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UPCOMING MEETINGS

Information on past Meetings can be accessed here.

26th CHIME Conference

Sustainability and Chinese Music

University of Music, Drama and Media Hannover, Germany

Center for World Music, University of Hildesheim, Germany

Leibniz-Konfuzius-Institut Hannover e.V. 德国汉诺威莱布尼茨孔子学院

3-6 October 2024

THIS CALL FOR PAPERS IS CLOSED

All speakers have been notified and are registered for the event. Please double-check if your name is on the list of participants. People planning to attend the conference as listeners are kindly asked to register with the conference organizer Du Yongfei (chime.music.info@gmail.com).

Call for Papers

Sustainability and Chinese Music

Urgent contemporary challenges have brought sustainability (可持续性) into sharp focus as a basic concern across musical worlds and research into music and sound. What are the historical and contemporary threats to the vibrancy of traditions and practices in Chinese music (technological, economic, political developments) and how have people acted to secure dynamic futures (heritage work, education, advocacy)? How has Chinese music been affected by the acute climate and environmental crisis, and can it become a potent force for change? Against these backdrops, how do individual musicians and researchers build lasting careers?

We welcome the following forms of proposal engaging with the broad theme of sustainability and Chinese music:

1. Individual paper (20 minutes plus 10 minutes for questions): submit an abstract of max. 250 words

2. Panel sessions of three to four papers: submit a panel abstract of max. 250 words plus abstracts of max. 200 words for each contribution

3. Performances, workshops, film screenings or roundtable discussions: submit an abstract of 250 words; please indicate the length of the contribution.

Abstracts should include name(s), affiliation(s) and contact details of all participants.

The primary languages of our meeting are English and Chinese. We encourage speakers to bring summaries or translations of their presentations to be made available to all conference participants.

The best student paper presented at the conference will be awarded with the CHIME Award, a prize of 500 Euros and (subject to standard procedures of editing and peer review) publication of the finalized version of the paper in the CHIME Journal.

Submission

Please send the information requested to the programme committee at chime@zo.uni-heidelberg.de by 5 May 2024. (Note: this mail address includes ‘Heidelberg’, but the actual meeting will definitely take place in Hannover and Hildesheim.)

Acceptance notifications will be sent by the end of May 2024, along with confirmation of the conference registration fee and other preliminary details.

Programme Committee

Du Yongfei (Chair), University of Music Drama and Media Hannover/Center for World Music – University of Hildesheim

Michael Fuhr, University of Music Drama and Media Hannover/University of Hildesheim

Samuel Horlor, Music Dept, University of Durham, UK

Li Shuqin, Central Conservatory of Music, Beijing, China

Raimund Vogels, Center for World Music – University of Hildesheim

Zhang Boyu, School of Music, Chin Univerity of Hong Kong, Shenzhen, China

A detailed program schedule of the 26th CHIME meeting will be made available in the course of September.

