Research Projects and Publications in CUHK- Music

Research Projects


  • 2003/04 戲曲資料中心 (2003/04 Chinese Opera Information Centre)

  • 陳守仁 CHAN Sau Yan, 余少華 YU Siu Wah
    15 August 2003
    Hong Kong Arts Development Council

    香港中文大學「粵劇研究計劃」申辦「戲曲資料中 心」的目的﹐原在於便利香港及海外人士分享及使 用大學自二十世紀七十年代開始積累的大量戲曲 資料。 自得香港藝術發展局的資助以來﹐中心一 直不停及有系統地收集戲曲資料﹐包括文物、場 刊、海報、劇本、曲本、曲譜、書籍、錄影帶、錄 音帶、相片及文獻等。 這些資料經中心職員整理、 研究、保存及編目後﹐即供戲曲界人士、教育工作 者、研究人員及大眾查閱及使用。 (AL03643)



  • 2005/06 戲曲資料中心 (Chinese Opera Information Centre 2005/06)

  • 陳守仁 CHAN Sau Yan
    1 September 2005
    Hong Kong Arts Development Council

    香港中文大學「粵劇研究計劃」申辦「戲曲資料中 心」的目的,原在於便利香港及海外人士分享及使 用大學自二十世紀七十年代開始積累的大量戲曲 資料。自得香港藝術發展局的資助以來,中心一直 不停及有系統地收集戲曲資料,包括文物、場刊、 海報、劇本、曲本、曲譜、書籍、錄影帶、錄音帶、 相片及文獻等。這些資料經中心職員整理、研究、 保存及編目後,即供戲曲界人士、教育工作者、研 究人員及大眾查閱及使用。 (AL05792)



  • Candenzas of Hong Kong

  • CHAN Wai Kwong Victor
    1 June 2006
    Hong Kong Chinese Orchestra & Hong Kong Composers’ Guild

    The project enables the blending of contemporary music creativity with ethnicity and local Hong Kong identity. It invites innovation in performance and compositional techniques in a context consisting solely of traditional instruments. .Cadenzas of Hong Kong. is a two-year project which aims to promote artistic virtuosity, as in the Cadenza di bravura in Western classical music, as well as the unique expression on the versatility of Hong Kong in either social, cultural, personal, scenic or geographic terms. Commissioned by the Hong Kong Chinese Orchestra and the Hong Kong Composers. Guild, the work will be premiered during the HKCO.s 31st orchestral season (2007-2008), as part of the celebration of the 30th anniversary of the Hong Kong Chinese Orchestra. (AL05626)



  • Century Fanfare (For Orchestra)

  • CHAN Wai Kwong Victor
    1 April 2002
    Citigroup

    This work marks the beginning of a new series of my orchestral compositions, an attempt that further explores new possibilities for the contemporary orchestra, representing a continuation of my previous of set large-scale orchestral compositions for the Hong Kong Philharmonic Orchestra in 1997-2000. The work is commissioned by the Citigroup (1902-2002) to mark their One Hundredth Anniversary this year. The work will be premiered by the Hong Kong Sinfonietta. (AL01353)



  • A Dream Too Short

  • CHAN Wai Kwong Victor
    1 May 2006
    The Hong Kong Composers’ Guild

    This project furthers my long term exploration in creating music of the most advent guard nature and yet communicates with the general audience in the friendliest way. Written for the flute and the piano, the piece makes use of highly sophisticated contemporary techniques. Technically demanding as it may seem, the deep structure of its underlying harmonic conception is surprisingly simple and .classical.. While being a challenge to the performers, it is expected to create a different experience, mainly relaxing and entertaining for the listeners. .A Dream Too Short. is commissioned by the Hong Kong Composers. Guild for the Musicarama International Music Festival 2006. The piece will be premiered in October 2006, followed by publication by the Hong Kong Composers. Guild. (AL05490)



  • Fanfare for Tomorrow (For Orchestra)

  • CHAN Wai Kwong Victor
    1 November 2002
    Hong Kong Philharmonic Orchestra

    This is a continuation of my exploration on contemporary treatment of the symphony orchestra, which emphasis given to extensive use of percussion and brass instruments. The work was specially commissioned by the Hong Kong Philharmonic Orchestra in celebration of their 30th anniversary, to be presented at the Grand Opening of the new season in September 2003. (AL02575)



  • From Freedom of Expression to the Creation of a Hong Kong Style: Tong Dik-seng's Cantonese Opera Works of the 1950s

