This book is an academic biography of Liu Ching-chih, a renowned musicologist and translation scholar, and a prolific music critic in Hong Kong. Three Library Collections named after him are housed in the University of Hong Kong Libraries, the Hong Kong Central Library, and the Library of the Institute of Chinese Studies of the University of Heidelberg. This volume of life writing is distinguished from average biographies by its reliance on systematic analyses of an extensive array of texts and interview data. The chapters integrate chronologies, narratives, analyses and intertextual connections, with the voice of Liu foregrounded, to present a multifaceted character whose decades-long scholarship spanned across music criticism, the history of new music in China, and translation. Several chapters document Liu’s process of working on his major book projects, including A Critical History of New Music in China and A Critical History of Music in Hong Kong. One chapter portrays Liu as a scholar-music critic, and another features his leadership at the Hong Kong Translation Society. A chapter that documents Liu’s immensely rich array of academic and cultural services in Hong Kong is followed by a linguistic and cultural profile of the scholar. The ending chapter, on the biography project itself, traces the evolution of the project, explains the research methodology, and provides a metadiscoursal account of the writing of the book. The book provides a valuable reference for those who want to know about humanities scholars, public intellectuals, music criticism, music research, and civic societies in Hong Kong, for those who are curious about the academic exchange between Hong Kong and mainland China during the 1980s-1990s, and for those who are interested in an interdisciplinary approach in life writing research and the genre of life writing concerning in particular scholars.
Acknowledgements
Prologue
Chapter 1. From Moving to Hong Kong in 1948 to Earning PhD in 1983
1.1 CC from Tianjin to Hong Kong and his early music life
1.2 Passing the examinations of LTSC (1962), AMusTCL (1962) and LRSM (1963), while being an “increasingly disillusioned” school teacher (1958-1966)
1.3 Working for the BBC as a Senior Translator (1966-1973) and earning a Bachelor of Arts degree from the University of London (1972)
1.4 Becoming an anti-colonial, innovative administrator at the University of Hong Kong (1973)
1.5 Earning MPhil (1979) and PhD (1983) degrees by researching Yuan zaju
Chapter 2. Organising research seminars and publishing seminar monographs at the Centre of Asian Studies (CAS), University of Hong Kong
2.1 CC launching his decades-long research project on the history of new music in China
2.2 CC’s definition of the term “new music” and his academic stance on the new music in China
2.3 CC’s academic activities as documented in the CAS Reports
2.4 Raising funds through personal connections for organising the seminars and publishing the seminar monographs
2.5 Leadership and conflict management
2.6 Key design features of the seminars organised by CC
2.7 Debates between CC and Doming Lam
2.8 CC playing his own “game” and creating monographs in “series”
2.9 The CAS, University of Hong Kong as CC’s academic home base
Chapter 3. The Chinese Editions of A Critical History of New Music in China: Criticisms and Responses
3.1 The publication of the first Chinese edition of 《中國新音樂史論》A Critical History of New Music in China (Liu, 1998a)
3.2 Shilun (Liu, 1998a) being severely criticised at the Beijing symposium
3.3 “The blue-covered book” (Liu & Li, 2001) and CC’s articles of responses to the criticisms
3.4 CC’s responses to the criticisms on Shilun (Liu, 1998a) from mainland musicologists
3.5 The 6th, or the last, Seminar on The History of New Music in China
3.6 CC’s long-term vision for the research on the history of new music in China
3.7 CC valuing academic exchanges with mainland counterparts
3.8 Mainland musicologists affirming the value of Shilun and CC’s pioneering work
3.9 Mainland musicologists’ perspectives on CC as a person
3.10 CC’s perspectives on his clashes with mainland musicologists in academic views
3.11 Preparing to revise the first edition of Shilun (Liu, 1998a)
3.12 Working with Hou Yan in correcting the factual mistakes in the first edition of Shilun (Liu, 1998a)
3.13 The publication of the expanded edition of Shilun (Liu, 2009a)
3.14 The publication of 《論中國新音樂》On New Music in China (Liu, 2009b)
3.15 CC presenting talks and writing papers related to Shilun from 2000 to 2015
3.16 An aborted plan of having Shilun published in simplified Chinese characters in mainland China
Chapter 4. The English Edition of A Critical History of New Music in China: Criticisms and Responses
4.1 Working with British sinologist Caroline Mason in the translation project