Speakers

Ban Lixia (Central Conservatory of Music): The Concern and Reflection of Contemporary Chinese "Music of Landscape" on Realistic Problems
Cai Yayi (Nagasaki University): Nanyin and its Sustainability in Global Flows
Chaloupková, Lenka (Charles University Prague): Finding Yourself through Others? What the Chinese Reception of Debussy tells about Different Concepts of Chineseness in Music
Chen Fanghui: Exploring the Ways in which Families and Music Teachers in Australia with Cross- Cultural Backgrounds Nurture East Asia Children in Musical Instrumental Learning in the Early Stage of their Development.
Chen Guanrong (Institut für Musikforschung der Julius Maximillians Universität Würzburg): Peking Opera in a multicultural German context——Peking Opera Club in Germany e. V. as a case study
Chen Xinjie (Wuhan Conservatory of Music ): A Research on the Education of Chinese Traditional Music in Music Clubs in Primary and Secondary School
Chen Zhenmei (Quanzhou Normal University): Running School: A Study on the Interactive Mode of Nanyin Education
Dai Jin (University College Cork ): Music Management in Sustaining Ethnic Minority Music in China——In Case of the Yi People’s Meige Songs
Prof. de Ritis, Anthony Paul (Northeastern University): New Musical Contexts for China’s Cultural Heritage – Strange Bedfellows of Sustainability and Soft Power
Enio de Souza (Instituto de Etnomusicologia): Chinese Music in Portugal 1980-2023: A Striking Increase
Fan Chen (University of Strasbourg): Dialectical elements in compositions of Chinese and European vocal music
Fan Linfeng (Central Conservatory of Music Beijing): Teaching and Practice of Jiangnan Sizhu in Higher Music Institutes
Feng Jun (SOAS, University of London): Reflections on the Individual Representatives-Centred Intangible Cultural Heritage Protection System in China
Gao Inga (Xi 'an Conservatory of Music): Who Takes Center Stage: A Canonization Analysis of Huayin Laoqiang Performance in Heritage Conservation Efforts
Han Yue (Central Conservatory of Music): A Research on the Dialect Tradition and the Sustainability of Chinese Opera Music: The Case of the Entering-Tone Characters in Inner Mongolian Errentai Opera Singing
Haywood, Matthew (The Chinese University of Hong Kong): Sustainable Atmospheres: Creating and Constraining Renao in Hong Kong Cantonese Opera
Hong Sirui (Central Conservatory of Music Beijing): The core of sustainability in Chinese music — Inheritance and Development of Traditional Chinese Music
Dr. Jin Xiangjing (Center for World Music / Conservatory of Music of Inner Mongolia Normal University): Inheritance-Integration-Innovation——Sustainability of Traditional Folk Songs of Ewenki and Daur Ethnic Groups in Inner Mongolia, China
Jin Yan (Yunnan Art Academy): The new birth of traditional Musical Instruments in Yunnan, China - taking the traditional Dai musical instrument "Tinin Sansai" as an example
Kong Xurong (Kean University): Seeking Sustainable Music in Early Medieval China
Dr. Li Huan (Southern University of Science and Technology): Kunqu in Shenzhen: Traditions, Amateur Performers, and Sustainability
Li Lusha (Anhui Normal University): Historical Imagination and Contemporary Writing of a Chinese City--a case study of Jia Guoping's Ningbo Suite
Li Rongfeng (Beijing University of Posts and Telecommunications): Pipa Performative Score Dataset Construction based on Intelligent Installation and Computer Vision
Li Xuanru (Central Conservatory of Music Beijing): The Shaping of Chinese Art Managers' Career Paths by Traditional Chinese Music Culture
Prof. Li Ya (Shanghai Normal University): Soundscape in the Chinese Garden: Historically Informed Jiangnan Silk and Bamboo Music Performance Practices
Li Yuexuan / Zhong Yuanbo (Yunnan Art Academy): Plateau Meets City: Dissemination of Traditional Tibetan Music in Chengdu
Li Zi’ao (Central Conservatory of Music Beijing): The Role that Traditional Chinese Music will Play in the Career of the New Generation of Chinese Composers
Li Ziyunfei (Xinghai Conservatory of Music): A Home Constructed by Cantonese Opera: A Case Study of Singapore Cantonese Opera Group OperaWorks Singapore
Lin Ziqi (Central Conservatory of Music): Exploring China's Contemporary Retro Trend through Classical Poetry Art Song “Spring Dawn”
Ling Seng I (Capital Normal University School of Music): Analysis of Music Curriculum Standards in Mainland China, Hong Kong and Macao: A Comparative Study
Prof. Dr. Liu Jie / Prof. Guo Chunning (Renmin University of China/Confucius Institute at the University of Geneva): Creative Processing of Folk Music in Contemporary Composition Practice—— Analysis of the Compositional Techniques in Jia Guoping's "Ningbo Suite"
