Although Cantonese opera music has undergone many transformations over the centuries, the performance styles have retained a number of long-standing traditional characteristics.
In this talk, Professor Yu Siu-wah examines the concepts and characteristics of Cantonese opera music and the transformations that have taken place, and offers insight into basic structures and arrangements. He also discusses how flexible applications of music elements and instruments make Cantonese opera music distinct from the music used in other forms of Chinese opera and Western performing arts.
1 June 2019 (Saturday)
Seminar Hall & Studio 5, 2/F, Xiqu Centre
(The talk will take place in the Seminar Hall, with live transmission to Studio 5.)
Prof Yu Siu-wah
Free admission. Limited capacity on a first come, first served basis. Please register online in advance.
Please contact Ms. Chan at (852) 2200 0812 or firstname.lastname@example.org during office hours.
Cantonese audio description and Hong Kong sign language interpretation are available upon request with at least 14 days’ advance notice. Wheelchair accessible seats and companion seats are available on a first come, first served basis. Please request with at least 4 days’ advance notice.
Adverse Weather Arrangements:
The talk will be cancelled if a black rainstorm warning or a typhoon signal no. 8 or above is in force at/after 10:30am on the day of the event.
Prof Yu Siu-wah is the chief editor of the Hong Kong volumes of Chinese Opera Annals and Anthology of Chinese Opera Music, and adjunct professor of Cultural Studies at Lingnan University and of the music department at Chinese University of Hong Kong. In the early 1980s, Yu worked for the Hong Kong Chinese Orchestra, RTHK, and the Hong Kong Philharmonic Orchestra in various capacities. In 1996 he received his PhD in musicology from Harvard University. Yu’s research interests include organology, instrumental music, Chinese music history, Chinese opera, music of the Manchus and Mongols in the Qing court, popular music, movie music and cultural politics in the music of Hong Kong. He has also received training in nanyin, a form of Cantonese narrative singing.