Ming-yen Lee 李明晏
Dr. Lee Ming-Yen is a Senior Lecturer at the School of Music, Nanyang Academy of Fine Arts. She specializes in ethnomusicology, with a focus on Chinese and Southeast Asian music. Her research interests encompass musical interactions in Greater China, the modern Chinese orchestra, Indonesian music, and the pedagogy of world music. She has contributed articles to journals such as Asian Culture, Asian-European Music Research Journal, Journal of Aesthetic Education, Journal of the Central Conservatory of Music, Journal of South Seas Society, Kuandu Music Journal, and Modern China Studies. Currently, she is working on her book manuscript titled "Making Music in Greater China: The Chinese Orchestras of China, Hong Kong, and Taiwan." This work explores the evolutionary paths and musical interactions of three modern Chinese orchestras spanning Greater China.
Dr. Lee holds the role of editor for the "Singapore Chinese Music" category within the Singapore Chinese Cultural Centre’s Online Repository. Moreover, she serves as a Liaison Officer for Singapore at the International Council for Traditional Music. She is also an editorial board member of Taipei Chinese Orchestra’s Silk Road journal and a committee member of the Taiwan Musicology Forum.
Beyond her academic pursuits, Dr. Lee is an accomplished erhu player, having performed at Taiwan's National Concert Hall, the CHICO'S World Music Gala, and the World Music Concert at Northern Illinois University. In 2019, she collaborated with the Channel Islands Chamber Orchestra, premiering Fabian Müller's "Taiwan Rhapsody No. 1" (erhu version) and Bo-Chan Li's "Ode to Hero, Ode to Love."
Born and raised in Taiwan, Dr. Lee was previously an Assistant Professor of Music Education at the National Taiwan University of Arts before joining the Nanyang Academy of Fine Arts.
李明晏，新加坡南洋藝術學院專任高級講師(Senior Lecturer, Nanyang Academy of Fine Arts)。先後任教於美國肯特州立大學音樂系、國立台灣藝術大學藝術與人文教學研究所、南華大學民族音樂學系。目前擔任國際傳統音樂學會(International Council for Traditional Music)新加坡代表、臺灣音樂學會理事與新加坡鼎藝團(Ding Yi Music Company)駐團研究員。研究領域包括現代國樂、印尼音樂與世界音樂教學法等。近幾年協助「新加坡華樂團」、「台北市立國樂團」以及「新加坡華族文化中心」撰寫年度展覽計畫案、音樂會節目單、週年專刊與線上資料庫。研究論文與書評曾刊登於Asian Music、Kyoto Review of Southeast Asia、Modern China Studies、Asian-European Music Research Journal、《中央音樂學院學報》、《亞洲文化》、《美育》、《南洋學報》、《關渡音樂學刊》等。
Dr. Lee holds the role of editor for the "Singapore Chinese Music" category within the Singapore Chinese Cultural Centre’s Online Repository. Moreover, she serves as a Liaison Officer for Singapore at the International Council for Traditional Music. She is also an editorial board member of Taipei Chinese Orchestra’s Silk Road journal and a committee member of the Taiwan Musicology Forum.
Beyond her academic pursuits, Dr. Lee is an accomplished erhu player, having performed at Taiwan's National Concert Hall, the CHICO'S World Music Gala, and the World Music Concert at Northern Illinois University. In 2019, she collaborated with the Channel Islands Chamber Orchestra, premiering Fabian Müller's "Taiwan Rhapsody No. 1" (erhu version) and Bo-Chan Li's "Ode to Hero, Ode to Love."
Born and raised in Taiwan, Dr. Lee was previously an Assistant Professor of Music Education at the National Taiwan University of Arts before joining the Nanyang Academy of Fine Arts.