  • CHAN Sau Yan, YU Siu Wah
    1 September 2004
    Research Grants Council (Earmarked Grants)

    The 1950s is an important era in the history of Cantonese opera, and Tong Dik-seng 唐滌生 (1917-1959), and eminent playwright of this period whose influence extends through decades to the present date, is regarded as the most productive and influential playwright. Before the 1950s, Cantonese opera in Guangzhou and Hong Kong shared the same repertory and style. Ever since the 1949 revolution, strict censorship has been imposed on the genre in mainland China. Though all Hong Kong playwrights enjoyed tremendous freedom that was unprecedented throughout Chinese history, Tong was among the few who explored and practiced this freedom.
    From 1950 to 1959, Tong created over 200 Cantonese operas that were mostly premiered by the leading stars of the era; many of such works are still frequently staged nowadays in Hong Kong and occasionally in mainland China. Tong’s plays are marked by their elegant literary style, tuneful musical layout, and variety of subject matter that includes issues prohibited in mainland China.
    Since the 1950s such stylistic characteristics have become unique features of Cantonese opera in Hong Kong; even the tunes that Tong used are commonly adopted by contemporary playwrights. The present project aims at studying Tong and his works, with a primary focus on musical structure; Tong’s sources of subject matter and adaptations will also be studied. (CU04406)



  • Passion Within (For Piano)

  • CHAN Wai Kwong Victor
    1 March 2003
    The Composers and Authors Society of Hong Kong

    This is an Anti-SARS project specially commissioned by the RTHK-4, to be widely performed at various Anti-SARS functions. The work was released on CD “Ode to Life” produced by the RTHK. It was also adopted as the theme music for the portal of the ‘BrigntenHK Campaign’ jointly organized by the iProA, The Outstanding Young Persons’ Association, The Better Hong Kong Foundation, and The World Trade Centres Association. (AL02663)



  • Serialism (A Teaching Resource Kit): Contemporary Education Campaign of the ISCM World Music Days 2002

  • CHAN Wai Kwong Victor, YIP Ching Lee Jenny
    1 March 2001
    ISCM World Music Days 2002

    The Teaching Resource Kit will form a major component of the Contemporary Educational Campaign leading up to the 2002 ISCM World Music Days. It will serve as a catalyst in the nurturing of an appreciation in contemporary music and music creativity among the younger generation. The project is the result of collaboration between the Hong Kong Composers. Guild and the Hong Kong Education Department. The final publication will appear in two language versions (Chinese & English) totaling about 110 pages of teaching material and a CD. (AL00544)



  • Spark for Pipa, 2 Violins, Viola and Cello

  • CHAN Wing Wah
    1 April 2002
    The New Art String Quartet

    SPARK aims at blending the timbre of the Chinese pipa into the western string quartet, to create a new ensemble sonority not found in western classical music. The pipa is not featured as a solo instrument. Instead, it becomes a member in the overall ensemble which create a new international language of its own. The title refers to the composer.s feeling towards the spark of life that comes in different stage of one.s life time. SPARK was commissioned by the New Art String Quartet with financial sponsorship from the HK Music Fund administrated bt the Composers and Authors Society of Hong Kong. The piece will be premiered by the New Art String Quartet on July 11, 2002 in RTHK Studio 1 and broadcast live by RTHK-4. (AL01942)



  • Theme Music for the Franklin Graham Festival Hong Kong

  • CHAN Wai Kwong Victor
    1 January 2007
    Hong Kong Franklin Graham Festival

    This project furthers my long term interest in creating music of the most “serious” nature and yet communicates with the general audience in the friendliest way. In this regard, composing music for the church has always been a most exciting challenge. The Franklin Graham Festival (formerly Billy Graham Festival) with its more than 40 years’ experience in music ministry presents a most resourceful platform for church musicians in Hong Kong in this coming 2007 festival to mark the 10th anniversary of the HKSAR. Commissioned by the Franklin Graham Festival, the Theme Music consists of three different versions, including a hymn setting for the congregation, an anthem for the 5000-strong Festival Choir and an orchestral version for the Festival Orchestra. The music will be performed on all evenings of the festival and the score will be published by the organizer. (AL06546)



  • When the Green Woods Laugh: Songs to Poems by William Blake (For Solo Soprano, Treble Choir and Orchestra)

  • CHAN Wai Kwong Victor
    1 March 2002
    Hong Kong Sinfonietta / Composers and Authors’ Society of Hong Kong

