Bell Yung’s CV 1

Bell Yung: Curriculum Vitae

Affiliate Professor of Music, University of Washington

Emeritus Professor of Music University of Pittsburgh

May 2019

Home Address

2705 Walnut Street, Bellingham, PA 98225

Tel: landline (360)306-8536; mobile (360)927-9311

email: byun@pitt.edu

Education

Ph.D. in Music, Harvard University, 1976 (year awarded 1977)

Ph.D. in Physics, Massachusetts Institute of Technology, 1969 (year awarded1970)

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.

Director of Asian Studies Center, University of Pittsburgh, 2001-2006

Associate Dean of Arts (Research and Postgraduate Studies), University of Hong Kong,

1998-2000.

Bell Yung’s CV 2

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.

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.

Senior Research Fellowship, University Center for International Studies, University of

Pittsburgh, Fall 1995. NEH Grant for conference on Music in Chinese Ritual, 1993.

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

Bell Yung’s CV 3

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.

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).

Bell Yung’s CV 4

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.

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.

Bell Yung’s CV 5

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.

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

Bell Yung’s CV 6

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.

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.

Bell Yung’s CV 7

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

2019 “Revenge in Guang Chang Long大鬧廣昌隆--Hong Kong’s Cultural Treasure

8”, 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. March.

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》

[Unfaded Splendour: Representation and Modernity of the Burmese Classical Music Tradition], by 呂心純(Lu Hsin-chun, aka Hsin-chun Tasaw Lu). Taipei: National Taiwan University Press, 2012. In CHIME (Journal of the European Foundation for Chinese Music Research), No. 20, 2015. 150-153.

Bell Yung’s CV 8

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

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 “The Blind Musician Dou Wun Offers Auspicious Songs for Festive Occasions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.

Bell Yung’s CV 9

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.

1997a “Celestial Airs of Antiquity: Music of the Seven-String Zither,” a compact disc

attached to and accompany the publication of the same title. Madison,

Wisconsin: A-R Editions. See Publications I: Books in English and Chinese.

1997b 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

Bell Yung’s CV 10

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.

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 2018 “序”(Preface)in 姚公白編，琴曲鉤沉：姚丙炎及其琴學琴樂。北京中華

書局。

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.

2017 “Yao Binyan de Yinyue Shenghuo” 姚丙炎的音樂生活 [The Musical

Life of Yan Bingyan].Revised version of 2008a.姚丙炎古琴藝術

[Qin Art of Yao Bingyan],圖文之部 （Pictures and Words）, 72-80. 香港：

龍音製作有限公司。 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

Bell Yung’s CV 11

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 historicallegacy 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. 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 Bingyan 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.

Bell Yung’s CV 12

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).

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

Bell Yung’s CV 13

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 (Text Setting in Cantonese Opera). published in Yinyue wenzhe [The Musical Digest], 1985.1 (Taipei, Taiwan): 145-153. Chinese translation of III.1983b by Fan Weici.

1984a “Yueju zhongdi chenzi yinyue wenti” 粵劇中的襯字音樂問題 (The issue of padding words in Cantonese Opera). Yinyue yishu 音樂藝術 （Journal of the Shanghai Conservatory of Music）, 1984.3: 23-29. Chinese translation of III.1983c by Chen Yingshi.

1984b “Lun tianci -- yueju yinyue chuangzuo yanjiu zhi er”论填词——粤

剧乐音创作研究之二 (On tianci – the creative process of

Cantonese Opera).Guangzhou yinyue xueyuan xuebao [Journal of the

Canton Conservatory]Journal of the Guangzhou Conservatory of

Music 广州音乐学院学报 1984.1. Chinese translation of III.1983b.

1983a “Lun yueju banqiang de tongyixing jiegou chengfen” 論粵劇板腔

的同一性結構成份 (On structural identity in the aria

types of Cantonese Opera). Chinese translation of III.1981

by Chen Yingshi, published in Minzu minjian yinyue yanjiu [Studies in Ethnic and Folk Music] 1983.2 (Canton, China):

58-63.

