Investigating the traditional and institutional pedagogies of the instrumental accompaniment of Cantonese Opera (Pai-he) and their applications in Hong Kong /

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Student Theses

2024

Ma, Sin Yee

Hong Kong : The Education University of Hong Kong

Thesis

Cantonese opera is a traditional genre of Chinese Xiqu (戲曲, literally “theatre and music”), which was inscribed in the Intangible Cultural Heritage of Humanity list by UNESCO in 2009. In addition to singing, acting, reciting, and acrobatic fighting, pai-he (拍和, literally “beating and echoing,” referring to music instrumental accompaniment) plays a vital role in supporting and interacting with the actors or singers during Cantonese opera performances. In contrast to other musical genres, pai-he not only serves as an accompaniment but also shows a closely interactive and equally important relationship with the vocal part. The reason is that pai-he players must follow the melody of the vocal part instead of strictly following the score, allowing for flexibility and improvisation.Similar to other traditional music genres, oral tradition, more specifically, apprenticeship, was the primary approach to transmitting Cantonese operatic knowledge across generations. While apprenticeships are fading out, institutions are serving an imperative role in nurturing Cantonese opera artists. Previous literature has discussed and introduced the musical elements and performance practices of Cantonese operatic music and the techniques applied in pai-he. However, no previous research has investigated and documented how pai-he was transmitted traditionally and how it is currently taught in institutions. Thus, this study aims to fill the research gap by examining and documenting the traditional and current institutional pedagogical practices for teaching pai-he. In addition, this study aims to propose a comprehensive pedagogical model for teaching pai-he in modern society by incorporating the advantages of traditional and current practices for teaching and learning, thereby providing insights for tutors and institutions to review and consider their pedagogies and plans for teaching.This study consists of two inter-related phases. Phase I is a multiple-case study that explores the traditional approaches for teaching and learning pai-he by interviewing pai-he musicians and observing their lessons. The findings reveal the informal learning contexts and approaches for learning pai-he, such as participation in music gatherings, performance rehearsals, or even late-night meals, incorporating different levels of self-learning, self-analysis, and repeat practices by observing and imitating their masters’/tutors’ performances. Phase II is a single-case study that involves interviews and observations with the teachers and their lessons to investigate the institutional practice for teaching and learning pai-he. The findings of Phase II demonstrate different levels of transformative and transfer pedagogies applied in institutional practice. Employing authentic learning activities is one of the examples of transformative pedagogies, which enable students to learn through hands-on experiences in simulated practical contexts similar to real-life scenarios. The transfer pedagogies, on the other hand, entail imitating teachers’ styles and are commonly used to support weak students alongside didactic instructions.On the basis of the research findings and extensive literature review, a pedagogical model for teaching pai-he in modern society is developed, thereby addressing the gap in the literature. However, the study also reveals major issues and challenges in the development of Cantonese opera, including the impact of Westernization and the proficiency of community tutors. Further research is recommended to employ the proposed pedagogical model in teaching other musical genres and explore the sustainable development of Cantonese opera

LG51.H43 Dr 2024eb Masy

https://educoll.lib.eduhk.hk/records/qfuqxuu0