【HKU MUSE House Programme】Ink Art & New Music: New Works by Faculty and Student Composers

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中西混合室內樂創作交流項目 Creative Exchange Project COMPOSING FOR MIXED ENSEMBLE OF CHINESE AND WESTERN INSTRUMENTS

Phase 1 | Fall 2021 | Virtual Lectures Introduction to Ink Art through the Lens of M+, Hong Kong Speaker: Dr. Lesley Ma

Development of Mixed Ensemble Music Speaker: Dr. Yeung-ping Chen

Traditions as Constraints or Resources?

Speaker: Prof. Chan Hing-yan

Conversations Between the Western and Chinese Instruments in Selected Works Speaker: Dr. Yiwen Shen

Revisit the lectures on MUSE YouTube Channel (with bilingual subtitles)

Phase 2 | Apr 2022 | New York INK AND SOUND: A Conference on Chinese Music and Visual Arts World Premiere of New Works by Bard Student Musicians

Phase 3 | Sep 2022 | Hong Kong 'INK ART & NEW MUSIC' PROJECT FINALE Asian Premiere of New Works by Ensemble Traversée

• Preface •

Hear the Art, See the Music The interdisciplinary project began in 2017 with the exhibition 'The Weight of Lightness: Ink Art at M+' I curated at the M+ Pavilion in Hong Kong's West Kowloon Cultural District. The exhibition focused on visual art since the 1950s that reinterprets the traditions of ink painting and calligraphy. At the core is an East Asian aesthetic that has continued to impact many aspects of artistic thought and production. To further illuminate the potential of the ink aesthetic, I invited US-based composer Lei Liang to curate 'Imageries in Sound', a playlist of new music that engages with East Asian ink art.

Though the music, from 1960s to 2010s, was not produced for the art in the exhibition, we aimed to show how visual art and music are intricately linked and that their shared aesthetic has fueled creativity in both disciplines. Some musical works, like Liang's Brush-Stroke (2005) and Chen Yi's The Points (1991), focus on the physical relationship between the brush and the paper and between marks and gestures; others, like Gao Ping's Bright Light and Cloud Shadows (2006), capture an impression of a landscape. The music, available at the exhibition via wireless headsets and online, created more points of reference for ink art.

A few years later, Yeung-ping Chen, whose Fugue of Distances (2013) was included in the 2017 playlist, pushed for deeper interactions between ink art and music. He brought together a group of multigenerational composers from Hong Kong and the United States to respond to contemporary ink works in the collection of M+, which opened in November 2021. As the collaboration underscored a few objectives of the new museum—to shed light on the past and the future of artistic traditions as well as to encourage broader interpretations of art—it also showed a parallel in updating traditions in visual art and music that did not rely on conventional tropes, techniques, compositions, or materials.

In April 2022, the commissioned music, performed by students from Bard Conservatory of Music, showed how the visual, material, emotional, and spiritual dimensions of contemporary ink paintings and calligraphy can be re-interpreted through music and stimulate a new dynamic between instruments from different cultures. Zheng and cello,

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Installation view of M+ Commission: Tong Yang-Tze, 2020. © Tong Yang-Tze. Photo: Lok Cheng & Dan Leung, M+, Hong Kong

pipa and flute interacted with the stroke, dots, blank spaces, and dark washes in the artworks, and with each other. Now, HKU MUSE brings the project back to its place of origin with the Asian premiere of the musical compositions, performed by Hong Kong's Ensemble Traversée. In breaking artistic and cultural boundaries, the project celebrates an East Asian aesthetic that continues to inspire. Surely the cross-pollination will bring forth many more inspiring productions.

