Dr Tsan-Huang Tsai

Dr Tsan-Huang Tsai
 Position Senior Lecturer, Musicology
 Org Unit Elder Conservatorium of Music
 Email tsan-huang.tsai@adelaide.edu.au
 Telephone +61 8 8313 5823
 Location Floor/Room 9 15 ,  Schulz ,   North Terrace
  • Biography/ Background

    Tsan-Huang Tsai is a Senior Lecturer at Elder Conservatorium of Music, The University of Adelaide. Having studied ethnomusicology (M.Mus) at Sheffield and anthropology (M.Phil and D.Phil) at Oxford, he taught at Nanhua University in Taiwan, the Chinese University of Hong Kong, the Australian National University and Quanzhou Normal University before joined the University of Adelaide in July 2020. His research covers a wide range of disciplines, including ethnomusicology, organology, anthropology, and Chinese/Taiwanese studies. He is the author of two edited books Captured Memories of a Fading Musical Past: The Chinese Instrument Collection at the Music Department of the Chinese University of Hong Kong (Yuan-Liou Publishing Co, 2010) and Listening to China’s Cultural Revolution: Music, Politics, and Cultural Continuities co-edited with Paul Clark and Laikwan Pang (Palgrave Macmillan 2016), and more than twenty articles published in both Chinese and English languages examining the Chinese seven-stringed zither, Buddhist music, music and politics of Taiwan, and theoretical/methodological issues of organology. His scholarly awards include an Andrew W. Mellon Fellow (The Metropolitan Museum of Art), a CPI Fellowship (National Gugak Center), a Post-doctorial Research Fellowship (The Australian Centre on China in the World), an Affiliated Fellowship (International Institute for Asian Studies), an Endeavour Fellowship (Australian Government), a Visiting Fellowship (ANU’s Humanities Research Centre), a PhD Fellowship (Chiang Ching-kuo Foundation), and the Gribbon Award (American Musical Instrumental Society). 

  • Qualifications

    EDUCATION 

    D.Phil. 2007, Anthropology, University of Oxford, UK

    Thesis: Interpreting Histories, Debating Traditions: The Seven-Stringed Zither Qin in Modern Chinese Societies. Supervised by Prof. Frank Pieke and Dr Hélène La Rue.

    M.Phil. 2001, Material Anthropology and Museum Ethnography, University of Oxford, UK

    Dissertation: Old Methods, New approaches: Re-examining the Material Culture of Musical Instruments: the Case of the Chinese Seven-stringed Zither Qin. Supervised by Dr Hélène La Rue.

    M.Mus. 2000, Ethnomusicology, University of Sheffield, UK

    Dissertation: Change and Continuity: A Study of Chinese Buddhist Music in England. Supervised by Prof. Jonathan Stock.

    B.A.1996, Chinese Music, Chinese Culture University, Taiwan

     

  • Awards & Achievements

    HONOUR AND AWARD

    2018

    Tongjiang Scholar Professorship, Quanzhou City Government, China (11 September 2018 to 10 September 2021 with RMB 300,000 Research Endowment; Competitive). 

    Andrew W. Mellon Fellowship, The Metropolitan Museum of Art, New York, USA (1 September to 31 August 2019 with USD 58,000 Living and Travel Allowance; Competitive). 

    Fujian Province High-level Talents Award (2018 to 2021 with RMB 1,000,000 Living Allowance; Competitive). 

    Quanzhou City High-level Talents Award (2018 to 2021 with RMB 300,000 Living Allowance; Competitive). 

    Minjiang Scholar Professorship, Fujian Provincial Government, China (1 February 2018 to 31 January 2021 with RMB 500,000 Research Endowment; Competitive). 

    2016

    Fellowship, National Gugak Centre, Seoul, South Korea (6 June to 4 November 2016; Competitive). 

    2016

    Honorary Professor, Guangxi Arts Institute, Nanning, China (since 2016; by Invitation). 

    2012

    Affiliated Fellowship, International Institute for Asian Studies (IIAS) in Leiden, the Netherlands (16 June to 16 September 2012; Competitive). 

    2011

    Member, Chinese Kunqu and Guqin Research Association, The Ministry of Culture, PR China (since 2011; by Invitation).

    Visiting Fellowship, Humanities Research Centre, Research School of Humanities and the Arts, Australian National University (26 April to 8 July 2011; Competitive).

    2009

    Endeavour Research Fellowship, The Australian Government (28 April 2009 to 28 August 2009; Competitive). 

    2005

    Research Fellow at the Anthropology of Music Division, E-Institute of Shanghai Universities, China (01 August 2005 to 31 July 2006; by Invitation).

    2002

    Ph.D. Fellowship of the CCK Foundation for International Scholarly Exchange, Taiwan (01 August 2002 to 31 July 2003; Competitive). 

    Gribbon Award of the American Musical Instrumental Society, USA (Competitive).