Liu Keyi (University College Cork): Grassroots to Gigabytes: Sustaining Bai Music and Dance Traditions through Digital Curatorship
Liu Tianyu (University College Cork): Resonating Roles: Bridging Professional Erhu with the Rustic Music Traditions of China
Liu Yong (China Conservatory of Music): The Development of Chinese Suona Music
Prof. Dr. Luo Zhong (Inner Mongolia Arts University): Research on Contemporary Music Composition in Inner Mongolia
Ma Jincheng / Zheng Lin (Kyonggi University, Seoul): Music Education and the Cultivation of Ecological Awareness: A Study of the Role of Elementary Music Education in Enhancing Students' Awareness of Ecological Conservation and the Concept of Sustainable Development
Ma Junyi (Guangzhou Institute of Technology and Business): Profound Silence Speaks Volumes: Exploring the "two-four system tablature" in Chaozhou Zheng Music of China
Mao Yu / Si Wei (China Conservatory of Music): Teaching Practice of Chinese Traditional Self-Entertainment Quyi (曲艺) Dadiao Quzi (大调曲子)
Prof. Dr. Porras, Edwin E. (Haverford College): Traditional Korean Music Heritage in Global Flows
Prof. Dr. Schippers, Huib: Sustainable Futures for Music Cultures
Shen Wei (Central Conservatory of Music / Universität der Künste Berlin): The Dilemma and Its Solution: A Brief Discussion on the Compatibility between Traditional Chinese Musical Elements and Western Music Systems
Prof. Dr. Stevic, Ljiljana / Prof. Dr. Dodik, Sanda (University of Banja Luka): Safeguarding Chinese Musical Heritage: Contemporary Challenges and Sustainability Perspectives
Su Xiang (Quanzhou Normal University): “Stage Authenticity” or “Cultural Authenticity”?——The Changes and Inheritance of Contemporary Quanzhou Nanyin Performances Forms
Sun Jie (Guizhou Minzu University): The Challenges and Opportunities of Traditional Chinese Music and Contemporary Music
Sun Xiaohui (Wuhan Conservatory of Music): A Study of Music Diagrams in the Context of Classic Illustration Studies—An Analysis of Music Diagrams in 'Illustrated Book of Three Rites' and 'Illustrated Book of Six Classics'
van de Poll, Xavier (Shanghai Conservatory of Music): On the Various Usages of Mandarin by Dutch Composers
Wang Mengxuan (Central Conservatory of Music): How will the broken divine vein continue?——Reflections on the theoretical research and creative practice of Chinese music
Prof. Dr. Wang Ruiqi (Shanghai Conservatory of Music): Research on the Creation of Chinese Chamber Music with the Same Ethnic Instruments
Wu Pei-Shan (Hannover University of Music, Drama and Media): Singing "Sū-siang-ki": Sustaining Hengchun Folk Songs in the Shadow of the Formation from Academia, the Construction of Authenticity, and the Evolving Formation of Cultural Identity"
Wu Wenting (Central Conservatory of Music): Harmonizing Heritage: The Success and Significance of “Eternal Shandandan” in Bridging Traditional and Contemporary Music
Xi Jinmei / Liao Jie (Sichuan Conservatory of Music): Music in the Cultural Context–the Zang (Tibetan) Luhuo toasting Song in Western Sichuan: Multiple Perspectives
Prof. Dr. Xiao Mei (Shanghai Conservatory of Music): Sustainability and Music of Chinese Minorities
Yang Kuang-Tze (Center for World Music)
Yang Shuo Niki (Central Conservatory of Music): The Inconsistency in Sustainability: The Heritagization and Folk Practices of the Guerx Sal Lad Festival of the Bai People in Southwest China
Yang Zhuoran (Central Conservatory of Music): Reflecting on Traditional Chinese Music within the Context of World Music Perspectives
Yang Zixuan: Hua'er Folk Song Workshops in Forest Schools
Prof. Yu Chung-Yuan (Quanzhou Normal University): The “Vocalized Heterophony” of Quanzhou Nanyin, and its Transformation in the Contemporary Music
Dr. Zhang Chunlei (China Conservatory of Music): What’s the challenge for traditional Qupai music nowadays?
Dr. Zhang Pin (Central Conservatory of Music): The survival and challenge of Chinese private traditional drama troupes -- A case study of Bilin Wu Opera troupe
Zhang Wenzhao (Huazhong Normal University): Resounding Resilience: Exploring Musical and Bodily Performances in Post-Epidemic Wuhan
Zhao Tianyuan (Shenyang Conservatory of Music): The Past and Present of Tune of Rainbow Skirts and Feather Robes
Zhou Mi (Wuhan Conservatory of Music): The Inheritance Mechanism of Tang Dynasty Music in Japan: From Family Continuation to Restoration Performance
Zhou Shaocong (Shanghai Conservatory of Music): The Utilization of Xiqu Vocal Techniques (戏曲唱腔) In Three Orchestral Works
Zhu Zhu (Central Conservatory of Music): The "New Life" of Chinese Ancient Music
Zhuo Jerry Yue (Cardiff University): When Jiaobei Meets Nanyin: Building a Sustainable Creative Identity through Culture Preservation and Social Engagement

