Bell Yung’s CV 1

Curriculum Vitae Bell Yung

Professor Emeritus of Music University of Pittsburgh

(March 2018)

Home Address 2705 Walnut Street, Bellingham, PA 98225 Tel: (360)306-8536; (360)927-9311 email: byun@pitt.edu

Education Ph.D. in Music, Harvard University, 1976 (official degree year 1977) Ph.D. in Physics, Massachusetts Institute of Technology, 1969 (official degree

year1970) B.Sc. in Engineering Physics, University of California, Berkeley, 1964 Piano performance with Kyriana Siloti, 1967-69 Piano pedagogy at Boston University Summer School at Tanglewood, 1967 Performance studies of various instruments in the Javanese gamelan ensemble,

particularly on gender barung (metal xylophone) with Pak Djokowaluya, Yogyakarta, summer 1983.

Performance studies of various Chinese instruments; in particular qin (seven-string zither) with Masters Tsar Teh-yun of Hong Kong, from 1978 on, and Yao Bingyan of Shanghai, summer of 1980, 81, 82.

Academic Employment

University of Washington Affiliate Professor of Music, September 2017.

University of Pittsburgh Professor Emeritus of Music, September 1, 2012 Professor of Music, 1994 (On leave 1996-98, and on leave half time 98-02) Associate Professor of Music, 1987 Assistant Professor of Music, 1981

University of Hong Kong Kwan Fong Chair in Chinese Music, University of Hong Kong, 1998.2 – 2002.7. Reader in Music, University of Hong Kong, 1996.8-1998.2 (From February 1998 to 2002, I held joint appointments at the University of Pittsburgh and the University of Hong Kong, teaching one term a year at each institution.)

University of California at Davis, Visiting Associate Professor of Music, Spring 1990 The Chinese University of Hong Kong, Lecturer (British system), 1978-80.12 Cornell University, Mellon Postdoctoral Fellow (with teaching duty), 1976-78

Administrative Appointments

Director of Graduate Admissions, Music Department, University of Pittsburgh, 2008- 2012

Bell Yung’s CV 2

Director of Asian Studies Center, University of Pittsburgh, 2001-2006 Associate Dean of Arts (Research and Postgraduate Studies), University of Hong Kong,

1998-2000 Director of Graduate Studies, Music Department, University of Pittsburgh, 1986-87;

1990-91. Grants and Honors

2013-17 Honorary Institute Fellow, Hong Kong Institute for the Humanities and Social Science, The University of Hong Kong

2012 Doctor of Literature, honoris causa, the Chinese University of Hong Kong 2009-2010 Ch’ien Mu Lecturer at New Asia College, the Chinese University of Hong

Kong, March 10-16, 2010. 2009 Provost’s Award for Excellence in Mentoring (University of Pittsburgh) Senior Research Fellowship, University Center for International Studies, University of

Pittsburgh, Fall 2007 Chiang Ching Kuo Foundation (U.S.) for a planning meeting to organize three

conferences relating to Chinese music (2004) Ford Foundation (2003) on a 5-year research project called “Cultural Rights and

Academic Responsibilities” Research Grants Council (Hong Kong): a two-year award (2000-02) to research into the

Cantonese Opera “Flower Princess”. Hong Kong Arts Development Council: (1999) to support facsimile printing of qin

score by Master Tsar Teh-yun. Bei Shan Tang Foundation (Hong Kong): (1999) to support “Exhibition 2001: China’s

Musical Treasures” in 2001 in collaboration with the Research Institute of Music (Beijing) and the University Museum and Art Gallery (HKU).

Mrs. Li Ka Shing Fund, University of Hong Kong: (1999) to support the Hong Kong University Chinese Chamber Ensemble for three years.

Music Publishers’ Association Paul Revere Award, for the book Celestial Airs of Antiquity: Music of the Seven String Zither of China. 1998.

Committee on Research and Conference Grants (Hong Kong): a 1998 grant of for the research project “The Life and Work of a Venerable Chinese Musician (guqin player)”.

Teaching Development Grant (Research Grants Council, Hong Kong): a two year- award (1997-99) for the project “World/Asian Music CD-ROM for Undergraduate Teaching, Phase 1”. Co-investigator.

Research Grants Council (Hong Kong): a three year-award (1997-2000) to research into Cantonese narrative songs and to establish an archive of Cantonese oral literature

Honorary Research Fellow, Research Institute of Music (Beijing), 1997- John Simon Guggenheim Memorial Foundation Fellowship, 1996-97 (deferred to 2005) Chiang Ching Kuo Foundation for International Scholarly Exchange (U.S.) to support

publication of Harmony and Counterpoint: Ritual Music in Chinese Context. 1995-96. Directly awarded to Stanford University Press; amount unknown.

Senior Research Fellowship, University Center for International Studies, University of Pittsburgh, Fall 1995

NEH Grant for conference on Music in Chinese Ritual, 1993.

Bell Yung’s CV 3

NEH Fellowship for University Teachers, 1990-91 Research Development Fund Grant, University of Pittsburgh, 1989-90 ACLS Travel Grant to conference in China, 1989 NEH Summer Research Grant, 1989 Honorary Overseas Member, Oriental Music Society, Shanghai, 1989 Overseas Advisor, Guyuetuan [Ancient Music Ensemble], Shanghai, 1988-90 ACLS grant to conduct planning meeting for future conference, 1988 ACLS/SSRC Research Grant, 1984-85 Bowman Foundation Grant to study in Indonesia, summer 1983 Small Grants (numerous), Asian Studies Program, University of Pittsburgh, 1981-

present Faculty Research Grant, University of Pittsburgh, summer, 1981, summer 1986 Mellon Postdoctoral Fellowship, Cornell University, 1976-78

Pre-Doctoral Scholarship, Fellowships, and Honors

Teaching Fellowship, Harvard University, 75-76. Fulbright-Hays Fellowship, 1974-75. Graduate Prize Fellowships, Harvard University, 1971-74. University Scholarships, Harvard University, 1969-71. Sigma Xi (Honor Society for Scientists), 1970. Research Fellowships from RLE (Research Laboratory of Electronics), M.I.T, 1965-69. Teaching Fellowship, MIT, 1964-65. Tau Beta Pi (Honor Society for Engineers), 1964. Tuition Scholarships, UC Berkeley, 1961-64.

RESEARCH

Publications I. Books in English and Chinese

Remembering Rulan Chao Pian, Harvard’s First Female Professor of Chinese Heritage（在你温厚的笑容中荡漾:纪念哈佛大学首位华裔女教授赵如兰）. In Chinese. Co-editor (with Samuel Wu) and contributor. The Shanghai Conservatory of Music Press. 2016.

Uncle Ng Comes to America: Narrative Songs of Immigration and Love. Co-editor (with Eleanor S. Yung), co-translator, and contributor of an essay. MCCM Publisher, Hong Kong. November 2013.

The Flower Princess, A Cantonese Opera. Editor, Translator, and Author of Introduction, with assistance in translation from Sonia Ng and Katherine Carlitz. Hong Kong: The Chinese University Press. 2010.

Music and Cultural Rights. Co-Editor (with Andrew Weintraub) and contributor. Champagne, IL: University of Illinois Press. 2009.

The Last of China’s Literati: The Music, Poetry and Life of Tsar Teh-yun. Hong Kong: The Hong Kong University Press. 2008.

Essays on the Study of Melody (旋律研究论集), in Chinese. Associate Editor and contributor. Beijing: Wenhua Yishu Chubanshe. 2000.

Bell Yung’s CV 4

Yinyinshi qinpu （愔愔室琴谱）in Chinese. Co-Editor and contributor. Hong Kong: The Chinese University Press. 2000.

Understanding Charles Seeger, Pioneer in American Musicology. Co-Editor (with Helen Rees) and contributor. University of Illinois Press. 1999.

Celestial Airs of Antiquity: Music of the Seven-String Zither of China. Madison, Wisconsin: A-R Editions. 1997. Music Publishers Association Paul Revere Award (1998).

Harmony and Counterpoint: Ritual Music in Chinese Context. Co-Editor (with Evelyn Rawski and Rubie Watson) and contributor. Stanford University Press. 1996.

Themes and Variations: Writings on Music in Honor of Rulan Chao Pian. Co-Editor (with Joseph Lam) and contributor. Co-published by the Music Department, Harvard University, and the Institute for Chinese Studies, The Chinese University of Hong Kong. 1994.

Cantonese Opera: Performance as Creative Process. Cambridge University Press. 1989.

II. Other Editorial Work

Exhibition Catalogue: The Musical Arts of Ancient China. Co-Editor. University Museum and Art Gallery, University of Hong Kong. 2001.

Exhibition Catalogue: Gems of Ancient Chinese Zithers. Chief Editor. University Museum and Art Gallery, University of Hong Kong. 1998.

Managing editor, Chinoperl Papers, Journal of Chinese Oral and Performing Literature, published by Chinoperl, Inc., 1995-1997.

Editor, ACMR Reports (formerly ACMR Newsletter), journal of the Association for Chinese Music Research, published semi-annually by the Music Department and Asian Studies Program, University of Pittsburgh, 1986-1997.

Guest editor, Yearbook for Traditional Music, journal of the International Council for Traditional Music, Volume 24/1992. December 1992.

III. Articles in Journals and Invited Chapters in Books (in English)

2017 “An Audience of One: The Private Music of the Chinese Literati,” Ethnomusicology Volume 61, Number 3. 506-539.

2014 “Remembering Mrs. Pian, My Mentor and Friend” Chinoperl: Journal of Chinese Oral and Performing Literature, 33.2 (December 2014), 135-157.

2013 “Intangible cultural heritage, cultural rights, and Cantonese Yueju” in Asian Performing Arts: From the Traditional to the Contemporary, edited by Danny Yung, pp. 205-210. Hong Kong: Zuni Icosahedron, 2013.

2013 “Chinese Music: Graduate Training, Resources, and Publication” in A Scholarly Review of Chinese Studies in North America, edited by Haihui Zhang et al. 422- 454. The Association for Asian Studies, Inc.

2012 “A Trip to Sok Ku Wan with a Cantonese Opera Troupe” in Cultural Vision, edited by Mathias Woo, 18-25. Hong Kong: Zuni Icosahedron, 2012.

2010 “Music of Qin: From the Scholar’s Study to the Concert Stage” in Reading Chinese Music and Beyond, edited by Joys H.Y.Cheung and King Chung Wong, 9-28. Chinese Civilization Centre, City University of Hong Kong.