     

  • Research Interests

    MAIN RESEARCH INTERESTS

    Music and Politics in Taiwan and China; Traditional Music and Social Change in Taiwan and China.

    Chinese Music and Processional Performances in Australia, Intangible Cultural Heritage in East Asia.

    Ethnomusicology, Applied Ethnomusicology, Material Anthropology, Musical Instruments and Museum Collections, Sound Studies. 

     

    MAIN RESEARCH INTERESTS

    Music and Politics in Taiwan and China; Traditional Music and Social Change in Taiwan and China.

    Chinese Music and Processional Performances in Australia, Intangible Cultural Heritage in East Asia.

    Ethnomusicology, Applied Ethnomusicology, Material Anthropology, Musical Instruments and Museum Collections, Sound Studies. 

     

  • Research Funding

    RESEARCH & CONFERENCE GRANT

    Competitive Grants - Individual Research Projects

    2018

    Principal Investigator, The Protection and Inheritance of Music and Dance Culture under the Influence of ICH in Quanzhou; Major Research Grant, City Level Social Science Research Program (01 September 2018 to 31 August 2019), RMB 10,000.

    2017

    Principal Investigator, The Others within? Senegambian and Chinese Performers and the Making of Australian Multicultural Heritage; Grant Development Support, Asia-Pacific Innovation Program (01 July 2017 to 31 January 2018), AUD 15,000.

    Principal Investigator, From Cantonese Religious Procession to Australian Cultural Heritage; Grant Development Support, ANU Research School of Asia and the Pacific (01 January 2016 to 31 December 2016), AUD 7,000.

    2014-2017

    Co-Investigator, Music, Dance, and Cultural Revolution Beyond China’s Borders; Research Grant, The Chiang Ching-kuo Foundation for International Scholarly Exchange (01 July 2014 to 30 June 2017), NTD 2,500,000.

    2012-2013

    Principal Investigator, Cultural Capital and New-land Survival: Chinese Dragon Dance Performances during the White Australian Policy Era (2010387); Direct Grant, Chinese University of Hong Kong (02 May 2012 to 01 May 2013), HKD 49,513.

    2011-2013

    Principal Investigator, Musics during the Chinese Cultural Revolution: from Periphery to Centre (454710); General Research Fund, University Grant Council, Hong Kong (01 January 2011 to 31 December 2013), HKD 692,300.

    2009-2010

    Principal Investigator, Casting the Past in the Present: The Chinese Seven-stringed Zither Qin in the Age of Changing Society (2010318); Direct Grant, Chinese University of Hong Kong (01 January 2009 to 31 December 2010), HKD 86,770.

    2008-20009

    Principal Investigator, The Chinese Seven-stringed Zither Qin and the Cultural Revolution / Cultural Renaissance (2010304); Direct Grant, Chinese University of Hong Kong (15 January 2008 to 14 January 2009), HKD 98,616.

    2006-2007

    Principal Investigator, 英國博物館中臺灣樂器研究計劃(一):牛津大學Pitt Rivers博物館 ((95)文藝貳字第21020) [Taiwanese Musical Instruments in UK’s Museums (I): Pitt Rivers Museum at the University of Oxford]; Research Grant, National Foundation for Cultural and Arts, Taiwan (01 January 2006 to 31 December 2007), NTD 200,000.

     

    Competitive Grants - Knowledge Exchange (Transfer) Projects

    2012-2013

    Principal Investigator, Sounding Treasures: Recording Project of CUHK’s Historical Instruments Collection of China (I) (KTP111206F01), CUHK Knowledge Transfer Project Fund, (1 January 2012 to 31 July 2013) HKD 250,000 (Competitive; two CDs; three Concerts; and one Documentary).

    2011-2012

    Principal Investigator, “Soundly Organized Humanity”: Bringing Music to Local Charitable Communities (7104171), CUHK iCare Programme Service Project Fund, (01 December 2011 to 31 December 2012) HKD 40,000 (Competitive; ten Community Concerts).

    Co-Investigator, Method as Knowledge: Documenting and Investigating Musics of Hong Kong (I) (KTP110121F02), CUHK Knowledge Transfer Project Fund, (30 June 2011 to 31 August 2012) HKD 200,000 (Competitive; two Public Lecture Series;  and one Public Workshop).

     

    Competitive Grants - Affiliated and Administrative Institutes

    2012-2013

    Principal Investigator, Xiqu Information Centre 2012/13 (6903405); Hong Kong Arts Development Council (01 September 2012 to 31 August 2013), HKD 500,000.

    2011

    Principal Investigator, 2011年兩岸三地民族音樂學研究生論壇 [Cross-strait Graduate Forum for Ethnomusicology] (2190013); Earmarked Grants – Other UGC Research Programme (10 October 2011 to 09 December 2011), HKD 23,500.

    Principal Investigator, CUHK-NTU Music Forum 2011 “Crossing Borders: Theory and Practices in Contemporary Music Scholarship” (2190012); Earmarked Grants –  Other UGC Research Programme (13 January 2011 to 12 March 2011), HKD 24,251.