    This work is the second under my new series of orchestral compositions, an attempt that further explores new possibilities for the contemporary orchestra. It is constructed as a continuation of my previous of set large-scale orchestral compositions for the Hong Kong Philharmonic Orchestra in 1997-2000. The project also represents an application of the ideas investigated in my research in .Music and Language.. Commissioned by the Hong Kong Sinfonietta, the work will be premiered in March 2003 by the orchestra, joined by the world-renowned English soprano P. Rozario and a 200-strong treble choir from the Diocesan Girls Junior School, conducted by Maestro Bruno Ferrandis from France. (AL01688)



  • 香港神功粵劇普查計劃 (Survey on Ritual Performance of Cantonese Opera)

  • 陳守仁 CHAN Sau Yan TAI Suk Yan, 黃穎 文 WONG Wing Man#, 鄭寧恩 CHENG Ling Yan, CHEUNG Man Shan
    23 January 2006
    Hong Kong Arts Development Council

    香港神功粵劇是本土傳統藝術表演活動之一,主要 為神誕、廟宇開光、鬼節打醮、太平清醮及其他傳 統節日而上演。由於神功粵劇與香港的傳統宗教文 化有著密切的關係,它從而保存了香港很多獨特的 文化、習俗及儀式。然而,這重要的文化藝術鮮有 文字紀錄詳述其發展。
    因此,粵劇研究計劃於1985 及1990 曾有系統地紀 錄及分析香港神功粵劇的籌辦、習俗及整個體制, 並於1996 年將有關成果出版了書籍《神功粵劇在 香港》及《神功戲在香港:粵劇、潮劇及福佬劇》, 保存及論述這珍貴的傳統表演藝術。時至現在已相 距15 年,社會的變遷對於香港神功粵劇的發展一 定有所影響。
    所以,是次計劃目的是透過實地調查,包括觀察、 訪問、錄音及攝影等方法紀錄廿一世紀的香港神功 粵劇的發展狀況。調查成果將於「香港傳統表演藝 術:神功粵劇」講座中公布並製作展覽板擺放於本 港表演場地、圖書館、博物館、大學及中學供市民 參觀,提高香港神功粵劇這傳統表演藝術文化地 位。此外,本計劃亦將修訂再版《神功粵劇在香 港》,透過文字紀錄香港神功粵劇的發展。
    (AL05659)



  • 《香港戲曲通訊》

  • 陳守仁 CHAN Sau Yan, 余少華 YU Siu Wah
    1 July 2003
    Hong Kong Arts Development Council

    自2000 年9 月1 月開始﹐「戲曲資料中心」已先 後出版五期《戲曲資料中心通訊》﹐每期《通訊》 均有特定主題﹐包括:「戲曲與新一代的承傳」、 「上海越劇在香港」、「潮劇」、「戲曲鑼鼓專輯」 及「香港首演的新編及改編粵劇專輯」﹐內容著重 學術性。 該《通訊》廣泛受戲曲研究者及社會人 士支持﹐除本港多間大專院校、中學、小學、文化 機構及公共圖書館外﹐多間海外院校及幾個團體亦 將《通訊》列入館藏之一。每期通訊內容亦刊載於 中心網頁內﹐方便海外人士查閱。《戲曲資料中心 通訊》自第六期開始將改名為《香港戲曲通訊》。 (AL03320)



  • 香港戲曲通訊(第八期至第十期) [Hong Kong Xiqu Newsletter (8th to 10th Issues)]

  • 陳守仁 CHAN Sau Yan
    1 September 2004
    Hong Kong Arts Development Council

    「戲曲資料中心」自2000 年9 月1 日起已先後出 版七期《香港戲曲通訊》﹐內容著重學術性﹐並且 於每期均有特定主題﹐深受戲曲研究者及社會人士 支持。 現時﹐除本港各大圖書館、戲曲及文化團 體和學校等有存取《通訊》外﹐多間海外院校及團 體﹐如中山大學、汕頭大學、中國藝術研究院音樂 研究所及戲曲研究所、新加坡國立大學等已將《通 訊》列入館藏之一。
    由於「戲曲資料中心」於2003/04 年所獲的資助不 足﹐故只好額外申請出版經費﹐以維持出版《香港 戲曲通訊》印刷本, 讓更多戲曲及文化團體、學 校、和各有興趣人士閱讀及保存。 《香港戲曲通訊》第八期至第十期的主題暫定為 「二十世紀初粵劇、粵曲文獻(二)」、「任白藏 品專輯」及「《帝女花》專輯」﹐每期約18,000 字﹐附加插圖﹐每期印製5,000 份﹐三期合共15,000 份。
    (AL04529)