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2010 “Deconstructing Chinese Opera: Tears on Barren Hill on the Contemporary Stage” in Chinoperl Papers 28, 1-12.

2009a “Voices of Hong Kong: the Reconstruction of a Performance in a Teahouse” in Critical Zone No. 3, 37-56.

b “Tsar Teh-yun at Age 100: A Life of Qin Music, Poetry and Calligraphy” in Lives in Chinese Music, ed. Helen Rees, 65-90. Champagne IL: University of Illinois Press. 2009.

c “Peking Opera and Regional Operas” in Encyclopedia of Modern China, vol. 3, 86-89. 4 vols. ed. David Pong. Detroit, MI: Charles Scribner’s Sons. 2009.

d “Historical Legacy and the Contemporary World: UNESCO and China’s Qin Music in the 21st Century.” In Music and Cultural Rights, ed. Andrew Weintraub and Bell Yung, 140-168. Champagne, IL: University of Illinois Press. November 2009.

2008 “Creativity in ‘Traditional’ Music: Introducing an Ancient Composition for the Chinese Instrument Qin” in Festschrift for Dr. Lee Hye-ku, 1033-1049. Seoul: Seoul National University. 2008.

2006 “Musicological Discourse and Graphic Imagination: Charles Seeger as Conceptual Artist,” in Festschrift to Commemorate the 70th Birthday of Prof. Yosihiko Tokumaru, special issue of Otyanomizu Ongaku Ronshu (December 2006): 89-106.

2003a “La musica del teatro cinese” in Enciclopedia della Musica III: Musica e culture, pp. 889-924. Ed. Jean-Jacques Nattiez. Torino: Giulio Einaudi editore. 2003. Written in English.

2003b “Preface” in the reprint edition of Rulan Chao Pian, Sonq Dynasty Musical Sources and Their Interpretation (Harvard University Press, 1967). Reprinted by The Chinese University Press, 2003.

2002a “Ethnomusicologist at Work: East Asia and North America” in Garland Encyclopedia of World Music Vol. 10. Ed. Ruth Stone. New York: Routledge. 2002.

b “Five Short Compositions for the Qin as Played by Tsar Teh-yun” in Essays in Musicology: An Offering in Celebration of Kim Chong-Ja on her Sixtieth Birthday, 941-960. Seoul: Seoul National University. 2002.

2001 Entries of “Opera”, “Qin” and “Cantonese Narrative Songs” in China Section, Garland Encyclopedia of World Music Vol. 6: East and Inner Asia, ed. Robert Provine, Tokumaru Yoshihiko, J. Lawrence Witzleben. 2001.

1999a “Introduction,” in Understanding Charles Seeger, Pioneer in American Musicology, pp. 1-11. FCo-Editor (with Helen Rees) and contributor. University of Illinois Press. 1999.

b “From Modern Physics to Modern Musicology: Seeger and Beyond,” in Understanding Charles Seeger, Pioneer in American Musicology, pp. 172-183. Co-Editor (with Helen Rees) and contributor. University of Illinois Press. 1999.

c “Chinese Musicological Research in China, Abroad, and Other Issues,” ACMR Reports: Journal of the Association for Chinese Music Research, Vol. 12 (1999), 127-132.

1998 “Music of Qin: From the Scholar’s Study to the Concert Stage” ACMR Reports: Journal of the Association for Chinese Music Research vol. 11 (1998); 1-14.

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1997 “Preface of Shenqi Mipu: Translation with Commentary” co-authored with Georges Goormaghtigh, ACMR Reports: Journal of the Association for Chinese Music Research vol. 10, no. 1 (Spring 1997), 1-12.

1996a “The Nature of Chinese Ritual Sound,” in Harmony and Counterpoint: Ritual Music in Chinese Context, ed. Bell Yung, Evelyn Rawski, Rubie Watson (Stanford University Press, 1996): 13-31.

b “Introduction,” co-authored with Evelyn Rawski and Rubie Watson, in Harmony and Counterpoint: Ritual Music in Chinese Context, pp. 1-12.

c “Music on China” in Music in Cultural Context: Eight Views on World Music Education, ed. Patricia Shehan Campbell (Reston, VA: Music Educators National Conference, 1996), 33-40.

1994a “Not Notating the Notatable: Reëvaluating the Guqin Notational System,” in Themes and Variations: Writings on Music in Honor of Rulan Chao Pian, pp. 45-58. Co-published by the Music Department, Harvard University and the Institute for Chinese Studies, The Chinese University of Hong Kong.

b “Introduction,” co-authored with Joseph S. C. Lam, in Themes and Variations: Writings on Music in Honor of Rulan Chao Pian, pp. 1-7.

1993 “Bibliography on Guqin Music” in ACMR Newsletter (Vol. 6, No. 2):29-31. 1991 “The Relationship of Text and Tune in Chinese Opera” in Music, Language,

Speech and Brain ed. J. Sundberg, L. Nord and R. Carlson, Wenner-Gren International Symposium Series, Vol. 59 (London: The Macmillan Press, 1991):408-418.

1989a “History and Structure of Chinese Music-Dramas” (in Japanese), in Music Traditions of Japan, Asia and Oceania vol. 5 ed. Tokumaru Yoshihiko (Tokyo: Iwanami Shoten Publishers): 185-199. Written in English.

b “La musique du guqin: Du cabinet du lettré à la scéne de concert,” in Cahiers de musique traditionnelles 2 (Geneva), pp.51-62. Written in English.

1988 “Blind Singers of Guangzhou” (translation) in Chinoperl Papers No.15 (1986), pp.61-76.

1987 “Historical Interdependency of Music: A Case Study of the Chinese Seven- String Zither” in The Journal of the American Musicological Society, XL.1 (Spring 1987): 82-91.

1985 “Da Pu: The Recreative Process for the Music of the Seven-string Zither” in Music and Context: Essays in Honor of John Ward ed. Anne Dhu Shapiro, Music Department, Harvard University, pp. 370-384.

1984a “Model Opera as Model” in Popular Chinese Literature and Performing Arts in the People’s Republic of China, 1949-1979 ed. Bonnie McDougall, University of California Press, pp. 144-164.

b “Choreographic and Kinesthetic Elements in Performance on the Chinese Seven-string Zither” Ethnomusicology XXVIII.3 (Sept. 1984): 505-517.

1983a “Creative Process in Cantonese Opera I: The Role of Linguistic Tones” Ethnomusicology XXVII.1 (Jan. 1983): 29-48.

b “Creative Process in Cantonese Opera II: The Role of Text Setting” Ethnomusicology XXVII.2 (May 1983): 297-318.

c “Creative Process in Cantonese Opera III: The Role of Padding Syllables” Ethnomusicology XXVII.3 (Sept. 1983): 439-456.

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d “Popular Narrative in the Pleasure Houses of the South, Part 2” Chinoperl Papers No. 12, pp. 143-53.

1982 “Popular Narrative in the Pleasure Houses of the South, Part 1” Chinoperl Papers No. 11, pp. 126-149.

1981 “Music Identity in Cantonese Opera” in Report of the Twelfth Congress (International Musicological Society) Berkeley 1977 ed. Daniel Heartz and Bonnie Wade (Kassel: Barenreiter): 669-675.

1980 “China—Theory” entry in The New Grove Dictionary of Music and Musicians 6th. ed.

1977 “A Trip to Sok Gu Wan with a Cantonese Opera Troupe” in Chinoperl Papers, No. 7, pp. 49-59.

1976 “Reconstructing a Lost Performance Context—A Field Work Experiment” in Chinoperl Papers No. 6, pp. 120-143.

1975 “Role of Speech Tones in the Creative Process of Cantonese Opera” in Chinoperl Papers (Journal for the Conference on Chinese Oral and Performing Literature, published in Ithaca, New York) No. 5, pp.157-167.

1970 “Role of Specular Reflection of Electrons in the Radio Frequency Surface Magneto Impedance of Metals” in Physics of Condensed Matter, XII: 81-96.

IV. Review Articles, Other Print Publications, Radio Broadcasts, Compact Discs, CD

ROM 2018 Review of Wing Chung Ng, The Rise of Cantonese Opera. Urbana: University

of Illinois Press, 2015. 288 pp. ISBN 978-0-252-03911-9. In H-Net Reviews in the Humanities & Social Sciences.

2017 Review of two disks.“The Flowing Waters: Guqin Music of Liang Mingyue.” Performed by Liang Mingyue. 2007. Lyrichord Discs Inc. LYRCD 7453. One compact disc. Notes in English (5 pp). “Chine: ‘Le pêcheur et le bûcheron’: Le qin, cithare des lettrés” (China: ‘The Fisherman and the Woodcutter’: The Qin, Zither of the Literati). Performed by Sou Si-tai. 2006. Recorded by Miller- Lacombe, Studio Axis, Geneva. Archives Internationales de Musique Populaire, Musée d’Ethnographie VDE-GALLO 1214. One compact disc. Booklet (23 pp.) with notes in French by Georges Goormaghtigh, English translation by Isabelle Schulte-Tenckhoff, and photographs by Maryam Goormaghtigh. Ethnomusicology Volume 61 Number 2. 379-388.

2016 “Excerpts from Literary Masterpieces 名著雜錦–Hong Kong’s Cultural Treasure 7”, a two-compact disc set published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. I originated the concept, did the fieldwork recording, produced the disc and co-edited the CD booklet. November.

2015 Review of My Way (Qiandan lu): A Documentary Film on Male Performers of Female Roles in Cantonese Opera, by Cheuk Cheung, in CHINOPERL: Journal of Chinese Oral and Performing Literature Volume 34, Number 2. 182-184.

2015 Review of 《未褪色的金碧輝煌──緬甸古典音樂傳統的再現與現代性》

[UnfadedSplendour:RepresentationandModernityoftheBurmeseClassicalMusicTradition],by呂心純(LuHsin-chun,akaHsin-chunTasawLu).Taipei:NationalTaiwanUniversityPress,2012.InCHIME (Journal of the European Foundation for Chinese Music Research), No. 20, 2015. 150-153.

2015 “The Birth of Guanyin 觀音出世 –Hong Kong’s Cultural Treasure 6”, a three- compact disc set published by the Chinese Music Archive, the Chinese

Bell Yung’s CV 8

University of Hong Kong, and the Bailey Record Company, Hong Kong. I originated the concept, did the fieldwork recording, produced the disc and co- edited the CD booklet. April.