    2010-2011

    Principal Investigator, Xiqu Information Centre 2010/11 (AL10703); Hong Kong Arts Development Council (01 September 2010 to 31 August 2011), HKD 500,000.

    Principal Investigator, Cantonese Opera Publication (AL09922); Hong Kong Arts Development Council (01 January 2010 to 16 May 2011), HKD 47,600.

    2009-2010

    Principal Investigator, Xiqu Information Centre 2009/10 (AL09474); Hong Kong Arts Development Council (01 September 2009 to 31 August 2010), HKD 400,000.

    2008-2009

    Principal Investigator, CUHK-NTU Music Forum 2009 – Glocalization, Music, and Modernity (2190008); Earmarked Grants - Other UGC Research Programme (23 December 2008 to 02 April 2009), HKD 34,500.

    Principal Investigator, Xiqu Information Centre 2008/09 (AL08738); Hong Kong Arts Development Council (01 September 2008 to 31 August 2009), HKD 400,000.

    Principal Investigator, Translation of Cantonese Opera Synopsis (C/E) (AL08913); Cantonese Opera Development Fund (01 September 2008 to 31 December 2009), HKD 128,000.

    2007 [Transferred from other PI]

    Principal Investigator, Publication of《粵劇六十年》[60 Years of Cantonese Opera] &《粵曲的學和唱》[The Learning and Singing of Cantonese Opera] (AL06850); Secretary for Home Affairs Incorporated-Cantonese Opera Development Fund (01 March 2007 to 31 July 2007), HKD 83,600.

    2006-2007 [Transferred from other PI]

    Principal Investigator, Survey on Ritual Performance of Cantonese Opera (AL05659); Hong Kong Arts Development Council (23 January 2006 to 31 December 2007), HKD 84,000.

    Principal Investigator, International Conference on Cantonese Opera: Two Centuries of Historical Development (7000848); Hong Kong Arts Development Council (1 October 2006 to 30 December 2007), HKD 1,161,052.

     

    Research Contract & Private Donation

    2012-2013

    Research Project 《廣慈老和尚口述歷史計劃》[Oral History and Life Story of Guangci Buddhist Monk], Private Donation HKD105,752.

    2008-2010

    Book Project-《追憶淡忘中的音樂往昔﹣香港中文大學音樂系中國樂器收藏圖錄》[Captured Memories of a Fading Musical Past: The Chinese Instrument Collection at the Music Department of the Chinese University of Hong Kong (edited book (including research activities); published in May 2010)]; Chinese Music Archive, Chinese University of Hong Kong (Jan 2009 to May 2010), HKD 50,000 [I served as the editor for the critical catalogue and contributed a long research article. The project involved ethnomusicological research led by me as the principle investigator together with a group of postgraduate and undergraduate students of the department (their research articles are also included in the book)].

     

  • Publications

    LIST OF RESEARCH OUTPUTS

    Books Edited 

    2016

    Listening to China’s Cultural Revolution: Music, Politics and Cultural Continuities. Edited by Paul Clark, Laikwan Pang, and Tsan-Huang Tsai. London: Palgrave Macmillan.

    2010

    《追憶淡忘中的音樂往昔﹣香港中文大學音樂系中國樂器收藏圖錄》[Captured Memories of a Fading Musical Past: The Chinese Instrument Collection at the Music Department of the Chinese University of Hong Kong]. Edited by Tsan-Huang Tsai. Taipei: Yuan-Liou Publishing Co.

     

    Book Chapters

    2016

    “Making a Confucianist Meditative Tool into a Maoist Revolutionary Weapon: The Seven-stringed Zither (Qin) in the Cultural Revolution” in Listening to China’s Cultural Revolution: Music, Politics and Cultural Continuities, edited by Paul Clark, Laikwan Pang, and Tsan-Huang Tsai, 37-64. London: Palsgrave Macmillan. 

    “Introduction” in Listening to China’s Cultural Revolution: Music, Politics and Cultural Continuities, by Paul Clark, Laikwan Pang, and Tsan-Huang Tsai, 1-8. London: Palsgrave Macmillan. 

    2010

    追憶淡忘中的音樂往昔:前言〉 [Captured Memories of a Fading Musical Past: An Introduction] in Captured Memories of a Fading Musical Past: The Chinese Instrument Collection at the Music Department of the Chinese University of Hong Kong, edited by Tsan-huang Tsai, 1-21. Taipei: Yuan-Liou Publishing Co.

    2008

    “‘Sacred in Profane’ or ‘Profane in Sacred’? Ritualisation of Music and Musicalisation of Ritual in Han Chinese Buddhist Practice – The Case of Faqi or Sacred Instruments.” In Collected Essays for Yongsanjae Conference 2008, 310-42. Seoul: Yongsanjae.