  • 戲曲表演研討會:回顧、現況與前瞻 (Conference on Chinese Opera Performance: The Past, Present and Future Development)

  • 陳守仁 CHAN Sau Yan, 余少華 YU Siu Wah
    1 August 2003
    Hong Kong Arts Development Council

    自二十世紀五十年代以來﹐中國戲曲在香港一直有 獨特的發展方向。近二十年來﹐香港戲曲演出採用 現代化的佈景、燈光、劇場演區分工﹐以至改編西 方劇目﹐均使戲曲既保存了傳統的演出風格﹐也展 現生生不息的創新魅力1。隨著新移民加入﹐香港 戲曲劇種在粵劇的基地上又增加了京、崑、上海越 劇及潮劇。
    長久以來﹐戲曲研究不只吸引了國內、台灣及香港 學者的注意力﹐也成為不少國際學者的專注範疇。 籌辦是次一連三天之研討會﹐旨在總結及檢討香港 過去五十年戲曲發展、鞏固香港戲曲發展的獨特路 向及前瞻未來的發展方向。
    (AL03711)



  • 戲曲資料中心 (Chinese Opera Information Centre)

  • 陳守仁 CHAN Sau Yan, 余少華 YU Siu Wah
    1 December 2002
    Hong Kong Arts Development Council

    「戲曲資料中心」是以參考圖書館的形式免費開放 予各界人士使用﹐中心內藏有大量自二十世紀七十 年代開始累積的戲曲文字資料及影音資料。為加強 市民對戲曲的認識﹐「中心」定期舉辦公開活動及 講座﹐藉以推動及普及戲曲文化。「中心」亦為本 地及海外機構提供專業學術支援﹐間接成為戲曲界 人士與本地及海外機構的溝通橋樑;並出版《戲曲 資料中心通訊》﹐免費派發予本地及海外戲曲及文 化團體。每期通訊內容亦刊載於中心網頁內﹐方便 海外人士查閱。透過網頁上刊載的每月戲曲節目活 動資料﹐市民可隨時掌握香港以至海外的戲曲資 訊。 (AL02657)




Research Publications


  • CHAN Sau Yan. "Performance Context as a Molding Force: Photographic Documentation of Cantonese Opera in Hong Kong." Visual Anthropology (Philadelphia, United States of America: Routledge) vol.18 no.2-3 (March 2005), pp.167-198
    (CUHK Library Call No: Available Online)



  • CHAN Wai Kwong. "Passions Within (For Violin) - The Duo Series (Australia & Hong Kong) " HAZELDINE Ross, SCHELLHORN Andrew and DOWLING Deirdre, Australia, 2001.07.



  • CHAN Wai Kwong. "Theme Music for the Hong Kong Franklin Graham Festival (for Choir and Orchestra) ". Hong Kong Franklin Graham Festival Music commissioned for the 'Hong Kong Franklin Graham Festival 2007', in celebration of the 10th Anniversary of the HKSAR. 8 minutes, 1 June 2007



  • CHAN Wing Wah. "Composing Music in Hong Kong". Asian Composers in the 20th Century pp.189-192. Japan: The Japan Federation of Composers Inc. (JFC), 2002.03.31.



  • CHAN Wing-Wah. "`Dragon Spirit', for 2 Violins: `Hong Kong Unlimited'". Highlight of the Three-Year Plan Launching Ceremony 4 pgs. Government House: Hong Kong Arts Development Council, 2001.06.12.



  • HAZELDINE Ross, CHAN Wai Kwong Victor, SCHELLHORN Andrew and DOWLING Deirdre. "Passions Within (For Violin) - The Duo Series (Australia & Hong Kong)". 55 pgs Australia, 2001.07.



  • HAZELDINE Ross; CHAN Victor; SCHELLHORN Andrew and DOWLING Deirdre. Passions Within (for Violin) - The Duo Series (Australia & Hong Kong). 55 pgs. Australia: Red House Editions (Australia), 2001.06.



  • Mc CLELLAN Michael. "The Cello and the Concerto: Notes for Cello-Mania, performance of the Hong Kong Sinfonietta". Hong Kong Sinfonietta Programme. Hong Kong, China: Hong Kong Sinfonietta, 2002.12.12.



  • Mc CLELLAN Michael. "Mozart and the Piano Concerto: Notes for Centuries of Excellence, performance of the Hong Kong Sinfonietta". Fou Ts'ong Trilogy (Hong Kong Sinfonietta Programme). Hong Kong, China: Hong Kong Sinfonietta, 2002.11.17.



