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NOTES 1 For historical developments of Taoism, see Ch'en, 1963; Stein, 1979: 53-82; and for a fuller discussion of Jiao-shi, see Saso, 1972: 32-83, Liu, 1974, and Keuper, 1977: 79-94. "They hold Jiao-shi in either Cantonese or Fukien dialects and in general, Cantonese-speaking dao-shi provide Jiao-shi to Cantonese-speaking communities and Fukienese-speaking dao-shi to Fukienese-speaking com- munities. * The two dao-shi groups who conducted Jiao-shi at these two locations are among the few practicing Taoist groups in Hong Kong. Dao-shi who performed Jiao-shi in Fanling were Cantonese-speaking and in Cheung-chau, Fukienese-speaking. Exact instrumentation varies according to the practice of different regions; for example, Fukienese-speaking Taoist team performing at the Cheung-chau Bun Festival employs an er-hu in addition to the melodic instrument suo-na. Ch'en Guo-fu, 1963, mentions that the instrumentation of Jiao-shi music in the Jiang-nan area is quite similar to that of the Shi-fan-luo-go # of that area which consists of the melodic instru- ments of di, xiao, sheng, er-hu, xian-zi F, yun-luo pi-pa and percussion instruments. G . It goes without saying that changes of the pitches in the original pattern will result in ryhthmic changes as well; they are viewed nevertheless as pitch-variants. In rhythm-variant, the pitches remain relatively stable while rhythmic details change. • Based on the examples which I have analysed, it seems that the rhythm-variants are rarely used and even if they are used, they are often accompanied by some kind of pitch-variant (e.g., + ). Only the vocal part is included in the transcription. The er-hu part plays the same melody an octave higher. The percussion instruments of luo and po, played by the Taoist priest himself in this case, repeat the following pattern throughout: luo ро 33 XX- -X333 *This structure makes it possible for the suo-na players to prolong their playing whenever necessary by repeating the middle part several more times before going on to motif k. • The similar use of instrumentation and seating arrangement, and melodic and rhythmic motives in Jiao-shi music and regional opera of the same locality are two ready examples. Chen, 1963, describes Taoists performing Kun-ju H excerpts during Jiao-shi. See also Note 4. :

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182 NOTES 1 For historical developments of Taoism, see Ch'en, 1963; Stein, 1979: 53-82; and for a fuller discussion of Jiao-shi, see Saso, 1972: 32-83, Liu, 1974, and Keuper, 1977: 79-94. "They hold Jiao-shi in either Cantonese or Fukien dialects and in general, Cantonese-speaking dao-shi provide Jiao-shi to Cantonese-speaking communities and Fukienese-speaking dao-shi to Fukienese-speaking com- munities. * The two dao-shi groups who conducted Jiao-shi at these two locations are among the few practicing Taoist groups in Hong Kong. Dao-shi who performed Jiao-shi in Fanling were Cantonese-speaking and in Cheung-chau, Fukienese-speaking. 4 Exact instrumentation varies according to the practice of different regions; for example, Fukienese-speaking Taoist team performing at the Cheung-chau Bun Festival employs an er-hu in addition to the melodic instrument suo-na. Ch'en Guo-fu, 1963, mentions that the instrumentation of Jiao-shi music in the Jiang-nan area is quite similar to that of the Shi-fan-luo-go # of that area which consists of the melodic instru- ments of di, xiao, sheng, er-hu, xian-zi F, yun-luo pi-pa and percussion instruments. G . It goes without saying that changes of the pitches in the original pattern will result in ryhthmic changes as well; they are viewed nevertheless as pitch-variants. In rhythm-variant, the pitches remain relatively stable while rhythmic details change. • Based on the examples which I have analysed, it seems that the rhythm-variants are rarely used and even if they are used, they are often accompanied by some kind of pitch-variant (e.g., + ). Only the vocal part is included in the transcription. The er-hu part plays the same melody an octave higher. The percussion instruments of luo and po, played by the Taoist priest himself in this case, repeat the following pattern throughout: luo ро 33 XX- -X333 *This structure makes it possible for the suo-na players to prolong their playing whenever necessary by repeating the middle part several more times before going on to motif k. • The similar use of instrumentation and seating arrangement, and melodic and rhythmic motives in Jiao-shi music and regional opera of the same locality are two ready examples. Chen, 1963, describes Taoists performing Kun-ju H excerpts during Jiao-shi. See also Note 4. :

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182 NOTES 1 For historical developments of Taoism, see Ch'en, 1963; Stein, 1979: 53-82; and for a fuller discussion of Jiao-shi, see Saso, 1972: 32-83, Liu, 1974, and Keuper, 1977: 79-94. "They hold Jiao-shi in either Cantonese or Fukien dialects and in general, Cantonese-speaking dao-shi provide Jiao-shi to Cantonese-speaking communities and Fukienese-speaking dao-shi to Fukienese-speaking communities. * The two dao-shi groups who conducted Jiao-shi at these two locations are among the few practicing Taoist groups in Hong Kong. Dao-shi who performed Jiao-shi in Fanling were Cantonese-speaking and in Cheung-chau, Fukienese-speaking. 4 Exact instrumentation varies according to the practice of different regions; for example, Fukienese-speaking Taoist team performing at the Cheung-chau Bun Festival employs an er-hu in addition to the melodic instrument suo-na. Ch'en Guo-fu, 1963, mentions that the instrumentation of Jiao-shi music in the Jiang-nan area is quite similar to that of the Shi-fan-luo-go of that area which consists of the melodic instruments of di, xiao, sheng, er-hu, xian-zi, yun-luo, pi-pa and percussion instruments. 6 It goes without saying that changes of the pitches in the original pattern will result in rhythmic changes as well; they are viewed nevertheless as pitch-variants. In rhythm-variant, the pitches remain relatively stable while rhythmic details change. • Based on the examples which I have analysed, it seems that the rhythm-variants are rarely used and even if they are used, they are often accompanied by some kind of pitch-variant (e.g.,). + Only the vocal part is included in the transcription. The er-hu part plays the same melody an octave higher. The percussion instruments of luo and po, played by the Taoist priest himself in this case, repeat the following pattern throughout: luo ро 33 XX- -X333 *This structure makes it possible for the suo-na players to prolong their playing whenever necessary by repeating the middle part several more times before going on to motif k. • The similar use of instrumentation and seating arrangement, and melodic and rhythmic motives in Jiao-shi music and regional opera of the same locality are two ready examples. Chen, 1963, describes Taoists performing Kun-ju excerpts during Jiao-shi. See also Note 4.