李明晏，新加坡南洋藝術學院專任高級講師(Senior Lecturer, Nanyang Academy of Fine Arts)。先後任教於美國肯特州立大學音樂系、國立台灣藝術大學藝術與人文教學研究所、南華大學民族音樂學系。目前擔任國際傳統音樂學會(International Council for Traditional Music)新加坡代表、臺灣音樂學會理事與新加坡鼎藝團(Ding Yi Music Company)駐團研究員。研究領域包括現代國樂、印尼音樂與世界音樂教學法等。近幾年協助「新加坡華樂團」、「台北市立國樂團」以及「新加坡華族文化中心」撰寫年度展覽計畫案、音樂會節目單、週年專刊與線上資料庫。研究論文與書評曾刊登於Asian Music、Kyoto Review of Southeast Asia、Modern China Studies、Asian-European Music Research Journal、《中央音樂學院學報》、《亞洲文化》、《美育》、《南洋學報》、《關渡音樂學刊》等。
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Articles and Book Chapters by Ming-yen Lee 李明晏
于印度尼西亚八天的庆祝活动中，由各种不同的声音景观所组成，包含甘美朗西卡蒂表演 、苏丹王掷钱祈福的 Udik-udik 仪式、米山奉献仪式等。本文将运用“音乐特境”（musikscape）的概念，来讨论印度尼西亚穆罕默德诞辰庆祝是如何透过人、时、地来形塑活动中各种展演的声音景观。而在诞辰庆典里的声音景观，又是如何在八天内不同的时间与空间中，构筑出独特的音乐特境，并反映出最初穆斯林圣人试图透过此活动来宣扬的伊斯兰宗教理念。
关键词：印度尼西亚穆罕默德诞辰庆祝活动；音乐特境；甘美朗西卡蒂；
Udik-udik 仪式；米山奉献仪式
I will first look at the approach Rice took to formulating his ideas. An analysis of his survey may provide more information as to the veracity of his conclusions. Then I will look more closely at the topic of identity and its treatment within disciplines relevant to the topic. Once there is a clearer picture of the standard discourse surrounding the topic of identity, I will look where ethnomusicology’s place in the discourse might be. Hopefully through this systematic analysis of the issue, some light can be shed on the current state of ethnomusicology as it relates to discussions on the topic of identity, and ways in which ethnomusicologists might make themselves more relevant to that conversation in the future.
Shorter Essays by Ming-yen Lee 李明晏
于印度尼西亚八天的庆祝活动中，由各种不同的声音景观所组成，包含甘美朗西卡蒂表演 、苏丹王掷钱祈福的 Udik-udik 仪式、米山奉献仪式等。本文将运用“音乐特境”（musikscape）的概念，来讨论印度尼西亚穆罕默德诞辰庆祝是如何透过人、时、地来形塑活动中各种展演的声音景观。而在诞辰庆典里的声音景观，又是如何在八天内不同的时间与空间中，构筑出独特的音乐特境，并反映出最初穆斯林圣人试图透过此活动来宣扬的伊斯兰宗教理念。
关键词：印度尼西亚穆罕默德诞辰庆祝活动；音乐特境；甘美朗西卡蒂；
Udik-udik 仪式；米山奉献仪式
I will first look at the approach Rice took to formulating his ideas. An analysis of his survey may provide more information as to the veracity of his conclusions. Then I will look more closely at the topic of identity and its treatment within disciplines relevant to the topic. Once there is a clearer picture of the standard discourse surrounding the topic of identity, I will look where ethnomusicology’s place in the discourse might be. Hopefully through this systematic analysis of the issue, some light can be shed on the current state of ethnomusicology as it relates to discussions on the topic of identity, and ways in which ethnomusicologists might make themselves more relevant to that conversation in the future.
毛澤東執政時期的政策，對於音樂作品的影響所造成的轉折，約略可分為三期：建國初期(1949-1966)：首先將｢國樂｣這個名詞，改以｢民族音樂｣替代，以符合中國共產黨將多個民族視為一個大家庭之｢民族｣精神，並將國樂團更名為 ｢民族管絃樂團｣。毛澤東曾發表兩次對音樂工作者的重要談話，分別是1942年〈在延安文藝座談會上的講話〉以及1956年〈同音樂工作者的談話〉，內容皆在解釋其藝術上｢百家爭鳴、百花齊放｣的政策，並強調音樂作品必需以人民為主題。這時期的作品常以民歌作為創作素材，民樂作品往往強調奮鬥與革命精神，但對於音樂家及作品仍持較為開放的態度。
文化大革命初期(1966-1971)，藝術方面的政策有巨大的轉變，對於作曲家及作品思想嚴格管控，這個時期的藝術作品若有封建主義、資本主義以及修正主義的信念，均遭到反對，而作品若無法達到｢古為今用、洋為中用｣之目的，則招致改革，這樣的政策下，造成民樂活動一度停擺。
文革後期(1972-1977)民樂雖恢復活動，但在創作上必須謹守文革時期強調的民族精神創作，此時期的作品多將文革時期而生的樣板戲移植至民樂作品中，因此，戲曲音樂運用於作品中是此時期的特色。
Sunday, March 3, 2019, at 3:00 pm, at First United Methodist Church of Ventura, 1338 East Santa Clara Street, Ventura.