4.2 Revising the English manuscript of A Critical History of New Music in China in response to a reviewer’s criticisms
4.3 Submitting the final version of the English manuscript of A Critical History of New Music in China
4.4 Six English-medium book reviews on A Critical History of New Music in China
4.5 CC’s responses to the six book reviewers in Liu (2018a)
4.6 A research colloquium on A Critical History of New Music in China at the University of Hong Kong
Chapter 5. The Three Library Collections Named after CC
5.1 The C. C. Liu Collection at the University of Hong Kong Libraries
5.2 The C. C. Collection at the Institute of Chinese Studies, University of Heidelberg, Germany
5.3 The Liu Ching-chih Collection at the Hong Kong Central Library
Chapter 6. CC Teaching in the Department of Music Education, Shanghai Conservatory of Music as a Visiting Professor
6.1 The appointment of Visiting Scholarship and CC’s course teaching
6.2 Supervising Master dissertations
6.3 Being respected and loved by the students
6.4 CC’s own accounts of his teaching at the Shanghai Conservatory of Music
6.5 CC’s other academic activities associated with the Shanghai Conservatory of Music
Chapter 7. CC’s Project on A Critical History of Music in Hong Kong
7.1 The 1990s-2005: Early preparations, Liu (1997d), and a book proposal in 2005
7.2 2006-2014: CC’s process of writing《香港音樂史論》A Critical History of Music in Hong Kong (Liu, 2013a, 2014a)
7.3 After the publication of A Critical History of Music in Hong Kong (Liu, 2013a, 2014a)
7.4 The anticipated publication of A Critical History of Music in Hong Kong in simplified Chinese characters by the Shanghai Conservatory of Music Press
7.5 Envoi
Chapter 8. CC as a Music Critic
8.1 CC as a prolific scholar-music critic
8.2 The beginning of CC’s career as a music critic
8.3 CC on music criticism
8.4 Attending concerts in Hong Kong
8.5 On the diminishing space for publishing music reviews in Hong Kong
8.6 The reception of CC’s music reviews in Hong Kong
8.7 CC as an enthusiast for Wagner’s Ring and his preparation of a talk on Ring in December 2014
8.8 Two public talks in 2017 by CC as a music critic
8.9 Attending the annual Macao International Music Festival
8.10 A musical traveller in Europe
8.11 Communicating with the organisers of the overseas music festivals
8.12 Overseas travelling in the decade of 2009-2018
8.13 CC and the pianist Fou Ts’ong
8.14 Envoi
Chapter 9. CC as a Translation Scholar
9.1 The double helix of music and translation from the early years onwards
9.2 CC as a witness and creator of the history of the Hong Kong Translation Society (HKTS)
9.3 The HKTS’s seminars on translation in the 1980s and some books on translation edited by CC
9.4 The HKTS reaching out internationally from the mid-1980s under CC’s leadership
9.5 CC’s articles on translation in Liu (1996a)
9.6 CC’s research on the translation syllabuses at the tertiary level in Hong Kong in the late 1990s
9.7 CC’s views on translation studies as shown in his publications after Liu (1996a)
9.8 An interview conducted by Leo Chan Tak-hung with CC in August 2004
9.9 CC’s talks and presentations as a translation scholar from 2000 to 2018
9.10 Part-time translation teaching and related services
9.11 CC as a diligent writer of the history of the HKTS
9.12 Two things that CC did not do: To become a historian of translation and to publish a volume of translations
9.13 Envoi
Chapter 10. CC’s Academic and Cultural Services
10.1 CC as the President of the Hong Kong Ethnomusicology Society and his regrets
10.2 CC’s connection with the Hong Kong Sino-British Fellowship Trust Scholars’ Association (HK-SBFT-SA) and his one regret
10.3 CC’s unpublished “Memoir Part III”, on the (Chartered) Institute of Linguists Hong Kong Regional Society
10.4 CC’s service to the Hong Kong Pei Hua Education Foundation
10.5 CC’s service to the Hong Kong Society for Rehabilitation (HKSR)
10.6 CC’s service to the Hong Kong Philharmonic Society (HKPS)
10.7 CC’s service to the Hong Kong Children’s Choir (HKCC)
10.8 CC’s connection with the Wuhan-Hong Kong Friendship Society
10.9 Envoi
Chapter 11. A Cultural and Linguistic Profile of CC, His Philosophy of Life, and His Reflections
11.1 A cultural and linguistic profile of CC
11.2 CC’s personality and character
11.3 Philosophy of life
11.4 Dedication to work and commitment to leading a healthy life
Chapter 12. This Book Project as a “Joint Project” with CC
12.1 Our discussion of the “joint project” over time
12.2 CC’s writing of “Memoir Part I, Part II, and Part III”
12.3 My process of working on this book
12.4 The research that underlies this book
12.5 Why this book is written in English
12.6 Stylistic aspects and the length
12.7 The cover design
12.8 Looking ahead
Epilogue
本書的中文説明
References
Appendices