2014 Podcast http://asia.si.edu/podcasts/related/yung/progNotes.asp Freer Gallery, Washington D.C. Set up in March 2014, based upon recital in 2005.

2013 “TheBlindMusicianDouWunOffersAuspiciousSongsforFestiveOccasions瞽

師杜煥賀喜慶 -- Hong Kong’s Cultural Treasure 5”, a compact disc published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. I originated the concept, did the fieldwork recording, co-produced the disc and co-edited the CD booklet. November.

2013 Review of Music as Intangible Cultural Heritage: Policy, Ideology and Practice in the Preservation of East Asian Traditions, edited by Keith Howard. The China Quarterly, Vol. 214 (June 2013), 498 – 499.

2012 “Early Days of Chinese Music Teaching and Research in North America and the Beginning of ACMR,” ACMR Newsletter, Spring 2012.

2012 ‘“Jade Palm-Leaf Fan’ 龍舟版本玉葵寶扇，Sung by the Blind Master Dou Wun in Dragon Boat Style—Hong Kong’s Cultural Treasure 4”, a compact disc published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. I originated the concept, did the fieldwork recording, co-produced the disc and co-edited the CD booklet.

2011 “Rare Recordings of Melodies from a Bygone Age 絕世遺音—Hong Kong’s Cultural Treasure 3”, a compact disc banyan 板眼 , longzhou 龍舟, yue’ou 粵謳 songs, published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. I originated the concept, did the fieldwork recording, and co-edited the CD booklet.

2008 “Foreword” in Ingrid Furniss, Music in Ancient China. Amherst, NY: Cambria Publications.

2008 “Blind Dou Wun Remembers His Past: 50 Years of Singing Naamyam in Hong Kong—Hong Kong’s Cultural Treasure 2”, 全本失明人杜换憶往 a six- compact disc set published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. I originated the concept, did the fieldwork recording, and co-edited the CD booklet.

2007 “Naamyam Songs of Love and Longing 訴衷情—Hong Kong’s Cultural Treasure 1”, a two compact disc set published by the Chinese Music Archive, the Chinese University of Hong Kong, and the Bailey Record Company, Hong Kong. I originated the concept, did the fieldwork recording, and co-edited the CD booklet.

2006 “Introduction to The Flower Princess” in the Booklet that accompanies the DVD-Audio “The Cantonese Opera ‘The Floral Princess’”, Crown Records Company, Hong Kong.

2004 “A Blind Singer’s Story: Fifty Years of Life and Work in Hong Kong” 失明人杜换憶往, a 50-minute DVD. Published by the Hong Kong Museum of History.

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I am the producer of DVD, writer of the booklet article, and translator of the song.

2001a World Music CD-ROM for Undergraduate Teaching (China). Contributor. The Chinese University of Hong Kong and Hong Kong University.

b Contemporary Chinese Societies: Continuity and Change: curriculum in Chinese studies in interactive CD-ROM. Contributor. Columbia University Press. 2001.

2000a “Tsar Teh-yun: The Art of Qin Music”. ROI Productions Ltd., Hong Kong. 2000. RB-001006-2C. A two-CD set of about 120 minutes of music with a 63- page bilingual booklet, including a short biography of Tsar. I am one of seven co-editors.

b Review of Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People’s Republic of China since 1949 by Barbara Mittler. Asian Music, Vol. 32.1 (Fall/Winter 2000-01), 192-6.

1999a Review of Mathematical Rhythmic Structure of Chinese Percussion Music: An Analytical Study of Shifan Luogu Collections by Boyu Zhang. In Ethnomusicology 43/2 (Spring/Summer 1999). 369-71.

b Guest host of program on Radio Television Hong Kong Radio 4: “My Ideal Concert”, August 27.

1996-9 Twenty music reviews in South China Morning Post (Hong Kong) 1998a Producer (and one of five performers) of a compact disc “Qin Music on Antique

Instruments.” 67 minutes. Music Department, University of Hong Kong (1998). HKU-001.

b “Music on Campus: An International Journey in Sound,” in Interflow, The University of Hong Kong Magazine 79, pp. 38-41.

c “Entertainment? Art? Science? – The Place of Music in a University”. Inaugural lecture for the Kwan Fong Chair in Chinese Music, delivered November 11, 1998 at the University of Hong Kong. Pamphlet printed by the University of Hong Kong. 5 pages in English and 5 pages in Chinese.

1997 Feature article on Chinese Opera, South China Morning Post (Hong Kong) October 5th.

1996a Review of Suspended Music: Chime-Bells in the Culture of Bronze Age China by Lothar von Falkenhausen (Berkeley: University of California Press, 1993). In Journal of Asian Studies (May 1996): 161-4.

b Area Editor and Consultant, RILM Abstracts of Music Literature XXVII (1993) (New York: Répertoire International de Littérature Musicale, 1996).

1993 Review of Listening to Theater: The Aural Dimension of Beijing Opera by Elizabeth Wichmann. In Notes (Sepember 1993) 77-80.

1991 Review of Piano and Politics in China: Middle-Class Ambitions and the Struggle over Western Music by Richard Curt Kraus (New York: Oxford University Press, 1989). Ethnomusicology 35.2 (Spring/Summer 1991): 275-7.

1989 Review of Musica Asiatica 5, Ed. Richard Widdess (Cambridge: Cambridge University Press, 1988). Journal of Asian Studies Vol. 48, No. 4 (November 1989): 813-814.

1987 Review of “A Musical Anthology of the Orient: China”, UNESCO. Collection, BM 30 SL 2032, Stereo. Yearbook for Traditional Music 19, pp. 159-60.

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1986 Review of Yuarn Music Dramas: Studies in Prosody and Structure and a Complete Catalogue of Northern Arias in the Dramatic Style by Dale R. Johnson (Ann Arbor: Center for Chinese Studies of the University of Michigan, 1980). Ethnomusicology XXX.2 (Spring/Summer 1986): 349-51.

1985 Review of A Chinese Zither Tutor by Fredric Lieberman (Seattle: University of Washington Press, 1983). Asian Music XVI-2 (Spring-Summer 1985): 190- 194.

1984 Review of Flying Dragons, Flowing Streams—Music in the Life of San Francisco’s Chinese by Ronald Riddle (Westport, CT: Greenwood Press, 1983). Ethnomusicology XXVIII.2 (May 1984): 357-9.

1981 Review of A Critical Study of Chu Tsai-yü’s Contribution to the Theory of Equal Temperament in Chinese Music by Kenneth Robinson (Wiesbaden/Germany, 1980). Journal of Asian Studies XL.4 (August): 775-6.

1980a Report of IFMC (International Folk Music Council) as liaison officer in Hong Kong on the state of folk music in Hong Kong; published in the IFMC Bulletin, April.

b Review of two recordings: Musik für ch’in aus 10 Jahrhunderten (China), Museum Collection Berlin (West) MC7; Chine Populaire: Musique Classique (Musiques traditionnelles vivantes III. Musiques d’art), Ocora 558519. Ethnomusicology XXIV.3 (September): 607-9.

c “Cantonese Opera: A Living Tradition” in the Souvenir Book of the 1980 Hong Kong Arts Festival.

1979 A series of twenty radio lectures on the Music of China, Radio Hong Kong. V. Chinese journal articles and other publications in Chinese

2017 “音樂史今古相互影響” (Historical interdependency of music). 音乐藝术

Yinyue Yishu (上海音乐学院学报 Journal of the Shanghai Conservatory of Music) 2014.1, 84-92.

2016 “序”(Preface) in 謝俊仁著，審律尋幽：謝俊仁古琴論文與曲譜集 (Collected writings and music of Tse Chun-yan). 重慶出版社，2016. Pp. 13-14.

2016 “序：香港文化瑰寶阮兆煇”in 阮兆煇著，弟子不為為子弟。 香港: 天地圖

書， 2016. Pp. 12-18 2015 “尋找杜煥 ［Looking for Dou Wun］”, an article in Ming Pao Daily 明報,

March 21. 2014 怀念赵如兰教授［Remembering Prof. Rulan Chao Pian]” 音乐藝术 Yinyue

Yishu (上海音乐学院学报 Journal of the Shanghai Conservatory of Music) 2014.1.

2014 “從經濟因素看古琴的傳乘與開拓”[The economic factor in the historical legacy and renovation of guqin] in 古琴的傳乘與開拓 [Historical legacy and renovation of guqin], edited by Zheng Peikai 鄭培凱 and Zhang Weiqun 張為群。Guilin：Guangxi Normal University 廣西師範大學. 24-31.

2013 “非物質文化遺產，文化權，和粵劇 [Intangible cultural heritage, cultural rights, and Cantonese Yueju]”亞州表演藝術：從傳統到當代。香港：進念

二十面體， 2013。 頁次 11－14。

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2012 “索罟灣演神功戲：田野工作紀實 [A Trip to Sok Ku Wan with a Cantonese Opera Troupe]” 文化視野。 香港：進念二十面體， 2012。 頁次 10－15。

2012 “龍舟腔《玉葵寶扇》”[“Jade Palm-Leaf Fan” Sung in the Dragon Boat Style], in the booklet that accompanies the compact disc “Jade Palm-Leaf Fan” Sung by the Blind Master Dou Wun in the Dragon Boat Style.” 2012.

2010 北美中国音樂研究-- 学术、教学与文献资源 [Chinese Musical Studies in North America] in 北美中国学研究-- 学术、教学与文献资源 [Chinese Studies in North America], pp.507-542. 張海惠主編. Beijing: Zhonghua Shuju.

2010 “Preface 序”in Suyu Youhua 俗語有話, pp. vi-viii. Sonia Ng 吳瑞卿著。

Hong Kong: Commercial Press 香港商務印書館。 2010。

2009 “Yueyu shengdiao yu yueju changqiang” 粵語聲調與粵劇唱腔 [Cantonese Linguistic Tones and Cantonese Operatic Arias]. In Yueyu kuaxueke yanjiu: di shishanjie guoji yuefangyan yataohui lunwenji 粤语跨学科研究：第十三届国

际粤方言研讨会论文集［Multi-Disciplinary Approaches to Cantonese Studies:Papers from the 13th International Conference on Cantonese and Yue Dialects), 亚洲语言：计算暨语言学研究专刊第四号). Pp. 41-56. 钱志安、

郭必之、李宝伦和邹嘉彦编辑。 香港城市大学语言资讯科学研究中心出版 . City University of Hong Kong.