    2006

    文化意含下的音樂教育:以中國七弦琴為例〉 [Music Education in Cultural Contexts: The Case of Chinese Seven-stringed Zither Qin] in《世界多元文化音樂教育》[Multicultural Music Education in the World], edited by Guan Jianghua, 178-202. 西安:山西師範大學 [Xian: Shanxi Normal University].

    2005

    “Who Owns Theory? The Gap between Indigenous and Scholarly Cultural Frameworks in the Studies of Chinese Buddhist Music and the Chinese Seven-stringed Zither” in The Legacy of John Blacking: Essays on Music, Culture and Society, edited by Victoria Rogers and David Symons, 110-28. Perth: University of Western Australia.

    2004

    “Returning Tradition: Global Impact and Global Recognition of Qin Practices and its Notations.” In Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002 edited by the Musicological Society of Japan. 439-43. Tokyo: The Musicological Society of Japan.

    2003

    “The Past in the Present: The Change with Continuity of Chinese Buddhist Ordinary Ceremony Wutanggongke in England.” In The Past in The Present. Vol 1 edited by László Dobszay, 31-42. Budapest: Liszt Ferenc Academy of Music.

    2002

    “Music inside the Temple, Change Threatening Continuity: The Extraordinary Ceremony Shui Chan: A Reconsideration of the Study of Gender and Music” in 《音樂文化》[Music and Culture], edited by 中國藝術研究院音樂研究所 [Chinese Academy of the Arts], 287-305. 北京:文化藝術 [Bejing: Wenhua Yisui].

    在英國的中國佛教音樂是誰的?〉 [Who Owns Chinese Buddhist Music in England?] in 《中國音樂研究在新世紀的定位》[The Position of Chinese Music Research in the New Century], edited by 香港中文大學音樂系、中國藝術研究院音樂研究所、中國傳統音樂學會 [Music Department at the Chinese University of Hong Kong, Society for Chinese Traditional Music, Music Research Institute at the Chinese Academy of Arts], 466-78. 北京:人民音樂出版社 [Beijing: People’s Music].

     

    Refereed Journal Articles

    Reviewing

    “Renaissance Cultures as Counter-Revolutionary Weapons: National and Communal Ceremonial Music in Taiwan’s Chinese Cultural Renaissance Movement” [submitted].

    2020

    乐器、博物馆与欧洲古乐复兴以大都会艺术博物馆为例〉 [Musical Instrument , Museum and Early Music Movement: the Metropolitan Museum of Art].《音乐研究》[Music Research], 20120 (5): 76-85. [CSSCI]

    2019

    乐器与田野〉 [Musical Instrument and Fieldwork].《音乐研究》[Music Research], 2019 (2): 67-74. [CSSCI]

    2016

    “From Cantonese Religious Procession to Australian Cultural Heritage: The Changing Chinese Face of Bendigo’s Easter Parade.” Ethnomusicology Forum Vol. 25, NO. 1: 86-106. [A&HCI]

    2014

    乐以载道?——台湾中华文化复兴运动期间的礼乐重建经验〉[Tracks of History in Music: Lessons from the Rite and Music (Liyue) Reconstruction of the “Chinese Cultural Renaissance Movement” in Taiwan].《中央音乐学院学报》[Journal of the Central Conservatory of Music], 2014 (4): 75-83. [CSSCI]

    2012

    “We’re All Applied Ethnomusicologists Now: The Case of The Chinese Musical Instrument Collection at the Chinese University of Hong Kong and its Database  Project.” Asian Musicology Vol. 20: 39-62. 

    异中之同?同中之异?本土音乐资料的收集、建立与共享 以《香港中文大学音乐系中国乐器收藏目录》计划为例〉 [Collecting, Establishing and Sharing of the Traditional Music Resources – The Case of The Chinese Instrument Collection Catalogue at the Music Department of the Chinese University of Hong Kong], co-authored with Guo Xinxin.《音乐艺术》 [The Arts of Music – Journal of Shanghai Conservatory of Music] 2012.1: 176-81. [CSSCI]

    櫥窗內的歷史聲音:牛津大學Pitt Rivers博物館臺灣原住民樂器收藏與臺灣音樂研究史料〉[Forgotten Voices behind the Display Glass: Formosan Musical Instruments at the Pitt Rivers Museum, University of Oxford and Historical Research in Music of Taiwan].《民俗曲藝》[The Journal of Chinese Ritual, Theatre and Folklore] No. 175: 177-214. [THCI]

    他者眼中的文革音乐文化〉 [Musics during the Chinese Cultural Revolution: Western Perspectives], co-authored with Li Huan. 《中国音乐学》 [Musicology of China] 2012.1: 24-31. [CSSCI]

    2010

    乐器、音乐与人际关系:乐器学研究的发展与现今趋势〉 [Instruments, Music and Human Relationship: Recent Development and Modern Trend in Organological Research]. 《中央音乐学院学报》[Journal of the Central Conservatory of Music] 2010.4: 87-94, 103. [CSSCI]

    2009

    “‘Tradition,’ Internal Debates, and Future Directions: The Concept of Tradition and its Relation to Time in the Practices of the Chinese Seven-Stringed Zither (Qin).” 《民俗曲藝》[The Journal of Chinese Ritual, Theatre and Folklore] No. 166: 97-124. [THCI]

    梵音何勝世間音﹖漢傳佛教日常課誦音樂形態與結構之「文化分析」〉 [Sounding Mahayana? The ‘Cultural Analysis’ of Chinese Han Buddhist Daily Service, its Music and Context].《臺灣音樂研究》[The Formosan Journal of Music Research] No. 8: 105-26.