  • Mc CLELLAN Michael. "Music and the Art of Variation: Notes for Classical Rhapsody, performance of the Hong Kong Sinfonietta". Hong Kong Sinfonietta Programme . Hong Kong, China: Hong Kong Sinfonietta, 2002.09.29.



  • Mc CLELLAN Michael. "Notes for Short-cut to Classical Music, Orchestra Behind the Scenes, Performance of the Hong Kong Sinfonietta". Hong Kong Sinfonietta Programme . Hong Kong, China: Hong Kong Sinfonietta, 2002.11.04.



  • Mc CLELLAN Michael. "Notes for The Creation of the World, performance of the Hong Kong Sinfonietta". Hong Kong Sinfonietta Programme . Hong Kong, China: Hong Kong Sinfonietta, 2003.03.08.



  • Mc CLELLAN Michael. "Notes for Nothing but Mozart, performance of the Hong Kong Sinfonietta". Fou Ts'ong Trilogy (Hong Kong Sinfonietta Programme) . Hong Kong, China: Hong Kong Sinfonietta, 2002.11.22.



  • Mc CLELLAN Michael. "Programme Notes for the Freiburg Baroque Orchestra". Hong Kong Arts Festival Programme Hong Kong SAR: The Hong Kong Arts Festival Society Limited, 2005.02. p.22-37.



  • Mc CLELLAN Michael. "Yuletide Brass: Notes for Christmas Special with the Empire Brass, Performance of the Hong Kong Sinfonietta". Hong Kong Sinfonietta Programme . Hong Kong, China: Hong Kong Sinfonietta, 2002.12.25.



  • OLSON Greta. "Director of the Early Music Ensemble Concert at the Hong Kong International Institute of Music". HK IIM, 2001.03.28.



  • THOMPSON Brian Christopher. "American Visions: Hong Kong Philharmonic Orchestra, Hong Kong Cultural Centre Concert Hall". South China Morning Post Concert review. Hong Kong SAR: South China Morning Post Publishers Ltd., 2007.04.24. p.C6.



  • THOMPSON Brian Christopher. "The Hong Kong Arts Festival: 31st Edition". La Scena Musicale vol.8 no.9. Montreal, Canada, 2003.06. pp.37-38.



  • THOMPSON Brian Christopher. "The Legend Returns: Hong Kong Sinfonietta with Fou Ts’ong, Hong Kong City Hall Concert Hall". South China Morning Post Concert review. Hong Kong SAR: South China Morning Post Publishers Ltd., 2007.05.01. p.C6.



  • WITZLEBEN J. Lawrence. "Music in the Hong Kong Handover Ceremonies: A Community Re-Imagines Itself". Ethnomusicology vol.46. Champaign, IL, USA: University of Illinois Press, 2002.



  • WITZLEBEN J. Lawrence. "Musical Systems and Inter-genre Relationships in Hong Kong". The World of Music vol.42 no.3, pp.79-91. Berlin, 2000.



  • WITZLEBEN John Lawrence. "Archiving Chinese Music Materials at the Chinese University of Hong Kong". Archives for the Future: Global Perspectives on Audiovisual Archives in the 21st Century ed. by Anthony Seeger and Shubha Chaudhuri. pp.238-244. Calcutta, India: Seagull Books, 2004.



  • WITZLEBEN John Lawrence. "Cultural Interactions in an Asian Context: Chinese and Javanese Ensembles in Hong Kong". ed. by Ted Solis. pp.138-154. Berkeley, United States: University of California Press, 2004.



  • WITZLEBEN John Lawrence. "Music and Chinese Society: The Local, the National, and the Transnational in Hong Kong". The Garland Encyclopedia of World Music - East Asia: China, Japan, and Korea ed. by PROVINE C. Robert, Yosihiko TOKUMARC and WITZLEBEN J. Lawrence. vol.7. New York and London: Routledge, 2002.



  • YU Siu Wah. "Identity in the Cantonese Opera of Hong Kong". Paper presented in the 2001 Pacific Neighborhood Consortium Annual Conference, organized by City University of Hong Kong. 9 pgs. Hong Kong, 2001.01.20.



  • YU Siu Wah. "Indentity as a Problem of Hong Kong Composers". World New Music Magazine no.12, pp.15-20. Koln, Germany: MusikTexte GbR, 2002.11.