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182 NOTES 1 For historical developments of Taoism, see Ch'en, 1963; Stein, 1979: 53-82; and for a fuller discussion of Jiao-shi, see Saso, 1972: 32-83, Liu, 1974, and Keuper, 1977: 79-94. "They hold Jiao-shi in either Cantonese or Fukien dialects and in general, Cantonese-speaking dao-shi provide Jiao-shi to Cantonese-speaking communities and Fukienese-speaking dao-shi to Fukienese-speaking com- munities. * The two dao-shi groups who conducted Jiao-shi at these two locations are among the few practicing Taoist groups in Hong Kong. Dao-shi who performed Jiao-shi in Fanling were Cantonese-speaking and in Cheung-chau, Fukienese-speaking. 4 Exact instrumentation varies according to the practice of different regions; for example, Fukienese-speaking Taoist team performing at the Cheung-chau Bun Festival employs an er-hu in addition to the melodic instrument suo-na. Ch'en Guo-fu, 1963, mentions that the instrumentation of Jiao-shi music in the Jiang-nan area is quite similar to that of the Shi-fan-luo-go # of that area which consists of the melodic instru- ments of di, xiao, sheng, er-hu, xian-zi F, yun-luo pi-pa and percussion instruments. G . It goes without saying that changes of the pitches in the original pattern will result in ryhthmic changes as well; they are viewed nevertheless as pitch-variants. In rhythm-variant, the pitches remain relatively stable while rhythmic details change. • Based on the examples which I have analysed, it seems that the rhythm-variants are rarely used and even if they are used, they are often accompanied by some kind of pitch-variant (e.g., + ). Only the vocal part is included in the transcription. The er-hu part plays the same melody an octave higher. The percussion instruments of luo and po, played by the Taoist priest himself in this case, repeat the following pattern throughout: luo ро 33 XX- -X333 *This structure makes it possible for the suo-na players to prolong their playing whenever necessary by repeating the middle part several more times before going on to motif k. • The similar use of instrumentation and seating arrangement, and melodic and rhythmic motives in Jiao-shi music and regional opera of the same locality are two ready examples. Chen, 1963, describes Taoists performing Kun-ju H excerpts during Jiao-shi. See also Note 4. :

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182

NOTES

1 For historical developments of Taoism, see Ch'en, 1963; Stein, 1979: 53-82; and for a fuller discussion of Jiao-shi, see Saso, 1972: 32-83, Liu, 1974, and Keuper, 1977: 79-94.

"They hold Jiao-shi in either Cantonese or Fukien dialects and in general, Cantonese-speaking dao-shi provide Jiao-shi to Cantonese-speaking communities and Fukienese-speaking dao-shi to Fukienese-speaking com- munities.

* The two dao-shi groups who conducted Jiao-shi at these two locations are among the few practicing Taoist groups in Hong Kong. Dao-shi who performed Jiao-shi in Fanling were Cantonese-speaking and in Cheung-chau, Fukienese-speaking.

4

Exact instrumentation varies according to the practice of different regions; for example, Fukienese-speaking Taoist team performing at the Cheung-chau Bun Festival employs an er-hu in addition to the melodic instrument suo-na. Ch'en Guo-fu, 1963, mentions that the instrumentation of Jiao-shi music in the Jiang-nan area is quite similar to that of the Shi-fan-luo-go # of that area which consists of the melodic instru- ments of di, xiao, sheng, er-hu, xian-zi F, yun-luo pi-pa and percussion instruments.

G

.

It goes without saying that changes of the pitches in the original pattern will result in ryhthmic changes as well; they are viewed nevertheless as pitch-variants. In rhythm-variant, the pitches remain relatively stable while rhythmic details change.

• Based on the examples which I have analysed, it seems that the rhythm-variants are rarely used and even if they are used, they are often accompanied by some kind of pitch-variant (e.g.,

+

).

Only the vocal part is included in the transcription. The er-hu part plays the same melody an octave higher. The percussion instruments of luo and po, played by the Taoist priest himself in this case, repeat the following pattern throughout:

luo

ро

33 XX- -X333

*This structure makes it possible for the suo-na players to prolong their playing whenever necessary by repeating the middle part several more times before going on to motif k.

• The similar use of instrumentation and seating arrangement, and melodic and rhythmic motives in Jiao-shi music and regional opera of the same locality are two ready examples. Chen, 1963, describes Taoists performing Kun-ju H excerpts during Jiao-shi. See also Note 4.

:

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