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 | [email protected] | 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
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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.