  • YU Siu Wah. "Review on Barbara Mittler’s Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan and the People’s Republic of China Since 1949. Wisebaden: Harrassowitz Verlag, 1997". The World of Music 43 (2+3) vol.43 no.2&3, pp.255-257. Berlin: Verlag Fur Wissenschaft Und Bildung, 2001.



  • YU Siu Wah. "The Cultural Negotiation in the Rituals of the 1997 Hong Kong Reunion with China". Journal of Ritual Studies vol.19 no.1, pp.47-54. Pittsburgh, USA: Department of Anthoprology, University of Pittsburgh, 2005.
    (CUHK Library Call No: Electronic Resource)



  • YU Siu Wah. "The Cultural Negotiation in the Televised Popular Shows Celebrating 1997 Reunion of Hong Kong with China". Special Seminar at Department of Cultural Studies, Lingnan University Hong Kong: Department of Cultural Studies, Lingnan University, 2002.02.18.



  • YU Siu Wah. "The Identity Problem of Hong Kong Composers". The Hong Kong Contemporary Music Scene Seminar 7 pgs. Hong Kong: Alliance Francaise, 2002.06.20.



  • YU Siu Wah. "The Images and Sound of Cantonese Narrative Singing nanyin as re-presented in Hong Kong Popular culture ". Hong Kong Culture: World and Image 8 pgs. Hong Kong, Hong Kong SAR: Hong Kong University, 2007.12.06.



  • YU Siu Wah. "The Imagined China of Mandarin Songs and Movies in the Post-1949 Era of Hong Kong ". Chinese Traditional Civilization and the Contemporary world vol.11 pp., 199-200 in the abstract booklet. Moscow, Russia: European Association of Chinese Studies, Russian Academy of Sciences, Institute of Far Eastern Studies, 2002.08.27.



  • YU Siu Wah. "Traditional Creativity and the Concept of pu in Cantonese Narrative singing nanyin in Hong Kong: A Participant-Observer’s Perspective.". Paper presented in the CHINOPERL Conference, organized by Chinese Oral Performance & Literature Association. 2002.04.04.



  • YU Siu Wah. "When both Chinese and Western music are no longer "Classics": Teaching Chinese Music in Post-colonial Hong Kong.". Paper presented in the Pre-Conference Symposium "Whose Asia-Pacific?": Representation and Presentation in Ethnomusicology, organized by Society of Ethnomusicology , 8 pgs. Honolulu, United States of America, 2006.11.15.



  • YU Siu Wah. "Yehu solo in the concert " 香江粵韻" (Cantonese Tone from Hong Kong) Theatre". Concert Performance Hong Kong, Hong Kong SAR: Theatre, Sheung Wan Civic Centre, 2007.11.04.



  • 余少華:《中樂發展國際硏討會論文集 : 1997年2月13-16日》,發展國際硏討會(1997 : 香港, 中國),香港 : 香港臨時市政局, 1997。
    (CUHK Library Call No: UL Gov Document ML336.5 .C6 1997 c.2; CC Gov Document ML336.5 .C6 1997)



  • 余少華:<從農村到都市——福佬劇在海豐及香港承傳現況初探 > (co-authored with陳守仁、曹本冶、韋慈明) 《1996「音樂的傳統與未來」國際會議論文集》, 頁103-121,台灣台北: 台灣行政院文化建設委員會,1996。
    (CUHK Library Call No: Music Dept-Chinese Music Archive 041.065 1996 4)



  • 余少華:《樂在顛錯中:香港雅俗音樂文化》,香港: 牛津大學出版社,2001。
    (CUHK Library Call No: UL HK Studies ML345.H6 Y87 2001 c.3; UL HKS Closed Stack ML345.H6 Y87 2001 c.5; UL Chinese Overseas Coll ML345.H6 Y87 2001 c.6; CC ML345.H6 Y87 2001)



  • 余少華:<談在香港認識中國音樂>,《給大學生的16 封鼓勵信》,香港: 中華書局(香港)有限公司,2005.06。
    (CUHK Library Call No: UL Good Reads LB2397 .J53 2005; UL HK Studies LB2397 .J53 2005; UC General Education LB2397 .J53 2005 c.3)



  • 余少華:<從『國樂』到『中樂』:香港中樂在新世紀的定位>. 論文發表於 《探討中國音樂在現代的生存環境及其發展座談會論文集》, 主辦機構為香港中樂團,頁149-161, 香港,2004.02。
    (CUHK Library Call No: CC ML336.1 .T36 2003)



  • 余少華:<二十世紀香港音樂文化>,《崇基六藝堂講座》, 香港,2002.04.12.。



  • 余少華:<中國傳統音樂在香港流行文化中的顛錯>,《藝術示範講座》, 香港: 香港城市大學中國文化中心,2001.11.29. 。



  • 余少華:<香港國語電影配樂經歷與見聞>,《香港電影音樂(HKinema)》, 第3 期, 4-5 頁, 香港特別行政區: 香港電影評論學會,2008.06.01.