    2004

    “The Entangled Relationship between Life Stories and Musical Instruments: A Case-study of the Qin.” 《民俗曲藝》[The Journal of Chinese Ritual, Theatre and Folklore] No. 144: 163-93. [THCI]

    2002

    “Is the Wind, the Banner, or the Mind Moving? The Concept of Body in Chinese Han Buddhist Ritual Performance and Its Musical Practices.” The World of Music No. 44: 73-92. [A&HCI]

     

    Refereed Conference Papers/Presentations

    2019

    “Revolution versus Renaissance: Chinese Seven-Stringed Zither Qin in the Era of Political Deadlock.” 42nd MSA National Conference “Conflict-/-Collaboration” Sir Zelman Cowen School of Music, Monash University, Melbourne, Australia, 5-7 December 2019

    “The Chinese Seven-stringed Zither Qin and Intangible Cultural Heritage.” 9th Conference on Musical Research, NOVA School of Social Sciences and Humanities - New University of Lisbon, Lisbon, Portugal, 14-16 November 2019.

    “Musical Instrument and Biographical Writing: The case of Yao Binyan and his Legacy of Chinese Seven-stringed Zither Qin.” Music & Lifetime Memories: An Interdisciplinary Conference, Durham University, Durham, UK , 1-2 November 2019.

    “Sounding Treasures: The Reconstruction of the Sound of 1960s/70s Cantonese Music.” Contrasts: Contemporary Research on Chinese Music from a Global Perspective, and the 22nd 'CHIME' International Academic Seminar, Central Conservatory of Music, Beijing, China, 19-22 September 2019.

    “From Private Scholarly Chambers to Public Treasure Houses: The Chinese Seven-stringed Zither Qin and Challenges of its Representation in Museums.” 2019 American Musical Instrument Society Annual meeting, Carolina Music Museum, Greenville, South Carolina, USA, 15 to 18 May 2019.  

    2018

    “Sounding Treasures: The Reconstruction of the Sound of 1960s/70s Cantonese Music.” ICTM MEA 2018 Conference, National Gugak Center, Seoul, Korea, 21-23 August 2018. 

    2017

    “From “Spring of the Wild Lily” to “Island Sunrise”: Musical Legacies and Creativities in Taiwan Student Movements.” [Part of the panel “Musical Legacies and Taiwan-centered Historiography” organised by Tsan-Huang Tsai]. The 44th ICTM World Conference, Irish World Academy of Music and Dance in Limerick, Ireland, 13 to 19 July 2017.

    “One Instrument, Two Destinies: The Chinese Seven-Stringed Zither Qin in China’s Cultural Revolution and Taiwan’s Cultural Renaissance.” 2017 Galpin Society and American Musical Instrument Society Joint Conference on Musical Instruments, Edinburgh, Scotland, 1-4 June 2017.

    2016

    “Renaissance Cultures as Counter-Revolutionary Weapons: National and Communal Liturgical Music in Taiwan’s Chinese Cultural Renaissance Movement.” 5th Symposium of the ICTM Study Group for Musics of East Asia, Academia Sinica, Taipei, Taiwan, 25 to 27 August 2016. 

    “From Cantonese Religious Procession to Australian Cultural Heritage: The Changing Chinese Face of Bendigo’s Easter Parade.” 9th International Conference of the International Society for the Study of Chinese Overseas, Richmond, British Columbia, Canada 6 to 8 July 2016.

    2015

    “From Religious Procession to Cultural Heritage: Bendigo’s Chinese Processional Performances prior to the Abolition of the ‘White Australia’ Policy.” 38th National Conference of the Musicological Society of Australia “Musical Dialogues”, Sydney Conservatorium of Music, The University of Sydney, Sydney, Australia, 1 to 4 October 2015.

    “From Religious Procession to Cultural Heritage: Bendigo’s Chinese Processional Performances prior to the Abolition of the ‘White Australia’ Policy.” Dragon Tail 2015, 4th Australian Conference on Overseas Chinese History & Heritage, Cairns Sheridan Hotel, Cairns, Australia, 2 to 5 July 2015.

    2014

    “Strings That Matter: On the Silk String Revival of the Chinese Seven-stringed Zither.” [Workshop Roundtable “The importance of silk strings revisited” organised by Yosihiko Tokumaru]. The 4th Symposium of the ICTM Study Group for Musics of East Asia (MEA), Nara, Japan, 21 to 23 August, 2014.