2008a “Yao Binyan de Yinyue Shenghuo” 姚丙炎的音樂生活 [The Musical Life of Yan Bingyan]. 音乐藝术 Yinyue Yishu (上海音乐学院学报 Journal of the Shanghai Conservatory of Music), 2008, No. 2, pp.11-15.

2008b “Xige’er yinyuexue lilun canxi” 西格尔音乐学理论阐释 [The musicological theories of Charles Seeger]. In Chinese. Huangzhong (Journal of Wuhan Conservatory of Music) 2008, no. 4, 90-98.

2007 “Cai Deyun laoshi yu renlei kouchuan weiwuzhi wenhua yican” 蔡德允老師與

<人纇口傳非物質文化遺產＞. In Hong Kong Economic Journal 信報. June. 2006 “Yueyang Kan Dinühua” 越洋看帝女花 [Comments on the Cantonese Opeera

The Flower Princess from Across the Ocean], in Playbill for The Flower Princess, performed Nov. 2-9, 2006, Hong Kong Cultural Center. Pp. 48-52.

2005a “Liu Xianggang Xue, Yin Xianggang Shui, Yan Xianggang Xi” 流香港血，飲 香港水，演香港戲 [Hong Kong Blood, Hong Kong Water, Hong Kong Theater]. In Ming Pao Daily, Nov. 13, 2005. p. D10.

b “Tsar Teh-yun laoshi qinyi fengge chutan” 蔡德允老師琴藝風格初探 [Preliminary study of musical style of Tsar The-yun], in Deyin Tongxun [Newsletter of Deyin Qin Society], 2005, pp. 53-60.

2001 “Yueju yinyue yanjiu di jiazhi he fangfa” 粵劇音樂研究的價值和方法 [The significance and method in the research of music of Cantonese Opera], in Yueju yinyue di tantao 粵劇音樂的探討 [Investigation of the music of Cantonese opera], pp. 1-7, ed. Chan Sau-yan (Music Department, The Chinese University of Hong Kong, 2001).

Bell Yung’s CV 12

2000 “Yanjiu xuanlü jiazu de sanzhong quxiang: shengwu fenleifa, jiyinfa, wenhua benweifa” 研究旋律家族的三種趨向 [Three approaches to the study of tune families: taxonomic, genetic, and cultural], in Xuanlü yanjiu lunji [Essays on the Study of Melody], pp. 3-11, ed. Zhao Songguang (Beijing: Wenhua Yishu Chubanshe, 2000).

1997a “Guqin yu dangjin shijie yuetan” 古琴與當今世界樂壇 [The guqin in the context of world music], Guqin wenhua daguan [An overview of guqin culture] (Hong Kong: Zhonghua wenhua chujin zhongxin, 1997): 19-22. Reprinted in Exhibition Catalogue: Gems of Ancient Chinese Zithers. Chief Editor: Bell Yung. Hong Kong: University Museum and Gallery, University of Hong Kong. 1998. Reprinted in 文藝研究 2002.2。

b “Chongjian·yanchu changhe: Yige shidi kaochade shiyan” 重建演出場合 [Reconstructing a Lost Performance Context—A Field Work Experiment], in Shidi kaocha yu xiqu yanjiu [Fieldwork and Chinese operatic research], pp. 297- 318, ed. Chan Sau Yan (Hong Kong: Center for Chinese Opera Research, 1997). This is a revised version of my 1976 article in English.

1996 “从中国古琴研究看歷史的相互依存”今虞琴刊续 42-43.(Chinese version of “Historical Interdependency of Music: A Case Study of the Chinese Seven- String Zither”1987, translated and extracted by Tang Yading 汤亚丁。

1993 “Zhongguo yinyue zai meiguo: cubu diaocha fang’an” 中國音樂在美國 [Chinese Music in the U.S.: A Research Strategy], Jiuzhou xuekan [Chinese Culture Quarterly], vol.5, no. 3, pp. 139-43.

1992 “Report on Chinese Musical Activities in North America”, Zhongguo yinyue nianjian, 1991 [The Annal of Chinese Music -- 1991](Research Institute of Music, Beijing).

1990 “Dangqian minjian yanchang wenxue di souji: Fulong chalou chang nanyin” 當 前 民 間 演 唱 文 學 的 搜 集 [Collecting folk performing literature: nanyin performance in Fulong Teahouse” in Hanxue yanjiu [Chinese Studies], Vol. 8, No. 1 (Taipei, Taiwan, 1990): 647-654.

1988 “Dapu: qixianqin yinyue zaichuangzuo de guocheng” 打譜：七絃琴音樂再創 作 的 過 程 Chinese translation of III.1985 by Xu Jian, published in Zhongguo yinyuexue [Musicology in China], 1988.2 (Institute of Music Research, Beijing, China): 138-143.

1985 “Yueju de tianci” 粵劇的填詞 Chinese translation of III.1983b by Fan Weici, published in Yinyue wenzhe [The Musical Digest], 1985.1 (Taipei, Taiwan): 145-153.

1984a “Yueju zhongdi chenzi yinyue wenti” 粵劇中的襯字音樂問題 Chinese translation of III.1983c by Chen Yingshi, published in Yinyue yishu [Arts of Music, Journal of Shanghai Conservatory], 1984.3 (Shanghai, China): 23-29.

1984b “ 论填词——粤剧乐音创作研究之二”广州音乐学院学报 1984.1. 1983a “Lun yueju banqiang de tongyixing jiegou chengfen” 論粵劇板腔的同異性結

構成份 Chinese translation of III.1981 by Chen Yingshi, published in Minzu

Bell Yung’s CV 13

minjian yinyue yanjiu [Studies in Ethnic and Folk Music] 1983.2 (Canton, China): 58-63.

b “Lun shengdiao zai yueju yinyue chuangzuo zhongdi gongneng” 論聲調在粵 劇音樂創作中的功能Chinese translation of III.1983a by Li Yan and Chen Yingshi, published in Guangzhou yinyue xueyuan xuebao [Journal of the Canton Conservatory] XIII, 1983.4 (Canton, China): 69-76.

1979a “Yüeh ch’ü ch’ang ch’iang t’i chih” 粵曲唱腔體制 [Formal Structure in Cantonese Opera] in Ming Pao Monthly (Hong Kong), February issue.

b “Cong yinyuexue guandian shigei minge xia dingyi” 從音樂學觀點試給民歌

下定義 [A definition of ‘folksong’ from the musicological perspective]. Program booklet for the 12th annual folksong competition among colleges and universities (Hong Kong), February/March, 1979. Pages 3-5.

V. Digital and other miscellaneous publications

Program note for Seattle Symphony concert. 2/11/2018. Opinion essay for South China Morning Post, Hong Kong. 8/15/2017. Letter to the Editor, Pittsburgh Post-Gazette. 3/11/2011. Letter to the Editor, New York Times, 2/20/1989, 4/17/2001, 12/17/2002,

11/3/2004. 2017 “琴人蔡德允與琴曲《瀟湘水雲》” (Tsar The-Yun and the qin composition

The Water and Mist of the Rivers Xiao and Xiang) 灼見名家 (Digital Magazine, Hong Kong). 12/18.

2017 “ 蔡德允老師的文人琴氣質”(The essence of literati qin in Tsar Teh-yun). 灼見

名家 (Digital Magazine, Hong Kong). 2/1. 2016 “ 粵劇界歷史性照片” (Historical photos in Hong Kong’s Cantonese operatic

circle). 灼見名家(Hong Kong). 12/31 2016 “ 中國傳統戲的未來”(The future of Chinese traditional operas). 灼見名家

(Hong Kong). 12/19 2016 “ 懷念上環富隆茶樓”(Remembering Fu Long Teahouse in Sheung Wan). 灼見

名家(Hong Kong). 11/26.

2016 “ 趙如蘭在香港的日子”(Rulan Chao Pian in Hong Kong). 灼見名家(Hong Kong). 11/15.

Publications on Bell Yung

2010 “From Modern Physics to Modern Musicology: Professor Bell Yung Hung Zeng,” by Yu Siu Wah, in Program Booklet for the 2010 Ch’ien Mu Lecture in History and Culture, New Asia College, The Chinese University of Hong Kong, 1-8 (in parallel Chinese and English).

2002 “Bell Yung: Pursuing the Science of Music” by Alison D’Addieco, in Int’l, Volume 3 (University Center for International Studies, University of Pittsburgh, Fall 2002): 5.

1998 “The Elegant and Ancient Music of Qin,” in The Review 1998, The University of Hong Kong, p. 16.

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1995 “Bell Yung on Music of China (and Chinese Music in Hong Kong)” by Patricia Shehan Campbell, in Music Educators Journal, vol. 81, no. 5 (March 1995): 39- 46. Reprinted in Patricia Shehan Campbell, Music in Cultural Context: Eight Views on World Music Education (Reston, VA: Music Educators National Conference, 1996): 33-40.

Conference Papers and Services

Bell Yung’s CV 15

2017 Keynote speaker for the 20th international conference of CHIME (European Foundation for Chinese Music Research), 29 March-2 April. Title: “Pines in Ten Thousand Valleys: A Life”. 1 April, World Music Center, Department of Ethnomusicology, UCLA Herb Alpert School of Music.

2016 Keynote speaker for the 20th anniversary conference of the Association for Chinese Music Research. Title “An Audience of One: The Private Music of the Chinese Literati”. 11/10. Washington DC.

2011 Keynote speaker for “Asia ICH Performing Arts Forum: In Search of the Future of Intangible Cultural Heritage”, November 25-26, Hong Kong Cultural Centre. “Intangible Cultural Heritage and Cultural Rights.”

2011 Keynote speaker for “Creativity in Cantonese Opera: An International Symposium,” May 5 and 6, Hong Kong Institution of Education. Read two papers: “Creativity in Cantonese Opera: the aria type Chatjiching”, and “Creativity in Chinese Music: the case of qin composition Guanglingsan”

2009 Organized a symposium for University of Pittsburgh’s Asian Studies Center entitled Echoes from the Distant Past: Music and Musical Instruments of Ancient China, Japan, and Korea, on February 20, 2009. Read the paper "Korea's Komungo and China's Qin: a comparative look at their history, social function and performance practice"

2008 Keynote speaker with a speech titled “Cantonese Language and Cantonese Opera”, at the 13th International Conference on Cantonese and the Yue Dialects, City University of Hong Kong, Hong Kong. December 18-20.