The inaugural concert of CHICO’s World Music Gala will feature music of the Orient. Ode to Hero, Ode to Love (2015) is an award winning Double Erhu Concerto composed by Chinese composer Bo-Chan Li (1992- ). The Erhu Concerto will be performed by the internationally renowned Taiwanese Erhu masters, Dr. Ming-Yen Lee and Dr. Hsin-Chih Lin.
Hearing an erhu for the first time, you will find yourself surprisingly enraptured by its singular sounds and moving melodies.
The erhu is an alto instrument with a middle-high range that delivers notes both tender and sonorous. In its lower ranges, the erhu is especially somber. It is because of this quality that Chinese have chosen it for conveying the grand pageantry of their history and the depth of their passions.
This program will also include orchestral suites of Taiwanese folk music as well as the Yellow River Piano Concerto featuring piano soloist Miriam Arichea.
Taiwan Rhapsody No. 1
This delightful concerto-like work in two parts is based on Taiwanese songs. The Swiss composer Fabian Müller wrote this work for his Taiwanese wife, a cellist. The first part, “DiuDiuDeng,” is a song about a train chugging through a tunnel as water-drops fall on its roof, while the second part, “Longing for the Spring Breeze,” is both tuneful and timely. Both melodies are recognizable as Asian-influenced music because of the frequent use of the pentatonic scale. It is interesting to note that the pentatonic scale is the most common scale in the world if you include all the world’s indigenous music. (It can easily be heard by playing only the black keys on a keyboard.) Müller wraps both songs in Western harmonies, producing a fascinating cross-cultural effect, made even more fascinating by today’s performance featuring the Chinese erhu accompanied by Western European instruments.
Taiwanese Folk Songs
Like the previous work, “Flowers in the Rainy Night” and “Dark Sky” form the basis for two more pieces which Fabian Müller wrote for cello and orchestra. Here too, Oriental pentatonic melodies are backlighted by Western harmonies, and an Oriental instrument is accompanied by a Western European orchestra. Listen for the raindrops at the end of “Flowers in the Rainy Night” and the thunder and lightning in “Dark Sky.”
Ode to Hero, Ode to Love
This work is a double concerto for two erhus and orchestra written by the young composer Bo-Chan Li when he was just 22 years old. The concerto depicts two thematic images of the “hero” and “love” as they are represented in the traditional Chinese opera “Farewell My Concubine.” (Lilian Lee’s novel by the same name and its subsequent film adaption are partly based on the story of this opera, as follows: King Xiang Yu is battling Liu Bang for the unification of China. Surrounded by Liu Bang’s forces, the king summons his horse and begs it to run away for its own safety, but the horse refuses. Then he summons Yu, his favorite concubine, and when she sees the hopeless situation, she begs to die alongside her king. When the king refuses, Yu waits until he is distracted, then commits suicide with his sword.
Yellow River Piano Concerto
Xian Xinghai is one of China’s most famous and frequently-programmed composers. A writer of much nationalist and propaganda music in the 1930s, he is best known for his eight-movement Yellow River Cantata, for chorus, soloists and orchestra, written in 1938-39. During the Chinese Cultural Revolution (1966-76), at the request of the Central Philharmonic Society of China, it was revised in the form of a Piano Concerto, with several composers contributing to its final version (not unusual in Chinese classical music). Yin Chengzong wrote the piano part and gave its first performance in 1970. While the piano was frowned upon by the Communists, it was Yin Chengzong’s friendship with Mao Zedong’s wife that made the performance possible.