    2013

    “Selecting and Redefining: the Revolutionary Reinterpretation of the History of Chinese Music.” [Part of the panel “(Re)construction of Music Histories in Postwar East Asia” organised by Tsan-Huang Tsai]. The 2nd Biennial Conference of the East Asian Regional Association of IMS, Taipei, Taiwan, 18 to 20 October, 2013.

    “Cultural Capital and New-land Survival: Chinese Dragon Dance Performances during the White Australian Policy Era.” [Part of the panel “Rethinking, Reconstructing, and Reinventing the Musical Pasts of the Chinese Diasporic Communities” organised by Tsan-Huang Tsai]. The 42nd World Conference of the International Council for Traditional Music, Shanghai Conservatory of Music, Shanghai, China, 11 to 17 July, 2013.

    2012

    “Claiming Orthodox China: The Institutionalization of Chinese Music and its Political Implications during the ‘Cultural Renaissance’ Movement in Taiwan.” [Part of the panel “Cultural Revolution beyond China’s Border” organised by Tasaw Hsin-chun Lu and Tsan-Huang Tsai]. American Musicological Society, Society for Ethnomusicology & Society for Music Theory Joint Annual Meeting, New Orleans, Louisiana, USA, 1 to 4 November, 2012. 

    “Chinese Musical Instrument Collections and the Early Transnational Communities: The Case of Australia's Golden Dragon Museum.” CHIME/CMA Workshop – Chinese Instruments & Western Museums, Leiden, The Netherlands, 13 to 16 September 2012.

    “Gathering, Displaying and Beyond: Potentialities of Formosan Musical Instruments in English Museums on Historical Research and Cultural Survival.” [Joint paper by Chun-yen Sun and Tsan-Huang Tsai]. CHIME/CMA Workshop – Chinese Instruments & Western Museums, Leiden, The Netherlands, 13 to 16 September 2012.

    “Musical Instrument and Identity (Re)formation: The Case of Bendigo’s Chinese Community.” [Part of the panel “Music, Multi-identity, Migration” organised by Tasaw Hsin-chun Lu and Tsan-Huang Tsai]. The19th Congress of the International Musicological Society, Rome, Italy, 1 to 7 July 2012.

    “Crossing between the Factual and Conceptual: The Categorisation of the Chinese Seven-stringed Zither as an Index of Social-cultural Identity.” Post Conference of the 19th Congress of the International Musicological Society, Rome, Italy, 8 July 2012.

    “Making the Confucianist Meditative Tool into the Maoist Revolutionary Weapon? The Chinese Seven-stringed Zither Qin in the Era of Cultural Revolution.” [Part of the panel “Reshaping East Asian traditions: performers, musicologists, ideologues and their Interactions” organised by Tsan-Huang Tsai]. Annual Conference of the British Forum for Ethnomusicology, Durham University, Durham, UK, 29 March to 1 April 2012.

    2011

    樂器如同協調者:澳洲大金山金龍博物館中國樂器收藏的社會作用 [Instruments as Mediators: ‘Social Agencies’ of Australia’s Chinese Instrument Collections]. Annual Conference of the Taiwan Society for Anthropology and Ethnology, Academia Sinica, Taipei, Taiwan, 8 to 9 October 2011.

    “Relational Instruments: How Bendigo’s Past Soundscape is Shaping its Present and Future.” The 41st World Conference of the ICTM, St John’s Newfoundland, Canada, 13 to 9 July 2011.

    “Instruments as Mediators: ‘Social Agencies’ of Australia’s Chinese Musical Instrument Collections.” BFE Annual Conference: Mediation, Writing & Performance, Falmouth, UK, 7 to 10 April 2011.

    “Forgotten Voices behind the Display Glass: Formosan Musical Instruments at the Pitt Rivers Museum and Historical Research on the Music of Taiwan.” MEG Conference – Objects and Words: Writing On, Around and About Things, Pitt Rivers Museum, University of Oxford, Oxford, UK, 14 to 15 April 2011.

    2010

    櫥窗內的歷史聲音:牛津大學Pitt Rivers博物館臺灣原住民樂器收藏與臺灣音樂研究史料〉[Forgotten Voices behind the Display Glass: Formosan Musical Instruments at the Pitt Rivers Museum, University of Oxford and Historical Research in Music of Taiwan]. Biannual Conference for the Music Society for Chinese Ethnic Minorities, Nanning, China, 3 to 7 December 2010.

    異中之同?同中之異?本土音樂資料的收集、建立與共享 以《香港中文大學音樂系中國樂器收藏目錄》計劃爲例〉 [Collecting, Establishing and Sharing of the Traditional Music Resources – The Case of The Chinese Instrument Collection Catalogue at the Music Department of the Chinese University of Hong Kong]. Cross-strait Forum for Local Music Resources and Interpretation: A Global Perspective, Suzhou, China, 9 to 13 November 2010.