2007a Read paper “Voices of Hong Kong: the Reconstruction of a Performance in a Teahouse” at the 39th World Conference of the International Council for Traditional Music, Vienna. July 4-11.

b Read paper "Korea's Komungo and China's Qin: a comparative look at their history, social function and performance practice" at the symposium on Asian Music organized by the Research Institute, Seoul National University. September 7.

c Read paper “UNESCO and Cultural Rights: China’s Qin Music in the 21st

Century” at the annual meeting of the Society for Ethnomusicology, Columbus, Ohio, Oct. 25-28.

2005a Read paper “Economic factors in the recent development of qin music” as an invited speaker at a symposium on qin, City University, Hong Kong. November 1-2.

b Read paper “Music and Cultural Rights” as an invited speaker at the World Music Forum, organized by the International Music Council (Paris), Los Angeles, September 30-31, 2005.

c Co-organizer and co-chair of the international conference "Music and Cultural Rights: Trends and Prospects," University of Pittsburgh, April 7-10, 2005.

2004a Organizer and Chair of a workshop to plan an international conference on Chinese Music, funded by the Chiang Ching Kuo Foundation. April 24. University of Pittsburgh.

b Read paper “A Blind Singer’s Tale: fifty years of life and work in Hong Kong”, at annual conference on Chinese Oral and Performing Literature, San Diego, March 4.

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c Chair and discussant for the panel “Rethinking Cultural Revolution Culture” at the annual meeting of the Association for Asian Studies, San Diego, March 4-7.

d Discussant at the conference “Experimenting Chinese Theater” in Taipei, March 12-14.

e Co-organizer and co-chair of a planning workshop for the international conference "Music and Cultural Rights: Trends and Prospects," University of Pittsburgh, February 21.

2002 Read paper “Hearing with the mind and touch: the private music of the Chinese qin” at the world congress of the International Musicological Society, Leuven, Belgium. August 1-7. Also read paper, co-written with Xiao Mei, “Constructing a digital database for the musical instrument collection at the Music Research Institute of Beijing” at the same conference.

2001a Organizer and Chair of Conference on Chinese Opera, University of Hong Kong, June 10-13.

b Curator of an exhibition called “The Musical Arts of Ancient China” at the University Museum and Art Gallery, University of Hong Kong, September 2001-January 2002.

2000a Read paper “Yinyue yanjiu yu daxue jiaoyu” (Musical research and university education) at the International Conference to commemorate the 100th year of birth of Yang Yinliu, in Beijing. November 9-12.

b Chair of Organizing Committee, Second National Conference on Melody Studies, University of Hong Kong, June 8-14.

1998a Read paper “An Egg Vendor and His Songs: A Muk Yu Singer in Hong Kong” at the annual meeting of the Conference on Chinese Oral and Performing Literature in Washington D.C., March 25.

b Read paper “Yanjiu xuanlü jiazu guanxi di sanzhong quxiang” (Three approaches to the study of tune families), in Chinese, at the First International Conference on Melody in Hohhot, Inner Mongolia, China, July 10.

c Curator of an exhibition of ancient Chinese zithers at the University Museum and Art Gallery, University of Hong Kong, October-December.

1997a Invited keynote speaker, International Conference on Cantonese Operatic Music, Hong Kong, January 21-25.

b Read paper “Music Evidence on the Phonetic Features of Cantonese Linguistic Tones” at the annual meeting of the Conference on Chinese Oral and Performing Literature in Chicago, March 13.

c Read paper “Musicological Discourse and Graphic Imagination: Charles Seeger as Conceptual Artist” at the annual meeting of the Society for Ethnomusicology in Pittsburgh, October 23-26.

1996a Organizer of the annual meeting of Chinoperl (Conference on Chinese Oral and Performing Literature) in Washington D.C., Apil 5-6.

b Read paper “Whose Family Value? Taxonomic, Genetic, and Cultural Approaches towards Tune Family and Tune Identity” at the annual meeting of Society for Ethnomusicology in Toronto, October 31 to November 3.

1995a Organizer and chair of the annual meeting of Chinoperl (Conference on Chinese Oral and Performing Literature) in Washington D.C., Apil 5-6.

Bell Yung’s CV 17

b Organizer and chair of the eighteenth and nineteenth semi-annual meetings of the Association for Chinese Music Research in Washington D.C., April 5-6 (in conjunction with Chinoperl), and in Los Angeles, October 19.

c Chair of panel “Issues in Chinese Music” at the annual meeting of the Society for Ethnomusicology, Los Angeles, October 19-22.

1994a Organizer and chair of the sixteenth and seventeenth semi-annual meetings of the Association for Chinese Music Research in Cambridge, MA, March 24, and Milwaukee, October 20.

b Chair of the Local Arrangements Committee for the Mid-Atlantic Chapter meeting of SEM, University of Pittsburgh, April 8-10.

1993a Organizer and chairman of the fourteenth and fifteenth semi-annual meetings of the Association for Chinese Music Research in Los Angeles, March 27, and Oxford, Mississippi, October 29.

b Co-organizer of conference “Music in Chinese Ritual: Expressions of Authority and Power” at the University of Pittsburgh, major funding from NEH, May 5- 10. Read a paper entitled “The Nature of Ritual Sound”.

c “Charles Seeger and Modern Physics” at the annual meeting of the Society for Ethnomusicology, October 30. Oxford, Mississippi.

1992a Organizer and chairman of panel “China and Its Neighbors: Musical Interaction and Its Non-Musical Implications”, annual meeting of the Association for Asian Studies, Washington D.C., April 2-5.

b Co-Organizer (with John M. Ward) of a one-day symposium entitled “Ways of Representing Music” sponsored by Harvard University, April 11. Read a paper entitled “Not Notating the Notatable: From Tablature to Performance”.

c “A Survey of Chinese Music in the U.S.” (in Chinese) at the 7th annual conference of the Chinese Traditional Music Society (Beijing), July 21-25. Withdrawal at last minute; paper read by a colleague.

d “A Center for Traditional Music in a Modern Society: Challenges and Opportunities” invited speaker at the 5th International Conference of Ethnomusicology (Taipei), September 14-19.

e Organizer and chairman of the twelfth ⁄and thirteenth semi-annual meetings of the Association for Chinese Music Research in Washington D.C., April 4 and Seattle, October 22.

1991a “Programmatic labeling and formal structure in the composition Jiukuang [Wine Madness]”, Association for Chinese Music Research, tenth semi-annual meeting, New Orleans, April 12.

b Program chairman for the World Conference of the International Council for Traditional Music, July 3-9, Hong Kong.

c Organizer and chairman of panel “Charles Seeger Studies”, annual meeting of the Society for Ethnomusicology, Chicago, October 10-13.

d Organizer and chairman of the tenth and eleventh semi-annual meetings of the Association for Chinese Music Research in New Orleans, April 12 and Chicago, October 10.

e “Chinese Music in the U.S.: A Research Strategy”, annual conference of the Jiu Zhou Society, Cambridge, MA, December 7.

Bell Yung’s CV 18

1990a “The Relationship of Text and Tune in Chinese Opera”, invited paper at a symposium entitled Language, Speech, Music, and Brain, sponsored and organized by the Department of Speech Communication and Music Acoustics of the Swedish Royal Institute of Technology, Stockholm, September 5-8.

b Organizer and chairman of panel “Problems and Methods in Historical and Historiographical Research in Chinese Music”, American Musicological Society annual meeting, Oakland, CA, November 8-11.

c “Preparing a modern edition of Niezheng Assassinates King Han from a 15th

century notation for the seven-string zither”, American Musicological Society annual meeting, Oakland, CA, November 8-11.

d Organizer and chairman of the eighth and ninth semi-annual meetings of the Association for Chinese Music Research in Chicago, April 6 and Oakland, CA, November 8.

1989a “Musical Style of Yao Bingyan”, Conference of Dongfang Yinyue Xuehui [Oriental Music Society], The Shanghai Conservatory of Music, January 5-8.

b “’The Assassination of King Han’: Evolution of a Musical Composition”, Niagara chapter meeting of SEM, Cleveland, April 8-9.

c “The Collecting of Folk Literature in Present Day China”, International Symposium on Chinese Folk Literature, Taipei, Taiwan, September 4-8.

d Organizer of the sixth and seventh semi-annual meetings of the Association for Chinese Music Research in Washington D.C., March 17 and Cambridge, MA, November 10.

1988a Organizer and chairman for panel “Traditional Performing Arts in Contemporary China: Survival and Revival” at the 1988 Annual Meeting of the Association for Asian Studies, San Francisco, March 25-27.

b “From the Scholar’s Study onto the Concert Stage: the Music of the Seven- String Zither” read at the 1988 Annual Meeting of the Association for Asian Studies, San Francisco, March 25-27.

c Organizer of the fourth and fifth semi-annual meetings of the Association for Chinese Music Research in San Francisco, March 27 and Tempe, Arizona, October 20.

d “Problems and Challenges in the Transcription of Guqin Music into Staff Notation”, 5th semi-annual meeting of ACMR, Tempe, Arizona, October 20.

e “The Influence of the Literati on the Historical Development of Guqin Music”, Jiuzhou Conference, Harvard University, December 3.

f “The Life and Work of Yao Bingyan”, Conference of the Society for Ethnomusicological Research in Hong Kong, The Chinese University of Hong Kong, December 28-30.

1987a Organizer of the second and third semi-annual meetings of the Association for Chinese Music Research, Harvard University, April 12 and Ann Arbor, Michigan, November 5. Published ACMR Newsletter No.1 (June 10, 1987).

b Organizer and chairman for panel “Scale and Mode in East Asian Music: Some Recent Theories and Observations” at the 32nd Annual Meeting of the Society for Ethnomusicology, Ann Arbor, Michigan, November 4-8. Read a paper “The Concept of Sin in Cantonese Opera” as part of the panel.

Bell Yung’s CV 19

1986a Organizer and chairman for panel “Identity, Variance, and the Creative Process: Five Case Studies in Chinese Music” at the 31st Annual Meeting of the Society for Ethnomusicology, Rochester, New York, October 16-19. Established the Association for Chinese Music Research with first semi-annual meeting.

b “Music of guqin: survival of an ancient tradition in the modern world”, invited speaker at the conference “Contemporary China” at Miami University, Oxford, Ohio, Nov. 8.