The first movement, “Yellow River Boatman’s Song,” describes the boatman’s struggle with the strength and power of the river. The second movement, “Ode to the Yellow River,” features an expansive and moving melody beginning in the cellos, which was a tenor solo in the original cantata. The lyrics told of the history of the Chinese people who lived along the Yellow River. The third movement, “The Wrath of the Yellow River,” begins with a lovely piccolo solo, after which the piano picks up the pentatonic tune and develops it, sounding much like the ancient Chinese instrument called the guzheng. The orchestra joins in, and the mood suddenly becomes more serious and somber as the music depicts the suffering of the Chinese people during the Second Sino-Japanese War. The final movement, “Defend the Yellow River,” is a march-like patriotic call to the Chinese people. It features music from the original cantata, and after a thrilling crescendo, the orchestra and the piano play the Chinese Communist anthem, “The East is Red,” a not-so-disguised tribute to Chairman Mao. The exciting climax blends music from the original cantata with a brief musical quote from the Socialist anthem, “The Internationale.”
The discussion focuses on the foundation of professional Chinese orchestras founded in above regions, and commonly known as the Shanghai Chinese Orchestra (SCO), Hong Kong Chinese Orchestra (HKCO) and Taipei Chinese Orchestra (TCO). The dissertation also focuses on the musical relationship between these orchestras to highlight the development of similar musical style across Greater China that resulted from shared influences in a prolonged contact between regions.
This dissertation is divided into two parts. In Part I—The Early History of the Chinese Orchestra from 1920 to 1986—chapters are designed to establish the cultural and political foundation of the original orchestra on Mainland China and the influences on its musical style. In this section I also argue that the historical development that lead to the division of China gave rise to the foundation of other orchestras in Hong Kong and Taiwan, which started with similar musical styles until they developed independent styles in their respective regions. In Part II—The Identities of Orchestras During the Period of Frequent Cultural Exchange within Greater China—focuses on the early stages of the orchestras and their development from 1987 to 1996, and examines the process of each orchestra to establish its musical and cultural identity at the end of the martial law period (1997-present). In this part, I also argue that the end of the martial period brought more cultural exchange within Greater China and inspired a search for distinct regional identities while maintaining the original cultural model.
Further attention is given to the musical exchange among the three orchestras to highlight the influence of the original compositions has disseminated through out Greater China. This analysis unveils changes in culture and musical style experienced by each orchestra to show how they converged into a unified cultural and musical style within Greater China.
關鍵詞：穆罕默德誕辰；印尼音樂；爪哇甘美朗音樂；伊斯蘭音樂；甘美朗西卡蒂
As one of the three most important dates in Muslim nations, Mohammed’s birthday is the twelfth day of the third month on the Islamic calendar. Followers of the Islamic faith account for over ninety percent of Indonesia’s population, and they naturally would not miss this important date. The week prior to Mohammed’s birthday in Indonesia commences unceasing celebratory activities, which are called – “celebration activities for the birth of Mohammed” (garebeg mulud/ sekaten). Besides the various standard ways of celebrating during the continuing week-long celebratory activities of Mohammed’s birthday, such as: the narration ceremony of Mohammed’s life story, recitation of the Koran, and chanting of religious songs, there is a distinctness in Indonesia’s celebration that differs from other Muslim nations. The particularity distinguishing Indonesia from other Muslim nations is in their utilization of music and their selection of using traditional Indonesian music (gamelan sekati), which permeates the entire process of the celebratory activities. Thus this thesis’ subject shall probe into the Islamic religious rituals’ musical practices of Indonesia’s traditional gamelan music, and use the celebratory activities for Mohammed’s birthday found in the court Gamelan-sakati of Jogjakarta in Indonesia as an example of these musical practices. This article shall discuss the historical origins of the celebratory activities of Mohammed’s birthday, the ways in which Indonesians utilize Gamelan-sekati in Islamic religious celebration activities and the practices of various cultural rituals (chapter two). I shall then discuss the set of instruments, the performers and the repertoire of the gamelan-sekati (chapter three). After gaining a rudimentary understanding of gamelan-sekati this article will place the utmost emphasis on gamelan-sekati’s musical practices (chapter four-six), which is divided into three sections divided into: prelude (racikan); the main piece; and the transformations of general gamelan compositions after they have been borrowed into gamelan-sekati. From the approaches mentioned above I hope for the reader to obtain a thorough and elaborate understanding of the celebratory activities of Mohammed’s birthday.
Key terms:Mawlid ；Indonesia music ；Javanese gamelan music ；Islamic music； Gamelan Sekati