    “‘Tradition,’ Internal Debates, and Future Directions: The Concept of Tradition and Its Relation to Time in the Practices of the Chinese Seven-Stringed Zither (Qin).” 2010 International Forum for Young Musicologists, Yokohama, Japan, 14 to 7 May 2010.

    2009

    “Music, Instrument and Sense: Changing Sensory Receptions in Modern Chinese Seven-stringed Zither Qin Practices.” The 54th Annual Meeting of the Society for Ethnomusicology, Mexico City, Mexico, 19 to 22 November 2009.

    “Music, Instrument and Sense: Changing Sensory Receptions in Modern Chinese Seven-stringed Zither Qin Practices.” International Forum for Music Performance and Scholarship, Yong Siew Toh Conservatory of Music, National University of Singapore, Singapore, 25 to 28 October 2009.

    “Casting the Past in the Present: The Chinese Seven-stringed Zither Qin in the Age of Changing Society – A Progress Report.” The 40th World Conference of the ICTM, Durban, South Africa, 1 to 8 July 2009.

    2008

    “Revolution = Innovation + Experimentation? Tasks and Roles of the Chinese Zither Reform Committee during the Chinese Cultural Revolution.” The 53rd Annual Meeting of the Society for Ethnomusicology, Middletown, CT, USA, 25 to 28 October 2008.

    “Performing Histories, Narrating Stories: Field Inquiry and Biographical Writing on the Chinese Seven-Stringed Zither Qin.” International Conference of (Auto)Biography as a Musicological Discourse, Belgrade, Serbia, 20 to 23 April 2008.

    2007

    “Musical Instruments and Colonial Encounters: The Case of Taiwanese Aboriginal Musical Instruments at the Pitt Rivers Museum, Oxford, UK.” [Part of the panel “Ethnomusicological History and Colonial Encounter” organised by Tsan-Huang Tsai]. The 39th World Conference of the ICTM, Vienna, Austria, 4 to 11 July 2007.

     

    Non-Refereed Journal Articles (by Invitations)

    2016

    “Tsar Teh-yun (1905–2007), maître du qin / Master Tsar, The Art of the Qin.” Review by Tsan-Huang Tsai. Yearbook for Traditional Music, Vol. 48: 225-227. [A&HCI]

    2014

    “Chinese Dragons in Australia.” The China Story Journal, 7 August 2014, online at: http://www.thechinastory.org/2014/08/chinese-dragons-in-australia/ 

    2006

    音乐物质文化研究(乐器学)的新途径-乐器的传记性案例及乐器博物馆案例〉[A New Approach for the Study of Material Culture of Music (Organology): The Case of ‘Biographical Instruments’ and the Case of ‘Museum Ethnography of Musical Instruments’].《音乐艺术(上海音乐学院学报)》[The Arts of Music: Journal of the Shanghai Conservatory of Music] No. 1: 115-124. [CSSCI]

    2002

    “Change to Ensure Continuity – The Extraordinary Ceremony Dabei Chan: Transformations of Chinese Buddhist Music in England.” In Asian Musicology No. 1: 91-102.

    2001

    “Towards Anthropological Analysis of the Music History: The Case Study of the Chinese Seven-stringed Zither with the Special Reference to the Symbolism.” In Tongyang Umak [The Journal of the Asian Music Research Institute, Seoul National University] No. 23: 55-75.

    1999

    “Questioning Fieldwork and Questions from Fieldwork: The Chinese Buddhist Cultural and Social Event, the Yufo Festival in England.” In Tongyang Umak [The Journal of the Asian Music Research Institute, Seoul National University] No. 21: 77-95.

     

    Non-Refereed Conference Papers/Presentations (by Invitations)

    2019

    乐器、博物馆与欧洲古乐教育:以大都会博物馆和茱莉亚音乐学院为例〉[Musical Instruments, Museums, and Education of European Historically Informed Performances: Examples from the Metropolitan Museum of Art and the The Juilliard School]. 2019 Forum for Museum Building and Art Academy, Wuhan Conservatory of Music, Wuhan, China, 9-10 December 2019. 

    音乐、乐器与毕生记忆〉 [Music, Musical Instruments and Lifetime Memory]. The 3rd Musicological Forum for Young and Mid-career Scholars, Nanjing University of the Arts, Nanjing, China, 23-24 November 2019.

    乐器与雅乐重建〉 [Musical Instruments and Yayue Reconstruction]. The 3rd International Yayue Symposium, China Conservatory of Music, Beijing, China, 21-22 September 2019.

    2018

    乐器、田野、民族志〉 [Musical Instrument, Fieldwork and Ethnography]. 2018 Symposium of Music Ethnography, China Conservatory of Music, Beijing, China, 23-24 June 2018. 

    2016

    “The Chinese Processional Regalia and Performances in Bendigo as Cultural Mediators and Social Agents.” The 47th Annual Symposium of the Australian Academy of the Humanities, La Trobe University, Melbourne, Australia, 17-18 November 2016. 