1985a “Orality and Literacy in the Transmission of Guqin Music”, ICTM Colloquium, Tokyo, Japan, January 7-14. Last minute withdrawal due to illness.

b “Historical Interdependency in the Music of Guqin [Seven-string Zither]”, invited lecture at the Symposium on National Music Cultures and Intercultural Dependencies, sponsored by the International Institute for Comparative Music Studies and Documentation, West Berlin, June 7-10.

1984 “Unusual Pitch Material in a 15th Century Collection of Zither Notation” read at the 29th annual conference of the Society for Ethnomusicology, Los Angeles, October 18-21.

1983a “The Speech-song Spectrum in Cantonese Opera” read at the annual meeting of the Conference on Chinese Oral and Performing Literature, in San Francisco, March 25.

b “Choreographic and Kinesthetic Elements in the Performance of the Seven- string Zither” read at the 27th conference of International Council for Traditional Music (ICTM), New York City, August 8-16.

c “Padding Words in Cantonese Opera” invited leture at the Seminar for Chinese Ethnic Music, Taipei, August 19-24. Served as panel chairman for “Current Scene for Chinese Traditional Music” at the same seminar.

1982a “Ch’en-tzu (padding words) in Cantonese Opera: a Musical Approach” read at the annual meeting of the Conference on Chinese Oral and Performing Literature, in Chicago, April.

b “The Recreative Process in the Music of the Seven-string Zither” read at the annual conference of SEM, Washington D.C., November.

1981 “Pan-yen: Cantonese Popular Narrative for the Pleasure Quarters” read at the annual meeting of the Conference on Chinese Oral and Performing Literature, in Toronto, March.

1979a “T’ien-tz’ u (text-setting) in Cantonese Opera” read at the annual conference of the AAS (Association for Asian Studies ) in Los Angeles, April.

b “Model Opera as Model” read at the Workshop on Contemporary Chinese Literature and Performing Arts at Harvard University, June.

1978 “Towards an Understanding of Sin (Mode)” read at the Northeast Chapter meeting of SEM at Amherst College, March.

1977 “Music Identity in Cantonese Opera” read at the XII Congress of the International Musicological Society at Berkeley, August.

1976a “Reconstructing a Lost Performance Context—A Field Work Experiment” read at the Northeast Chapter meeting of SEM at Dartmouth College, March.

b “Socio-political Factors in the Acculturation of Chinese Operas in America” read at the annual conference of SEM at Philadelphia, November.

Bell Yung’s CV 20

1974 “Role of Speech Tones in the Creative Process of Cantonese Opera” read at the Northeast Chapter meeting of SEM (Society for Ethnomusicology) at Brown University, March.

Invited Lectures 2017 Invited Lecture at the Music Department, The Chinese University of Hong Kong,

October 12. "Metrical Transformation and Tune Metamorphosis in Cantonese Opera -- dedicated to Rulan Chao Pian, pioneer in the study of Chinese traditional opera"

2017 Two invited lectures at the University of British Columbia, Vancouve, Sept. 21 and 22. “Hong Kong’s Folk Music and Local Culture: The Art of a Cantonese Blind Singer”, “An Audience of One: The Private Music of the Chinese Literati”.

2016 Three Lectures on Chinese Culture at The City University of Hong Kong. 1. “

民間音樂搜集：瞽師杜煥富隆茶樓唱南音” Collecting People’s Music: The Blind Singer Dou Wun sings Naamyam Songs in a Hong Kong Teahouse. 11/28. 2. 粵劇的藝術價值和唱腔特點 The Artistic Value of Cantonese Opera: Focusing on Its Vocal Musical Style. 11/29. 3. 以“廣陵散”為例試論琴曲演

變的“今”、“古”相互影響 Historical Interdependency of Music: the development of qin compositions. 11/30.

2013 Lecture on Cantonese Opera (in Chinese: 宏觀粵劇介口的音樂成份和編排), Lecture Series on Cantonese Opera at Open University of Hong Kong (Nov. 17)

2013 Guest speaker at the Memorial Concert for Wong Yuet Sang (Nov. 23), The Chinese University of Hong Kong.

2012 Emory University, “On fieldwork in Ethnomusicology (February 17); Winchester Thurston School, lecture and demonstration on the qin (April 15);.

2011 University of Haifa, Israel (December 5), lecture-demonstration on qin; Hebrew University of Jerusalem, Israel (December 6), lecture on Chinese opera.

2010a UCLA “Writing the biography of Tsar Teh-yun” (June 2). 2010b New Asia College, The Chinese University of Hong Kong, three lectures as the

23rd Ch’ien Mu Lecturer: “Hong Kong’s Own Theater: Cantonese Opera and Cultural Rights” (in Chinese, March 10); “Folk Music and Local Culture: Blind Dou Wun Sings about Hong Kong” (in Chinese, March 12); “Master Tsar Teh- yun: An Exemplar of Hong Kong’s Literati Tradition” (in English, 3/16).

2010c Penn State Allegheny County, “Performing Arts of China, Japan and Korea”, January 19.

2008a University of Alcala, Spain (May 10, 11), a two-day mini-course on the Music of China, Japan and Korea.

2008b Music Research Institute of the China Academy of the Arts (June 10, 11), two lectures, “The musicological writings of Charles Seeger” and “A fieldwork experiment”. In Chinese.

2007a The Central Library, Hong Kong, May 12. 2007b School of Music, Zhejiang Normal University, Hangzhou, China. September 20. 2005a Cambridge Discussion Group, Harvard University (January 28, cancelled in the

last minute because I needed to return to Pittsburgh).

Bell Yung’s CV 21

2005b Freer Gallery, the Smithsonian. Two gallery talks and a lecture-concert. Oct. 21 and 22, 2005.

2005c Deyin Qin Society (Hong Kong) as speaker and as performer, Nov. 13 and 20, 2005.

2005d Seminar on Experimenting Chinese Opera (Hong Kong) as panel member, November 21-25, 2005.

2005e World Culture Forum (Amman, Jordan) as speaker, December 8-10, 2005. Withdrew due to safety consideration.

2004 Michigan State University, East Lansing, 10/26-27 2003 UCLA (March 11), Music Research Institute of Beijing (Nov. 25), Shanghai

Conservatory of Music (Nov. 26), Hanyang University, Seoul (Nov. 29, cancelled in the last minute because I needed to return to Pittsburgh.)

2003 Emory University (March 24), Department of History and Philosophy of Science, University of Pittsburgh (April 15), Aula de Música, Universidad de Alcalá, Spain (May 3 and 4), University of Maryland at College Park (October 17), Princeton University (November 13)

2002 Bowdoin College, Maine (March 29), University of Michigan, Ann Arbor (November 8).

2001 Donald Grout Lecturer, Cornell University (February 14), City University of Hong Kong (June 30), The Hong Kong University of Science and Technology (September 15).

1999 National Taiwan University (March 12-13), Hong Kong Academy for Performing Arts (April 20 and December 3), Friends of the University Museum, University of Hong Kong (November 6), Inaugural lecture for appointment to the Kwan Fong Chair of Chinese Music, University of Hong Kong (November 11).

1998 University of Michigan (March 21) 1997 Center for the Promotion of Chinese Culture, Hong Kong (May 30) 1996 Festival of Chinese Music, Cincinnati Conservatory of Music (March 28),

University of California at Berkeley (April 15) 1994 Durham University, England (May 12); Peabody Conservatory of Music

(November 3). 1993 UC Santa Barbara (October 15). 1992 UCLA (April 17); Ochanomizu University, Tokyo (July 27), Chatham Square

Public Library, NYC (November 21). 1991 Ohio State University (February 20); University of Hawaii (April 18); UCLA

(April 22); Leiden University, The Netherlands (April 26 and May 3, declined); Phillips Academy (June 20); Shippensburg University (November 5), Harvard University (December 5).

1990 Kent State University (March 16); The Chinese University of Hong Kong (June 26)

1989 Henry Street Settlement, New York City (January 22); University of California, Davis (May 2)

1988 The Chinese University of Hong Kong (February 8); Colby College, Maine (March 17); New York University (April 25)

1987 University of Vermont (October 12)

Bell Yung’s CV 22

1986 Bates College, Maine; Shanghai Conservatory of Music; Research Institute of Music, Beijing; China Conservatory of Music, Beijing; Miami University, Ohio

1985 Harvard University 1984 University of Washington 1983 University of British Columbia; Academi Senitari Indonesia, Yogyakarta, Java;

Society of Ethnomusicology (ROC), Taipei 1982 Shanghai Conservatory of Music; Cornell University; Durham Oriental Music

Festival, Durham University, England; 5th International Summer School, Oxford University, England

1981 Cornell University Performances 2016QinrecitaltoaccompanyanexhibitionPaintingwithWords:Gentleman

ArtistsoftheMingDynasty.Freer/Sackler,theSmithsonianMuseumofAsianArt.WashingtonDC.May13-15.

2012 Participated in the Chinese and Tibetan Music Concert, Emory University, Feburary 19. Qin recital, Music Department, University of Pittsburgh, March 26; Qin performance at a charity concert for the Four Nations Chamber Music Group, New York City, May 1.

2011a Noon recital on piano, Music Department, University of Pittsburgh, Oct. 27. 2011b Qin lecture-demonstration, University of Haifa, Dec. 5. 2009 One of three performers in a recital of seven-string zither, Hong Kong

University, February 17. 2003 Recital on the seven-string zither, Emory University, March 24 2002a Recital on the seven-string zither, Bowdoin College, Maine, March 29 2002b Recital on the seven-string zither, University Museum, University of Michigan,

November 7 1998 Pianist with Joshua Chan on the erhu (one segment of concert), Loke Yew Hall,

University of Hong Kong, September 10. 1998 Qin Music on Antique Instruments (one of five performers), University

Museum and Art Gallery, University of Hong Kong, October 17. 1996 Lecture/Recital on the seven-string zither, Zuni Icosahedron, Hong Kong,

November 19. 1993 Piano solo, Noon Recitals, Music Department, University of Pittsburgh,

February 12 and December 3. 1991 Guest conductor of the 25th anniversary concert by the Chinese Intercollegiate

Choral Society (Boston) at Sanders Theater, Cambridge, September 15. 1991 Pianist for a concert in honor of the retirement of Kwabena Nketia, Frick Fine

Arts Auditorium, University of Pittsburgh, November 23. 1990 Lecture/Recital on the seven-string zither, Music Department, University of

Pittsburgh, February 22. 1988 Recital on the seven-string zither, at the Asian American Arts Center, NYC,

April 22. 1987 Recital on the seven-string zither, at the Asian Arts Institute/Asian American

Dance Theater, New York City, January 31. 1985 Recital on the seven-string zither, at Kent State University, November 23.