  • 余少華:<香港粵劇拍和的中西與大小問題>, 《甚麼是中國戲曲:藝術表達手法的傳統與革新》國際學術研討會,香港大學音樂系: 香港大學音樂系,穆如室,康樂文化事務署聯合主辦,2001.06.12.



  • 余少華:<從香港看中國器樂合奏>. Music Office Exhibition 文字,圖片,錄音 (Dec 2001-Jan 2002) 8塊展板,香港:Music Office,LCSD,2001。



  • 余少華:<歷史、政治與香港電影配樂>,《樂友》 第80 期,頁11-13,香港,2000.11.。
    (CUHK Library Call No: CC Periodical ML5 .Y84)



  • 余少華:<潮劇簡介及專訪> (co-authored with 陳守仁 ),《戲曲資料中心通訊》第3期,頁12,香港:ADC 委約計劃,中大音樂系粵劇研究計劃,2001.09.01.。
    (CUHK Library Call No: CC Univ Archive ML1751.C4 X5 no.1-5, 2000-02)



  • 余少華:<戲曲鑼鼓專輯> (co-authored with 陳守仁),《戲曲資料中心通訊》第4期,頁12, 香港: ADC 委約計劃,中大音樂系粵劇研究計劃,2002.01.01.。
    (CUHK Library Call No: CC Univ Archive ML1751.C4 X5 no.1-5, 2000-02)



  • 余少華:<香港首演的新編及改編粵劇專輯> (co-authored with 陳守仁),《戲曲資料中心通訊》第 5期,頁 12,香港: ADC委約計劃,中大音樂系粵劇研究計劃,2002.05.01.。
    (CUHK Library Call No: CC Univ Archive ML1751.C4 X5 no.1-5, 2000-02)



  • 陳守仁:〈二十世紀初粤劇、粤曲文獻(一) 〉,《香港戲曲通訊》第7期,2003年12月
    (CUHK Library Call No: UL HKS Univ Archive ML1751.C4 X5; CC Univ Archive ML1751.C4 X5)



  • 陳守仁:《中國戲曲硏究計劃所存粤劇資料簡介及目錄》與葉玉燕合編,香港:中國戲曲硏究計劃,1991
    (CUHK Library Call No: CC ML120.C5 C43 1991)



  • 陳守仁:《王粤生圖傳:王氏相片彙輯》,香港:香港中文大學粤劇硏究計劃,1995
    (CUHK Library Call No: CC ML1751.C4 C3934 1995)



  • 陳守仁:〈香港首演的新編及改編粤劇專輯(二)〉,《香港戲曲通訊》第6期,2003年8月
    (CUHK Library Call No: UL HKS Univ Archive ML1751.C4 X5; CC Univ Archive ML1751.C4 X5)



  • 陳守仁:〈香港首演的新編及改編粵劇專輯〉與余少華合編,《戲曲資料中心通訊》第 5期 (2002年5月) ,頁12
    (CUHK Library Call No: UL HKS Univ Archive ML1751.C4 X5; CC Univ Archive ML1751.C4 X5)



  • 陳守仁:《香港粤劇硏究》2 vols,香港:廣角鏡出版社:發行華風書局,1988-1990
    (CUHK Library Call No: UL HK Studies ML1751.C4 C393 v.1; UL HKS Closed Stack ML1751.C4 C393 v.1-2; CC ML1751.C4 C393 v.1)



  • 陳守仁:《香港粤劇劇目初探‧任白卷》,香港:香港中文大學音樂系粤劇硏究計劃,2005
    (CUHK Library Call No: UL HK Studies ML120.H7 C44 2005; CC ML120.H7 C44 2005)



  • 陳守仁:《香港粤劇劇目概:1900-2002》,香港:香港中文大學音樂系粤劇研究計劃,2007
    (CUHK Library Call No: UL HK Studies ML48 .C428 2007; CC ML48 .C428 2007)



  • 陳守仁:《香港粤劇導論》,香港:香港中文大學音樂系粤劇硏究計劃,1999
    (CUHK Library Call No: UL HK Studies ML1751.C4 C3928 1999; CC ML1751.C4 C3928 1999 sddisc; CC Reserve 4 hours ML1751.C4 C3928 1999)