Performers

Cai Yayi / Pan Liuliu / Chen Silai (Nanyin and Traditional Chinese Instrumental Music)
Chang Chia-Ling / Tomoki Park (Liuqin / Piano)
Gu Wenqi (Guzheng)
Jinker NanDin (Folksongs)
Yu Chun-Yuan & Colleagues (Contemporary Nanyin Composition)

Visa Applications

We urge everyone who depends on a visa for Germany to apply for that document at your earliest convenience! Waiting periods for obtaining an appointment can be notoriously long. Alternatively, you may also consider traveling via Austria, Belgium or the Netherlands (doing the last part to - and inside - Germany by train) and applying for a Schengen visa in any of those other countries, which may act quicker in providing visas.

Please note that some travel agencies inside China are also able to arrange (against payment) shortcuts for obtaining visas for Germany.

In that case, it is sometimes necessary to book a hotel and flight in advance, but well-organized travel agencies will arrange temporary bookings which may be canceled without additional cost in case a visa does not arrive in time.

We cordially call upon everyone to try and be inventive in these matters. On our own part, we can do little more than provide you with a formal letter of invitation.

Travel Schedule and Accommodation

There are many direct flights from China to Hanover. The Hanover airport is situated just 11 km north of the centre of Hanover, with frequent train and bus connections to the city centre.

Below, we list possible hotels where you can make reservations.

The 26th CHIME meeting starts at the University of Drama and Media in Hanover (3-4 October) and continues at the Center for World Music of the University of Hildesheim (5-6 October).

Hildesheim is situated just 35 km to the south of Hanover and it can easily be reached by train (ca. 25 minutes, 6 Euros).

We recommend all participants to arrive in Hanover on 2 October and to move to accommodation in Hildesheim on the morning of 5 October.

The conference ends with an evening program on 6 October, so we suggest you leave Hildesheim on 7 October.

Hanover

Please refer to this list of hotels.

Hildesheim

Hotel Burgmeisterkapelle

Van der Valk Hotel Hildesheim

Registration & Registration Fee

All speakers have been notified and are registered for the event. Please double-check if your name is on the list of speakers.

People planning to attend the conference as listeners are kindly asked to register with the conference organizer Du Yongfei (chime.music.info@gmail.com).

All participants are required to pay a registration fee: 75 Euros for students, 130 Euros for all others. Registered participants will be notified with the relevant bank account information. If you foresee difficulties in covering this fee, or in paying it in advance (as we request), please contact our main organizer (Du Yongfei, email: chime.music.info@gmail.com)

The registration fee covers full catering for coffee and tea during all our breaks, some lunches and/or a reception or dinner, the program booklet with all the abstracts, free admission to all our concerts, participation in the guided tour on 5 October! The fee is also meant as a contribution towards bolstering the general budget of our conference, from which we pay our technicians and assistants.

TYPOGRAPHY

A tale of two cities

Sure enough, we must admit it: Hanover doesn’t feature high on the bucket list of most tourists who are coming to Germany. Many prefer to visit more famous cities such as Berlin, Cologne or Munich. Like so many cities in Germany Hanover was heavily bombed in World War II, with 90 per cent of its buildings turned to rubble. But, make no mistake, the place has veered back to life quite admirably, it now features an attractive blend of romantic and new architecture and a cool vibe that you won’t be able to overlook!