Bell Yung’s CV 23

1983 Recital on the seven-string zither, in Pittsburgh, October 23. 1968 Pianist to accompany voice recital by Sun Shao-ru, Kresge Auditorium, M.I.T.

Cambridge, MA

Other Musical Experiences 1968-70 Director and conductor of the Chinese Children’s Choir of Boston 1968-70 Member of Chorus Pro Musica, Boston 1969-72 Director and conductor of the Chinese Intercollegiate Choral Society of

Boston 1971-72 Director and conductor of the Radcliffe Madrigal Society 1976-78 Cornell University Gamelan Given lessons at various levels on the piano and on the Chinese seven-string zither

Fieldwork Experience

1972-73, 74-75, yearly thereafter in the 1980s, 1990s, and 2000s, Hong Kong Summers 1980-82, studied the seven-string zither in Shanghai, China Summer 1983, studied gamelan performance in Yogyakarta, Indonesia

TEACHING

Courses and Seminars Taught at the University of Pittsburgh Courses taught at the University of Pittsburgh: Introduction to World Music Music of East Asia Introduction to Ethnomusicology (graduate pro-seminar) Transcription and Analysis Seminar in Chinese Music – Chinese opera Seminar in Chinese Music – Historical documents Seminar in Chinese Music – Seven-string zither Ethnomusicology Seminar -- Writings of Charles Seeger Chinese Performance Literature Freshmen Studies

Courses taught at the University of Hong Kong: Music of China, Chinese Music History, Transcription and Analysis of Orally-Transmitted Music, Introduction to World Music, Language of Music, Music in the Commercial World, Postgraduate Pro-seminar

Committee Chair of the following completed PhD Dissertations; their current academic positions (listing according to chronology of completion of degree)

Bell Yung’s CV 24

Sau-yan Chan, PhD, (entered program in 1981) 1986, “Improvisation in Cantonese Operatic Music”. Retired in 2008 as Professor of music at the Chinese University of Hong Kong.

J. Lawrence Witzleben, PhD (1982) 1987, “Silk and Bamboo: Jiangnan Sizhu Instrumental Ensemble Music of Shanghai”. Professor of music at the University of Maryland, College Park.

Ping-hui Li, PhD (1984) 1991, “The Dynamics of a Musical Tradition: Contextual Adaptations in the Music of Taiwanese Beiguan Wind and Percussion Ensemble”. Associate professor of music at the University of Puerto Rico.

Ying-fen Wang, PhD, (1984) 1992, “Tune Identity and Compositional Process in Zhongbei Songs: A Semiotic Analysis of Nanguan Vocal Music”. Professor of music and Director of the Research Institute of Music at the National Taiwan University.

Helen Rees, PhD, (1989) 1994, “A Musical Chameleon: Dongjing Music of the Naxi people of Yunnan”. Professor of Ethnomusicology at UCLA.

Nancy Guy, PhD, (1988) 1996, “Peking Opera and Politics in Post-1949 Taiwan.” Professor of music at the University of California at San Diego.

Nimrod Bernoviz, PhD, (1990) 1997, “China’s New Voices: Politics, Ethnicity and Gender in Post-Revolutionary Popular Music Culture on the Mainland, 1978-96.” Associate professor and Chair of the Department of East Asian Studies, University of Haifa, Israel.

Lee Tong Soon, PhD, (1992) 1998, “Performing Chinese Street Opera and Constructing National Culture in Singapore.” Professor of Music, The Chinese University of Hong Kong.

Ben Wu, PhD, (1992) 1998, “Ritual Music in the Court and Rulership of the Qing Dynasty (1644-1911)”. Currently working in the computer industry.

Shingil Park, PhD, (1994) 2000. “Negotiating Identities in a Performance genre: the case of P’ungmul in contemporary Seoul”. Currently teaching part-time in Seoul, Korea.

Lei Ouyang Bryant, PhD, (1998) 2004. “’New Songs of the Battlefield’: Songs and Memories of the Chinese Cultural Revolution.” Associate Professor of Music, Skidmore College.

Darinda Congdon, PhD, (1996) 2007. “’Tibet Chic’: Myth, Marketing, Spirituality and Politics in Musical Representations of Tibet in the United States.” Currently teaching elementary school.

Eun-young Jung, (1998) 2007. “Transnational Dynamics in Northeast Asia: The ‘Presence’ of Japan in Korea’s Popular Music Culture, 1996-2006.” Assistant Professor, Music Department, University of California at San Diego.

Stephanie Webster-Cheng (2000) 2008. “Composing, Revising, and Performing Suzhou Ballads: a Study of Political Control and Artistic Freedom in Tanci, 1949- 1966.”

Ben Pachter (2006) 2013. “Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre.”

Yuko Eguchi Wright (2005) 2015. “The Arts of the Geisha: Unraveling the Artistic Traditions and the Aesthetics of Iroke through an Analysis of their Music and Dance”.

Bell Yung’s CV 25

Da Lin (2006) 2017. “The Political Economy of Kun Opera in China (1940s to 2015)”.

ABD students holding full-time academic positions and other full-time jobs related to training

Steven Knopoff (1986-), ABD, on Australian aboriginal music. Associate Professor of Music at the University of Adelaide (Australia).

Christopher Pak (1989-), ABD, on the history of Chinese national orchestra. Associate Professor of Music at the Hong Kong Academy of the Performing Arts.

Ying-Fai Tsui (1990-), ABD, on Cantonese instrumental music. Director of Chinese Music, Leisure and Culture Department, Hong Kong Government.

Chair of Current PhD Students under Supervision (chronologically according to year of entry to program)

Meng Ren (2010-), PhD, on Henan Opera Committee Chair of the following completed MA Theses (listing according to chronology of completion of degree)

Sau-yan Chan, MA 1984, “The Arrangements of Tunes in Nanxi (Southern Drama) of the Song Dynasty (960-1279)”. Completed Ph.D. at University of Pittsburgh in 1986. Professor of Music at the Chinese University of Hong Kong.

Christopher Pak, MA 1993, “How Shall We Praise Our Lord in a Foreign Land? Music of a Chinese Christian Church in the United States”. Currently a lecturer at the Hong Kong Academy of the Performing Arts and a Ph.D. candidate at University of Pittsburgh..

Shek-kam Lee, MA, 1995, “Reading between the Lines: Rhythmic Information in Qin Handbooks.” Currently teaching high school in Hong Kong.

Lee Tong Soon, MA, 1995, “Musical Processes and their Religious Significance in the Islamic Call to Prayer”. Completed Ph.D. at University of Pittsburgh in 1998. Currently on the faculty of Emory University.

Ben Wu, MA, 1995, “Representing Tibetan Music East and West”. Completed Ph.D. at University of Pittsburgh. Completed a Master’s degree in Informational Sciences. Currently working in the Computer Industry.

Nimrod Bernoviz, MA, 1996, “The Chinese Diao: Modal Practice in Fifteenth Century Qin Music.” Completed Ph.D. at University of Pittsburgh in 1997. Faculty at University of Haifa, Israel.

Lei Bryant, MA, 2001, “A Musical Metaphor for Nation-Building: The folksong Esash i Oiwake in early twentieth century Japan”. Faculty at Skidmore College.

Darinda Congdon, MA, 2002, “Transcription and Analysis of Melodic and Rhythmic Patterns in Tibetan Nomadic and Pastoral Song”.

Stephanie Webster-Cheng, MA, 2004. “China’s Children’s Palace: training in skills and morality through music.”

Benjamin Pachter, MA, 2009. “Drumming for the Mouse: Kumidaiko and the Exhibition of “Japan” at Walt Disney World.”

Shuo Zhang, MA, 2009. “Erhu as Violin.”

Bell Yung’s CV 26

Da Lin, M.A., 2011. “Media, Market Economy, and Cultural Transformation: Qin Music in Contemporary China”

Meng Ren, M.A., 2012. “Why Are the Flowers So ‘Red’: Scholarship and Policy Changes on Hua’er (Flower Songs) in Northwest China”

Committee Member of completed MA Theses and PhD Dissertations

Cheryl Lynn Bruner, MA, 1981, “An Experimental Investigation into the Perception of Similarity Among Three- and Four- Note Set Classes”, committee chair Slawson

Sherman Hesselgrave, MA, 1982, “Frederic Archer in Pittsburgh (1895-1901)”, committee chair Beikman

Calvin Elliker, MA, 1987, “Stephen Collins Foster: A Guide to Research”, committee chair Root

Pen-yeh Tsao, PhD, 1989, “Taoist Ritual Music of the Yu-Lan Pen-Hui (Feeding the Hungry Ghost Festival) in a Hong Kong Taoist Temple: A Repertoire Study”, committee chair Nketia

Robert Raymond Grimes, PhD, 1992, “How Shall We Sing In a Foreign Land? Music of Catholic Immigrants in the Antebellum United States”, committee chair Root

Mark Sunkett, PhD, 1993, “Mandiani Drum and Dance Form and Aspects of African- American Aesthetics”, committee chair Nketia

Pat Opondo, PhD, 1996, “Dodo Performance in the Context of Women’s Associations Amongst the Luo of Kenya”, committee chair Nketia

Heesun Kim, PhD, 2004, “Kayagum Shingok: Composition, Performance, and Representation of New Kayagum Music in Contemporary South Korea,” committee chair Weintraub

Carolina Santamaria, PhD, 2006, “Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medellin, Colombia, 1930-1953,” committee chair Weintraub

Shanna Lorenz, PhD, 2007, committee chair Weintraub Yuko Eguchi, MA, 2008, committee chair Weintraub Stephen Greene, PhD, 2008, committee chair Root Ryan Durkopp, MA, 2009, committee chair Weintraub Dorcinda Knauth, PhD 2010, committee chair Root Indra Ridwan, MA, 2010, committee chair Weintraub Ben Breuer, PhD, 2010, committee chair Lewis Colter Harper, PhD, 2010, committee chair Davis

Fellowships Won by Graduate Students under my Supervision

National and international fellowships: Fulbrights (Nancy Guy, Steve Knopoff), ACLS (Tong Soon Lee, Ping-hui Li), Chiang Ching Kuo (Ying-fen Wang, Meng Ren, Da Lin), CSCPRC (Larry Witzleben), FLAS (Lei Bryant, Darinda Congdon, Nancy Guy, Nadine Saada, Stephanie Webster), AMS 50 (Nancy Guy).