    2013

    樂以載道?臺灣「中華文化復興運動」期間的禮樂重建經驗〉 [The Reconstruction of the Chinese Music and Ritual during the Cultural Renaissance Movement in Taiwan]; The Second International Forum on Elegant Music Yayue, China Conservatory of Music, Beijing, China, 11-12 October 2013. 

    樂以載道?臺灣「中華文化復興運動」期間的禮樂重建經驗〉 [The Reconstruction of the Chinese Music and Ritual during the Cultural Renaissance Movement in Taiwan]; First International Symposium on Yuejiao Culture, China Conservatory of Music, Beijing, China, 13 October 2013.

    2012

    何謂數位典藏的永續性?以香港中文大學《聽見珍藏》計畫為例〉 [Sustainable Digitalisation? The Case of ‘Hearing Treasures’ Project of the Chinese University of Hong Kong]; 2012 International Forum on Chinese Music Sources, National Taiwan Normal University, Taipei, Taiwan, 3-5 December 2012. 

    2011

    應用民族音樂學:傾倒中的象牙塔?能共享的音樂學?〉 [Applied Ethnomusicology – Falling Ivory Tower or Sharable Musicology?] Nanjing International Forum on Music Education, Nanjing University of the Arts, Nanjing, China, 4-6 November 2011.

    從廟會鑼鼓到復活節行街:澳洲大金山華人音樂之文化展演、社會交涉與策略方針〉 [From Temple Procession to Easter Festival: Chinese Musical Performance, its Social Negotiation and Strategic Approach, Bendigo, Australia]. The Foreign and the Domestic: An International Seminar on Artistic Styles and Expressions, National Cheng Kung University, Tainan, Taiwan, 24-5 September 2011.

    2010

    樂器、音樂與人際關係:樂器學研究的發展與現今趨勢〉 [Instruments, Music and Human Relationship: Recent Development and Modern Trend in Organological Research]. International Conference of the Organological Research, China Conservatory of Music, Beijing, China, 19-8 September 2010.

    “We’re All Applied Ethnomusicologists Now? The Case of Chinese Musical Instrument Collection at the Chinese University of Hong Kong and its Database Project.” International Conference – Preserving Tradition, Facing the Future in Asian Musical and Visual Cultures, Sydney Conservatorium of Music, Sydney, Australia, 8-10 April 2010.

    2008

    “‘Sacred in Profane’ or ‘Profane in Sacred’? Ritualisation of Music and Musicalisation of Ritual in Han Chinese Buddhist Practice – The Case of Faqi or Sacred Instruments.” The 6th Yeongsanjae International Conference “Buddhist Arts and Yeongsanjae,” Seoul, Korea, 19 September 2008.

    2007

    梵音何勝世間音?漢傳佛教日常課誦的音樂形態之文化分析〉 [Why Buddhist Music is Better than Other Music? Musical and Cultural Analyses of the Daily Ceremony in Chinese Han Buddhist Community]. 2007 Buddhist Music Conference of East Asia, Kaohsiung, Taiwan, 25-27 November 2007.

    2006

    “How Musical Instruments Tell? Biographical Approaches on the Study of Musical Instruments, and their Related Individuals and Institutions.” International Conference – Rethinking Organology: Challenges and Opportunities in the Study of Musical Instruments (Contemporary Approaches to the Study of Musical Instruments), Shanghai Conservatory of Music, Shanghai, China, 22-23 September 2006.

     

  • Professional Associations

    Life Member, International Council for Traditional Music.

    Life Member, Musics of East Asia Study Group, International Council for Traditional Music.

    Life Member, Society for Ethnomusicology.

    Member, International Committee for Museums and Collections of Instruments and Music.

    Member, British Forum for Ethnomusicology.

    Member, Museum Ethnographers Group. 

     

  • Community Engagement

    LIST OF CREATIVE WORKS

    CDS and FILMS

    2016

    “Sounding Treasure - The Reconstruction of the Sound of 1960s/70s Cantonese Music”, Co-directed by Tsan-Huang Tsai and Sze Wing Lau, Film (33 mins). https://www.youtube.com/watch?v=0zzlJHLyjiE 

    2014

    “Sounding Treasure” [清音重聞], Produced by Tsan-Huang Tsai, Two Concerts & Two CDs [Disc 1: Cantonese Music; Disc 2: Qin Music]. Hong Kong: Long Yin Co.

    2008

    Ethnomusicology Lecture Performance Series, National Chang Kai Shek Cultural Centre (National Concert Hall and Theatre of Taiwan). Produced by Tsan-Huang Tsai (5 Concerts).

    2007

    Ethnomusicology Lecture Performance Series, National Chang Kai Shek Cultural Centre (National Concert Hall and Theatre of Taiwan). Produced by Tsan-Huang Tsai (3 Concerts).

     

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Entry last updated: Tuesday, 29 Sep 2020

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