For one thing, if you have some spare time, do visit Hanover’s crazy townhall! It was built in 1913, a gaudy, idiotically oversized palace, like any madman’s dream, but it does invite you to inspect its jaw-dropping, stunning interior, and to examine (for example) four wonderful models of what Hanover looked like at various points in the city’s illustrious past. Also, don’t forget to go to the top of its 38-meter high dome (a weirdly oblique elevator will take you there), for a spectacular view of present-day Hanover, the Masch Lake and (on clear days) even the Harz mountains looming in the far distance…

The old town of Hanover still features many (reconstructed) half-timbered houses, picturesque cobbled lanes, and no end of cafes and beer and steak houses which continue to evoke the good atmosphere of the old days. There’s also a magnificent neo-classical Opera House; (you may want to squeeze in a ballet based on Grieg’s Peer Gynt, or a staging of Richard Strauss’ opera Salome (check out the Staatsoper’s program athttps://www.operabase.com/staatsoper-hannover-o9587/performances/en).

Or otherwise, inspect the ruins of the 12th century Aegidien church, a building never rebuilt to its former glory. It serves like a sober reminder of the tragedy of war. If you are more lighthearted in your tourist interests, you may want to visit Germany’s oldest flea market (every Saturday in front of the Leine Palace) or, even more fulfilling, Hanover’s duly famous food paradise: the Market Hall (guaranteed to satisfy anyone’s stomach…).

For green pastures, quiet walks, and a suitable bout of philosophizing, enter the beautiful city park Georgengarten, which you may follow for 4 km where it culminates into the Herrenhaus Gardens, which feature one the finest baroque gardens in Europe. Art lovers will also enjoy the unexpectedly modern interior of a grotto in those Gardens, designed by Niki de Saint Phalle. More of her work, as well as major art pieces by Picasso, Chagall, and Kokoschka can be admired at the Sprengel Museum. If the weather is good, Hanover also has a lot of fine green spaces for those who don’t wish to go far, streets lined with lush trees, and you are actually never more than ten minutes walking removed from some park scenery. There’s even a regular forest in the city. The Masch Lake is obviously a popular place for little boat trips, and the shores of the lake are dotted with outdoor stages and food stalls. No opportunities to get bored!

Once you move to Hildesheim, you will be even closer to green surroundings, including the fine Wildgatter animal park which is home to deer and rescued birds of prey. The city itself is marked by UNESCO as a World Heritage Site, and understandably so. Hildesheim is known for its fine old alleys and its historic churches, such as St Michael’s, an 11th century abbey with a painted wooden ceiling. Sacred relics are on display in the Dom Museum within St Mary’s Cathedral. Hildesheim has a small and attractive centre with a Gothic town hall and a lovely market square featuring many timbered houses (well reconstructed after being bombed in 1945). Our organizers in Hildesheim will offer the participants to the CHIME conference a guided city tour on the morning of 5 October. Be sure not to miss it!

Concerts

Needless to say, the venues in which the 26th CHIME meeting will be held, the Hanover Conservatory of Music, Theatre and Media, and the World Music Center in Hildesheim, also have attractions of their own to offer. We hope to host a number of concerts on the premises of these institutions.

One major focus in our music programs will be the ancient southern genre of Chinese balladry known as nanguan or nanyin, one of the slowest, decidedly most amazing types of vocal music available in Chinese tradition from any place or era! It’s extremely delicate and moving music, many people who are fond of Bach treasure nanguan as highly as they do Western classical traditions. For good measure, and since the topic of our conference is ‘sustainability’, we aim to host both traditional and innovative performers (composers) in this realm!

Other musical contributions will include Mongolian folk chants, new and traditional music for qin and for zheng (plucked zithers) as well as for liuqin (a small type of plucked lute), including pieces written by well-known Taiwanese contemporary composer Chi-Chun Chisun Lee. We look forward to welcoming such prominent performers as Chang Chia-Ling (Taiwan), Cai Yayi, Chen Silai, Pan Liulu, Gu Wenci (all from the People’s Republic of China), Tomoki Park (S.Korea/Japan) and others. More details and a full programme will be issued online on our website in the course of September.