Fellowships from University of Pittsburgh: Mellon Fellowships in Arts and Sciences (Nimrod Bernoviz, Lei Bryant, Nancy Guy, Steve Knopoff, Tong Soon Lee, Da Lin, Ben Pachter, Christopher Park, Helen Rees, Meng Ren, Ying-fen Wang, Larry Witzleben), Chancellor’s Fellowships in Chinese Studies (Nimrod Bernoviz, Darinda Congdon, Raffaella Gallio, Tong Soon

Bell Yung’s CV 27

Lee, Da Lin, Helen Rees, Gregory Rosenthal, Ben Wu, Shuo Zhang, Meng Ren); Japan Iron and Steel/Mitsubishi Fellowship (Eun-young Jung, Yuko Eguchi, Ben Pachter).

Supervisor of M.Phil. students at the University of Hong Kong

Lorena Hui on Japanese Noh Drama. M.Phil. Completed September 1999. Ciris Leung on Cantonese Opera. Mphil. Completed in September 2000. Daphne Lee on Guqin Music in Hong Kong, M.Phil. Completed in September 2001.

External Advisor/Examiner to PhD Dissertations and MA Theses (Chronological listing) Wing-wah CHAN, University of Toronto, Canada, PhD, 1986 Mu YANG, University of Queensland, Australia, PhD, 1989 LAU Ngai-man, The Chinese University of Hong Kong, MA, 1993 Elsa LEE, The University of Adelaide, Australia, PhD, January 1994 LAM Manyi, The Chinese University of Hong Kong, MA 1995 MA Manha, The Chinese University of Hong Kong, MA 1996 TANG Siuwah, The Chinese University of Hong Kong, MA 1996 CHOU Chunyi, The Chinese University of Hong Kong, MA 1997 Erica LEE, The Chinese University of Hong Kong, MA 1998 CHAN Chak Lui, The Chinese University of Hong Kong, MA 2001 WANG Zheng-ting, University of Melbourne, PhD 2002 Ingrid FURNISS, Princeton University, PhD 2005

Private qin lessons Given Mara Helmuth, 2004-05 LEE Tong Soon, 2008-2010 Kelson Law, September 2011 to July 2012

PROFESSIONAL SERVICE

Professional Societies Founder and President of the Association for Chinese Music Research (ACMR,

founded 1986); organizer of its annual meetings, 1986-97; editor of its Reports (formerly Newsletter), 1986-1997

Board of Directors, Society for Asian Music, 1990-95 Council member, American Musicological Society, 1995-98 Council member, Society for Ethnomusicology (SEM), 1984-87, 90-93 Board of Directors, the Conference on Chinese Oral and Performing Literature,1981- President, the Conference on Chinese Oral and Performing Literature, 1994-1998 Nominating committee, SEM, 1987 Local Arrangements Chair, 1994 meeting of Mid-Atlantic Chapter of SEM Program committee, 1989 SEM national conference Organizer and coordinator of several annual meetings of the Conference on Chinese

Oral and Performing Literature since 1989 Program Chair for the 1991 World Conference of the International Council for

Traditional Music

Bell Yung’s CV 28

Liaison officer in Hong Kong for the International Folk Music Council (now International Council for Traditional Music), 1979-80

Member of Society for Ethnomusicology, American Musicological Society, International Musicological Society, International Council for Traditional Music, Association for Chinese Music Research, Chinoperl, Association for Vietnamese Music Research, Association for Asian Studies, Society for Ethnomusicological Research in Hong Kong.

Services to the Profession and Public Sector

Member of the Advisory Board, Institute of Chinese Studies, the Chinese University of Hong Kong, 2009-2011.

Consultant to Garland Encyclopedia of World Music, East Asia Volume. Reviewer of fellowship applications for ACLS, NEH, Fulbright, CSCPRC,

Guggenheim, Research Grants Committee (Hong Kong), Australian Grants Council, Chiang Ching Kuo Foundation

Reviewer of candidates for Hong Kong Institute of Education 2011, Academia Sinica, Taiwan 2008, National University of Taiwan 2006.

Member of Search Committee for faculty members, Research Institute of Music, National University of Taiwan, 1998.

Member of Tenure Committee, Research Institute of Music, National Taiwan University (1998, 99)

External Examiner for the Chinese University of Hong Kong, 1994-97 Review Panel, National Endowment for the Arts, Folk Arts Program, 1989-90 Review Panel, National Endowment for the Arts, Expansion Arts Program, 1992 Site reviewer for the National Endowment for the Arts, Folk Arts Program, 1986-89 Site reviewer for the National Endowment for the Arts, Expansion Arts Program, 1992-

93 Academic Consultant to the Asian American Arts Centre, New York City, 1989- Academic Consultant to the New York Chinatown History Museum, New York City,

1989- Academic Consultant to documentary film “Singing to Remember” about a Chinese

folksinger in New York City, by filmmaker Tony Heriza, 1990-1 Organizer and director of the Planning Session for a Conference on the Social Context

of Chinese Music (funded by ACLS), 1988.12.11 Advisor to the Music Department of the University of California at Davis in their

planning of a new ethnomusicology program, 1989.5.2-3 Advisor to the National Taiwan University in their planning of a new Music

Department, 1989.9.6 Refereeing for Journals

Ethnomusicology, Asian Music, Journal of the American Musicological Society, Journal of the Royal Society of Music (London), Journal of Musicological Research, The World of Music (Berlin), Chinoperl: Journal of Chinese Oral and Performing Literature, Renditions (The Chinese University of Hong Kong), Minsu Quyi (Taipei), Journal for Asian Studies (Hong Kong University), Language and Speech, Yearbook for Traditional Music, Symposium (College Music Society), Pacific Review of

Bell Yung’s CV 29

Ethnomusicology, Music Iconography, Xue Cong (Singapore), Journal of the Society for American Music, Monumenta Serica: Journal of Oriental Studies.

Refereeing for Publishers

University of Washington Press, University of Pittsburgh Press, The Chinese University of Hong Kong Press, Hong Kong University Press, SUNY Press, British Academy Postdoctoral Fellowship Monograph Competition, Ashgate.

Refereeing for Funding Organizations

John Simon Guggenheim Memorial Foundation, National Endowment for the Humanities, University Research Council (Hong Kong), Australian Research Council, Chiang Ching Kuo Foundation, Academia Sinica (Taiwan).

Services to the University of Pittsburgh

Mellon Pre-doctoral Fellowship Committee, 2010-11 Promotion Committee for the Department of East Asian Languages and Literature,

2010-11. Tenure/Promotion Ad Hoc Committee in 2010: Feb. 17, Hispanic Languages and

Literature; March 19 Africana Studies; March 24 Political Science, April 30 Political Science.

Committee on Excellence in Mentoring, 2009-10 Tenure Council, 1987-91, 2007-2011 Provost Humanities Fellowship Committee, 2006 Director of Asian Studies Center, 2001-06 FAS Grants Committee, 1981-82, 83-86, 2008-2011 China Council, 1983-present; Chair, 1992-4 Committee for Contemporary China Program, 1986-87 University Council for Graduate Studies, 1988-90 Speaker at FAS Alumni weekend, “A Celebration of the Arts at Pitt”, March 1992 Panelists for “Crossing Disciplines” at the Faculty of Arts and Sciences Grad Expo,

March 17, 2000 Asian Studies IDMA Committee, 1999-2001 Asian Studies Oversight Committee, 1999-2001 Lawler Fellowship Committee, 1999-2000

Services to the Music Department, University of Pittsburgh Director of Graduate Admissions, 2008- Director of Graduate Studies, 1986-87, 90-91 Departmental Colloquia, 1983-90, 03-05 Revision of graduate curriculum in ethnomusicology, 1983-84 Revision of PhD comprehensive examination, 1989-90, 2003 Library Committee, 1988-; Chair, 1993-96 Liaison Officer for Music Faculty to the Music Librarian, 1981-84 Departmental Meeting Secretary, 1982-84

Services at the University of Hong Kong and in Hong Kong (1996-2002)

Bell Yung’s CV 30

University Senate, 1998-2002 Higher Arts Degree Committee, 1996-2000; Chair, 1998-2000 Board of the Faculty of Arts, 1996-2002 Committee for the Selection of Senior Teachers, 1997-98 Committee for the Selection and Academic Re-titling of Assistant Professors, 1997-

2000 Associate Dean, Arts Faculty, 1998-2000 Acting Dean, Arts Faculty, various periods in 1998-2000 Board of Examiners, Graduate School, 1998-2002 Dean’s Committee, Arts Faculty, 1998-2000 Internal Research Assessment Exercise, Arts Faculty, 1998. Member for the Panel on Cerative Arts, Performing Arts and Design, Research

Assessment Exercise, University Grants Council, 1996. Chairman of the Panel on Creative Arts, Performing Arts and Design, Research

Assessment Exercise, University Grants Council, 1999. Vice-Chancellor’s Advisory Group, 1998-9. Graduate Board of Examination, 1998-2002 Chair and founder, HKU Center for Cultural Policy Research 1997-2002 Working Group for the establishment of Hong Kong Culture and Society as an Area of

Excellence, 1998-2000 Member of consultation group on Culture and Value, Curriculum Reform, 1997 Renovation of Loke Yew Hall, 1999. Major role in overhauling the department’s bachelor’s degree curriculum and the

graduate program, 1996-99. Committee on the Introduction of Cantonese Opera to High School Curriculum, Hong

Kong Department of Education (Chair), 1996-98 Member of the Advisory Group for Arts and Museum, Regional Council, Hong Kong,

1998-2002 Sixth Form Music Subject Committee, Hong Kong Examination Board, 1996-2000 Member of the Advisory Group for Arts Development Council, Hong Kong, 1998-2002 Member of Board of Directors, Zuni Icosahedron, 1997-2002 Board of Director and founding member, HKU Chinese Chamber Ensemble, 1999-

2002 Initiator and member of exploratory committee, ArtsAll Program, 1999 Initiator and member of committee, Artist-in-Residence Program, 1999 Advisory Board, Yaumatei Cinema and Cantonese Opera House Project, 1999-2000

Board of Directors, National (China) Society of Melody Studies, 2000-currently

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