more significant in China than one might expect for a country like Australia that is so much smaller in population and political power and younger in its culture. In the political realm, Australia-China rela-tions have been mainly very good but with periods of instability. However, in the economic and cultural fields they have advanced very quickly indeed, trade and educa-tional exchanges advancing much more rapidly and thoroughly than could have been imagined. In music, which is the realm of concern in this book, Chinese-Australian encounters have developed rapidly and become common, widespread and interesting. It is to the credit of Queensland Conservatorium Griffith University that they have taken the initiative to push these encounters forward. In particular, I pay tribute to Professor Huib Schippers, Conservatorium Director, and Dr Nicholas Ng, a spe-cialist in Chinese music, for their successful attempts in holding a major performance and academic forum in May 2010 entitled Encounters: Musical meetings between Australia and China. Professor Schippers has very broad and deep musical expertise, including in a range of ethno-musicologies. Dr Ng can play the erhu and other Chinese instruments, and has made major studies of various forms of Chinese music. It is said that music is a kind of universal language and that it can link peoples in ways that other forms of intercommunication cannot. In some ways this suggestion is open to challenge. We have seen in several chapters, including the introduction, that many Australians have found Chinese music very difficult to listen to, especially opera. My personal observation is that such images are still easy to find. This being the case, perhaps music is not universal. On the other hand, music can form a valuable bridge between peoples and can help promote understanding. People who make music together, people who try to understand the musical culture of another nation or ethnic group, assist in interna-tional understanding greatly. Australia has certainly become more multicultural over the last few decades. I would like to think it has also become more tolerant and accepting of unfamiliar musics. In any case, musical encounters not only exemplify but also assist in cross-cultural familiarity and understanding. In this sense, music is or at least can become a universal language. We can see many examples illustrative of multicultural engagement and tolerance in the sort of cross-cultural encounters represented by the Australia-China musical
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Encounters:MusicalMeetingsbetweenAustraliaandChina
meetings of May 2010. We see examples of Chinese who have attempted to present Chinese music in Australia, sometimes to Chinese resident in Australia, sometimes to non-Chinese Australians. At the same time, Australians have visited China to study the music of China, including that of peoples like the Kam, an ethnic minority known as Dong to the Chinese. The emphasis is on China’s musics and their influence in Australia, but there is also attention given to the way the West and Australia have impacted on China. One point that struck me strongly about these encounters is their diversity. They exist on many levels. There is academic discussion of the history of Chinese music in Australia, a very important aspect of encounters. There are also highly practical encounters involving performance of various kinds. And finally there are talks with individuals who have worked in the two countries, either Australians who have given performances or undertaken musical practice in China or the other way around. For this book one might highlight the academic symposium on Chinese music and the “conversations.” The reason is that a book can reproduce papers given at an academic symposium and interviews or conversations with specialists in a way that it cannot do for performances. There are several themes that come through the papers and interviews that are of interest more general than what applies to Australia-China musical encounters. They include intercultural creativity and the dichotomy between tradition and innovation. The “conversations” highlight the views and insights of people with particular expertise and experience worth sharing. No matter which way one looks at it, these musical encounters show the past and present richness of cross-cultural musical relations between Australia and China. Many of the examples are very little known, and Queensland Conservatorium, Griffith University, Professor Schippers, and Dr Ng have done an excellent job in revealing them to the scholarly and general public.
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Emeritus Professor Colin Mackerras, AO Griffith Business School, Griffith University October 2010
INTRODUCTION
Musicalmeetings
Nicholas Ng
Let them whose good fortune has preserved them from auricular acquaintance with Chinese harmony, imagine a band of serenaders whose instruments should be tubs, tin pans, bars of iron, and bones, with a fiddle of indescribable shape and tone, and when these are beaten, banged and scraped till every nerve in the listener’s system is quivering with torture he will have a faint conception of the concert which the surrounding inhabitants have to endure every evening … (Mount Alexander Mail, 1858).
Unsavoury impressions of Chinese music were widespread in the goldfields of nine-teenth century Australia. Newspapers such as theMount Alexander Mailreported on the unceasing cacophony of percussion and unusual vocal timbres. For the entertain-ment of the fast-growing Chinese community, operatic and circus troupes from Southern China began performing in Victorian tents and town halls from the 1850s (Lyndon, 1999; Farrell, 2009, p. 20) and numbered from thirty to fifty by the early 1860s (Love, 1985). The performers brought with them all the intrigue and mystery of the orient including props, opium-addicted lead performers, female imperson-ators and “dandies” (Farrell, 2009, pp. 20-25; Love, 1985. pp. 80-81). Although Europeans came to Chinese shows, many were not accustomed to, nor appreciative of the noise and din of Cantonese opera. The performance of this musical genre, coupled with a clash of cultural values and work ethics (Rolls 1992), may be attrib-uted to European resentment of the Chinese in the area. This disharmony eventually culminated in an outbreak of civil violence and brutal massacres (ibid). Music is a revealing and significant area of exploration when examining the rela-tionship between the western world and China. Australia, unequivocally a western nation situated in the Asia Pacific, has grappled to define and redefine its connection
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