  • 陳守仁:《香港粵劇劇目初探(任白卷)》,香港特別行政區:香港中文大學音樂系粵劇研究計劃,2005年1月



  • 陳守仁:《神功戲在香港 : 粤劇、潮劇及福佬劇》,香港:三聯書店(香港)有限公司,1996
    (CUHK Library Call No: UL HK Studies ML1751.C4 C3933 1996; CC ML1751.C4 C3933 1996; CC Reserve 4 hours ML1751.C4 C3933 1996; NA General Education ML1751.C4 C3933 1996; CUTW-Book Collection Collection (Restricted to CUTW users) ML1751.C4 C3933 1996)



  • 陳守仁:〈從農村到都市——福佬劇在海豐及香港承傳現況初探 〉與余少華、曹本冶、韋慈明合著,見《1996「音樂的傳統與未來」國際會議論文集》,台灣台北:台灣行政院文化建設委員會,1996,頁103-121



  • 陳守仁:《粤曲的學和唱 [錄音資料] :王粤生粤曲敎程》,香港:中國戲曲硏究計劃, 1992
    (CUHK Library Call No: CC Pian Music Collection Audio-Visual ML 3746 .C4562 1992)



  • 陳守仁:《粤曲的學和唱:王粤生粤曲敎程》,香港:中國戲曲硏究計劃,1992.
    (CUHK Library Call No: UL HK Studies MT64.O6 C445 1992; CC MT64.O6 C445 1992)



  • 陳守仁:《粤曲的學和唱:王粤生粤曲敎程》,香港:香港中文大學音樂系粤劇硏究計劃, 2007
    (CUHK Library Call No: UL HK Studies MT64.O6 C445 2007; UL HK Studies MT64.O6 C445 2007 sddisc)



  • 陳守仁:《粤曲的學和唱:王粤生粤曲敎程》,香港:香港中文大學硏究計劃,1996
    (CUHK Library Call No: UL HK Studies MT64.O6 C445 1996; CC MT64.O6 C445 1996)



  • 陳守仁:《粤曲唱腔的基礎:王粤生粤曲敎材選集》,香港:香港中文大學粤劇硏究計劃,1993
    (CUHK Library Call No: UL HK Studies M1805.4.G82 C45 1993; CC M1805.4.G82 C45 1993)



  • 陳守仁:《粤劇音樂的探討》,香港:香港中文大學音樂系粤劇硏究計劃,2001
    (CUHK Library Call No: UL HK Studies M1805.4.G82 Y833 2001; CC M1805.4.G82 Y833 2001)



  • 陳守仁:〈粵劇與香港文化〉,見《嶺南歷史與社會》,香港城市大學中國文化中心編,中國香港:香港城市大學出版社,2003,頁153-167
    (CUHK Library Call No: UL Reserve 4 hours DS793.K7 L4948 2003)



  • 陳守仁:《實地考查與戲曲硏究》,香港:香港中文大學粤劇硏究計劃,1997
    (CUHK Library Call No: UL HK Studies ML1751.C4 C39335 1997; CC ML1751.C4 C39335 1997; UL Rare Book Room ML1751.C4 C39335 1997)



  • 陳守仁:《儀式、信仰、演劇 : 神功粤劇在香港》戴淑茵、鄭寧恩, 張文珊修訂,香港: 香港中文大學音樂系粤劇硏究計劃,2008.
    (CUHK Library Call No: UL HK Studies PN2876.H6 C46 2008; CC PN2876.H6 C46 2008; CUTW-Book Collection (Restricted to CUTW users only) PN2876.H6 C46 2008)



  • 陳守仁:《儀式、信仰、演劇:神功粤劇在香港》,香港:香港中文大學粤劇硏究計劃,1996
    (CUHK Library Call No: UL HK Studies PN2876.H6 C46 1996; UL HKS Closed Stack PN2876.H6 C46 1996; CC Reserve 4 hours PN2876.H6 C46 1996)



  • 陳守仁:〈潮劇簡介及專訪〉與余少華合編,《戲曲資料中心通訊》第3期 (2001年9月),頁12
    (CUHK Library Call No: UL HKS Univ Archive ML1751.C4 X5; CC Univ Archive ML1751.C4 X5)



  • 陳守仁:〈戲曲資料中心通訊〉與余少華合編,《戲曲鑼鼓專輯》第4期 (2002年1月),頁12
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