27th International CHIME

Meeting in the Field

Zhejiang Conservatory, Hangzhou, Zhejiang, China

7-12 November 2024

THIS CALL FOR PARTICIPATION IS CLOSED

Call for Participation

Dear Friends, Colleagues and Chinese Music Enthusiasts,

The Zhejiang Conservatory of Music in Hangzhou, People’s Republic of China, is proud to announce the 27th International CHIME – Meeting in the Field, 7-12 November 2024. It will be a unique five-day event, combining three days of immersive fieldwork across Zhejiang province (8-10 Nov) with a two day-conference (11-12 Nov) at the Conservatory campus, in which the participants are invited to exchange experiences and present ad hoc reports on their musical fieldwork.

About the Conference

Inspired by the 11th CHIME meeting, held in Yulin, Shaanxi province in 2006, the 27th edition of CHIME once again takes up the format of a ‘traveling conference’ – a Meeting in the Field. This time we aim to explore local musical traditions scattered across Zhejiang province. Through hands-on fieldwork sessions and insightful discussions, we hope to uncover the rich cultural tapestry woven into the various landscapes of the Jiangnan area.

Chinese and international scholars from diverse corners of the globe are expected to join forces in this meeting. Ethnomusicologists who carried out little or no fieldwork in China so far are welcome to take up the challenge. The gathering in Zhejiang will offer them rare chance to engage with China’s musical heritage and native fieldwork practices. Those who have already carried out extensive fieldwork elsewhere in China are equally welcome to take up this opportunity to access a rich and varied panoply of rural musical traditions in Zhejiang. Scholars with backgrounds in Sinology or Anthropology are also explicitly welcomed to list up! A team of seasoned local music scholars will join the event as guiding experts.

The meeting’s key objectives are to foster a rich cross-cultural dialogue and to make unexpected discoveries! Come prepared to find inspiration in local music cultures, to develop ideas for future in-depth research, and to build relationships with research collaborators of diverse backgrounds.

Two Itineraries

For the fieldwork segment, two distinct groups will be formed, each designated to explore a specific area within Zhejiang province:

Group 1. Central and northern Zhejiang, conducting research around Yue opera and other local music culture;
Group 2. South-west Zhejiang, conducting research about puppet shows and music in relation with traditional architecture.

Each field group will also be accompanied by a dedicated team of audiovisual experts to aid in collecting and documenting materials. The conference organizers will ensure that ethical concerns (including privacy and use of personal data) are taken into full consideration.

To avoid over-crowding during fieldwork, we aim at a conference of max. 25 to 30 participants, to be divided into groups of approximately 15 for the two separate itineraries.

The Zhejiang Conservatory of Music will serve as the central hub for keynotes, individual presentations, and collaborative discussions.

The hosting institution will provide accommodation, meals, and cover internal travel expenses related to the fieldwork to the international scholars.

Participants will be expected to cover their own travel to the conference site and back home.

Submission Guidelines

To participate in the conference, all prospective applicants are required to submit a formal application comprising a motivational letter plus a succinct (max 200 word-)biography. The submission deadline for these documents is 30 May 2024.

Ensure your submission aligns with the conference's theme and objectives.

Key Dates

Submission Deadline: 30 May 2024

Notification of Acceptance: 30 June 2024

Conference Dates: 7-12 November 2024

Join us in this extraordinary journey across Zhejiang province, where music resonates in diverse landscapes, and fieldwork unveils the stories behind the melodies.

For inquiries and submissions, please contact serratore.f@gmail.com (Francesco Serratore).

Conference Committee

Wu Fan, (Chair), Zhejiang Conservatory of Music

Francesco Serratore (Co-Chair), Zhejiang Conservatory of Music

Frank Kouwenhoven, CHIME Foundation, The Netherlands

Odila Schroeder, Heidelberg University, Germany