Knowledge Transfer

11/2019
Lectures in United States

Oberlin Conservatory of Music
Cantonese Opera: Musical Systems & Notation

These lectures focus on the instrumentation of Cantonese operatic singing with melodic instruments and percussion group, as well as the aural approaches of accompaniment. The Gongche notation (工尺譜) used in Cantonese opera is introduced. Further, two musical systems, namely, fixed tunes and aria types were introduced with the knowledge of the 9 tones of Cantonese. Understanding the pitches of Cantonese as a tonal language will enhance understanding how singers have to match the linguistic tones with the melodic tones when singing Cantonese opera.

31/01/2019
香港粵劇的傳承模式倡議：從師徒制和社區訓練到學院制

香港粵劇面臨一個青黃不接的危機。自上世紀中期，香港粵劇界以師徒制作為主要傳承模式，學習粵劇主要透過學徒的主動和不正規的學習方式，包括觀察、模仿和詢問。到了八十年代以後，有些藝人面對粵劇的式微，開始投身教學，成立一些社區粵劇訓練學校培養一些年齡較小的學生。九十年代香港粵劇獲聯合國教科文組織確認為非物質文化遺產，香港政府大力支持，粵劇漸見蓬勃發展，可惜優秀藝人漸漸離開舞台，新一代演員卻有待磨練。本文旨在審視、分析和比較粵劇師徒制、社區訓練和學院制的傳承模式和特質，擇長捨短，提出一個可行性高和包容性強的一個全新的粵劇傳承模式，以供有關人士和機構參考。

University of Washington
Cantonese Opera: Musical Systems & Notation

These lectures focus on the instrumentation of Cantonese operatic singing with melodic instruments and percussion group, as well as the aural approaches of accompaniment. The Gongche notation (工尺譜) used in Cantonese opera is introduced. Further, two musical systems, namely, fixed tunes and aria types were introduced with the knowledge of the 9 tones of Cantonese. Understanding the pitches of Cantonese as a tonal language will enhance understanding how singers have to match the linguistic tones with the melodic tones when singing Cantonese opera.

University of Washington
Cantonese Opera: Performance Practices

These lectures introduced the 4 skills of Cantonese opera, namely, singing, reciting, acting and movements, and fighting. The concept of “formulation” in Cantonese opera performance was introduced which relies on memorizing some existing “sceneries” (排場) with fixed roles, singing and speeches, and movement. Learning sufficient number of sceneries may be transferred to other stories and plays with similar sceneries, which is the traditional approach of transmission. Furthermore, a study of investigation of transmission in the academy in mainland China was reported.

University of Washington
Cantonese Opera: Social and historical development and context

The traditional performance context of Cantonese opera in the 19th century, i.e., ritual performance in bamboo-tin-sheet theatre is introduced. The interaction between the performers and audience was explained. A brief history of Cantonese opera in Hong Kong was presented highlighting the quasi-family relationship between masters and apprentices, and traditional beliefs and taboo. The genre has been evolving after the WWII by the impact of other entertainment including pop songs and movies. The Cantonese opera started to be modernized since the 1950s. Finally, the lecture concludes with challenges for sustainability and implications.

University of Washington and University of New York
Cantonese operatic singing in Hong Kong Community

This presentation introduces the characteristics and nature of Cantonese opera with a report of a case study at a music club of Cantonese operatic singing in Hong Kong. Musical systems were introduced before a detailed introduction of the weekly practice of the singing club. Characteristics of the practice of a singing club was introduced, including the late supper culture after singing, transmission model (learning by observation, repeated listening and proactive questioning), taboo and culture (including mutual respect, positive comments, de-emphasized “teaching”, and highly respect of experienced and famous artists).

13/05/2018
南華早報訪談

Developed by Education University, the method incorporates 3D kinetic sensing technology into Cantonese opera training. It is an example of how innovation can enhance and preserve traditional art forms under threat of losing their relevance amid a lack of instructors.

“In the old days, students stayed with their masters all the time, so the teachers could point out the mistakes immediately,” said Leung Bo-wah, who is director of the system and also head of the university’s department of cultural and creative arts. “Now students only have one class per week.”

23/02/2018
南華早報訪談

Prof. Leung Bo Wah headed the “Collaborative Project on Teaching Cantonese Opera in Primary and Secondary Schools”, which spanned four years from 2009. The project earned him the prestigious Musical Rights Award from the International Music Council of Unesco in 2011.

In his study, Leung recommended that the Education Bureau should encourage primary and secondary schools to offer Cantonese opera as an extracurricular activity so pupils could encounter the art form from an early age, in view of the shortage of competent and suitable applicants for bachelor degree programmes in institutions such as the Hong Kong Academy for Performing Arts. “No one can start learning the genre at 17 or 18 years old – it is too old. They have to start at around 10 to 11,” he says.

14/11/2015
英國廣播公司新聞網訪談

Prof. Leung Bo Wah headed the “Collaborative Project on Teaching Cantonese Opera in Primary and Secondary Schools”, which spanned four years from 2009. The project earned him the prestigious Musical Rights Award from the International Music Council of Unesco in 2011.

In his study, Leung recommended that the Education Bureau should encourage primary and secondary schools to offer Cantonese opera as an extracurricular activity so pupils could encounter the art form from an early age, in view of the shortage of competent and suitable applicants for bachelor degree programmes in institutions such as the Hong Kong Academy for Performing Arts. “No one can start learning the genre at 17 or 18 years old – it is too old. They have to start at around 10 to 11,” he says.

03/04/2015
信報－回顧香港中小學粵劇教學

「在香港學校推行粵劇教學是當前本港音樂教育的一個重要的議題。面對這個挑戰，香港教育局、教師培訓機構，乃至所有學校均有責任推廣香港本土文化傳承和發展。香港音樂教育自殖民地時代以來均向西方音樂和價值觀傾斜，令年輕一代對中國和本土傳統文化產生一種疏離感；面對新世紀，香港音樂教育工作者應為維持一個均衡的中西音樂價值觀而努力。」

29/08/2014
信報－從學院訓練到粵劇承傳

「香港粵劇現正面臨着傳承的危機，目前粵劇學校較少教授傳統劇目，昔日的專業演員培訓方式也不復存在；京劇的影響，尤其京劇培訓帶領着粵劇，使學生對傳統粵劇的認識有限。」