Bell Yung’s CV 14

1983b “Lun shengdiao zai yueju yinyue chuangzuo zhongdi gongneng” 論

聲調在粵劇音樂創作中的功能 (On the role of linguistic

tones in the creative process of Cantonese Opera). 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” 粵曲的唱腔體制 [Formal Structure in

Cantonese Opera] in Ming Pao Monthly (Hong Kong), February issue， pp. 85-86k˚˚˚˚˚˚˚˚˚˚.

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. 1/27/2019.

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.

2019 “一代宗師留給我們的香港心事：四十年前失明藝人杜煥”端傳媒 Initium

Media 2019-02-13

https://theinitium.com/article/20190216-culture-artist-blindness-to-wun/?code=IjIwMTkwMjE2LWN1bHR1cmUtYXJ0aXN0LWJsaW5kbmVzcy10by13dW4i%3A1gzE33%3AGf002KOf1LL92IzxfBspG2TQMEs&fbclid=IwAR2KD3lRdF7lTSMyvvjmKnFtI7F7bR2yDQo9oCYPALq5JkrrzpE2-I0BQ6Q

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 “索罟灣睇神功戲“ (Attending a Cantonese Ritual Opera Performance in

Sok Ku Wan) 戲曲品味 (Appreciating Opera) 2017年4月號。

http://operapreview.com/index.php/網上雜誌/item/698-索罟灣睇神功戲

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

Bell Yung’s CV 15

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

2019 地水南音傳粵韻 中西共研樂撫琴──專訪榮鴻曾教授（in two parts）

Digital magazine 「灼見名家」3/28, 3/29👇

http://www.master-insight.com/?p=98599

https://www.master-insight.com/?p=98632

2018 RTHK interview 11/29/2018 http://www.rthk.hk/radio/pth/programme/huantingshijie/episode/540281

2018 Apple Daily Interview 11/23/2018

https://hk.news.appledaily.com/local/daily/article/20181123/20552394

2012 Citation upon being awarded the Doctor of Literature, honoris causa, by the

Chinese University of Hong Kong.

https://www.cpr.cuhk.edu.hk/cong/hongrads/229

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.

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 Service

2018 Keynote speaker for the 6th Symposium of the Study Group on Music of East Asia,

International Conference on Traditional Music. Title: “Exploring Creativity in

Traditional Music. , August 21-23. National Gugak Center, Seoul, South Korea.

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

Bell Yung’s CV 16

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.

Bell Yung’s CV 17

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

Bell Yung’s CV 18

Oral and Performing Literature) in Washington D.C., Apil 5-6.

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

Bell Yung’s CV 19

Jiu Zhou Society, Cambridge, MA, December 7.

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 20

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.

1974 “Role of Speech Tones in the Creative Process of Cantonese Opera” read at the

Bell Yung’s CV 21

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. September20.

2005a Cambridge Discussion Group, Harvard University (January 28, cancelled in the

last minute because I needed to return to Pittsburgh).

Bell Yung’s CV 22

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.

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)

1986 Bates College, Maine; Shanghai Conservatory of Music; Research Institute of

Bell Yung’s CV 23

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

2016 Qin recital to accompany an exhibition Painting with Words: Gentleman Artists of the Ming Dynasty. Freer/Sackler, the Smithsonian Museum of Asian Art. Washington DC. May 13-15.

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 24

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

Bell Yung’s CV 25

Committee Chair of the following completed PhD Dissertations; their current

academic positions (listing according to chronology of completion of degree)

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.”

Bell Yung’s CV 26

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”.

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.

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.”

Da Lin, M.A., 2011. “Media, Market Economy, and Cultural Transformation: Qin

Music in Contemporary China”

Bell Yung’s CV 27

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

Lee, Da Lin, Helen Rees, Gregory Rosenthal, Ben Wu, Shuo Zhang, Meng

Ren); Japan Iron and Steel/Mitsubishi Fellowship (Eun-young Jung, Yuko

Bell Yung’s CV 28

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

Bell Yung’s CV 29

Program Chair for the 1991 World Conference of the International Council for Traditional Music

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,

Bell Yung’s CV 30

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

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

Bell Yung’s CV 31

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)

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.

Bell Yung’s CV 32

[end]