Dr. Lesley Ma Ming Chu Hsu and Daniel Xu Associate Curator of Asian Art Department of Modern and Contemporary Art The Metropolitan Museum of Art

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• Programme •

PROJECT FINALE INK ART & NEW MUSIC: New Works by Faculty and Student Composers 30 SEP 2022 | FRI | 8PM Grand Hall, The University of Hong Kong Ensemble Traversée Vicky Shin, conductor

STUDENT COMPOSERS JING WANG

Trace

Yeung Ching Ho, zheng Chor Kai Hei, cello Samuel Chan, percussion

SAMUEL MUTTER

Nocturnal Scars

Tete Bae, flute Wu Siu Hin, erhu Leung Ka Lok, pipa

OGA

Wurzel aus

Samuel Chan, percussion Euna Kim, violin Kaisan, guqin

AUSTIN LEUNG

Beyond Form

Yeung Ching Ho, zheng Chor Kai Hei, cello

FACULTY COMPOSERS YEUNG-PING CHEN

Song of Ink

Tete Bae, flute Euna Kim, violin Leung Ka Lok, pipa Kaisan, guqin Alexander Wong, piano

CHAN HING-YAN

An Ink Artist’s Two Seasons

Euna Kim, violin Wu Siu Hin, erhu Samuel Chan, percussion

YIWEN SHEN

Wild Grass

Tete Bae, flute Wu Siu Hin, erhu Leung Ka Lok, pipa Yeung Ching Ho, zheng Chor Kai Hei, cello

Instrumentation listed in accordance with the composers’ scores

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STUDENT COMPOSERS

• Programme Notes •

Trace JING WANG

The University of Hong Kong For zheng, cello, and percussion

Li Yuan-chia, Untitled, 1960. Ink on paper, 28 x 748.2 cm. M+, Hong Kong. © Li Yuan-Chia Foundation. Photo: M+, Hong Kong

「溯」，意為追溯水墨所到之處，所留痕跡。 Trace, to track the trail where the Chinese ink travels and impacts Trace depicts an artistic process of drawing a painting by applying an ink brush.

By dabbing and blending, the flowing ink will change its shape, interacting with paper according to different strength, size and length controlled by the painter. Applying those flowing elements into music, how the trace is formed will be perceived.

In the meantime, transforming the conceptual painting moves into performative body language, which draws the strokes of the Chinese character Sù 溯 , forming a visualised acoustic artwork. To gradually magnify the extension of ink creates a series of ripples covered by multi-layered ink colour. The piece metaphorically reflects a gentle and peaceful mood.

Trace, 2022, by Jing Wang, original score, first page. © Jing Wang

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Jing Wang is a composer and new music improviser. She obtained her Bachelor's degree in composition from the Central Conservatory of Music under Jia Guoping, Luo Xinmin, and Tang Jianping, and her Master's degree in composition at the Hochschule für Musik und Tanz Köln under Johannes Schöllhorn. She is currently conducting her Ph.D. research in composition at the University of Hong Kong under Prof. Chan Hing-yan. Her composition includes chamber music, orchestra, and stage works on a variety of themes, such as Time, Space, Nature, Game, Kung-Fu, etc. In 2020, her work Beiss mich! was published by Breitkopf & Härtel. Her work Yan has been performed on several occasions by Ensemble Musikfabrik.

She has performed new music as a pianist with improvisers and sound artists in Germany, Italy, and Canada. She has also conducted salons of new music and improvisation in China.

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• Programme Notes •

Nocturnal Scars SAMUEL MUTTER

Bard Conservatory of Music For flute, erhu, and pipa It's such a difficult subject. Human cruelty. How does one really speak to its immense volume, and its shocking impact? Perhaps art is the best way to discuss human cruelty, tension, hate, violence, war, genocide. Art is probably the best way to express the impact of these human atrocities.

The painting that inspired my piece is entitled Movement II (ca. 1985) by Irene Chou. I was struck by the piece's starkness. The sharp contrasts between coal black, cloudy grey, and fleshy pinks and reds. There's a rawness to this work of art that just fascinates me. I think it's a fantastic representation of human cruelty over time. From day to day, year to year, and generation to generation.

The continuity of cruelty is a reality that shocks us even though it has existed for all of human history. The dark swirling patterns in Chou's work could represent the fear, the tension, the anxiety that lingers, the hate that festers, and burns until it suddenly spirals out of control into the raw reds and pinks which could represent traumatic acts of violence.

Irene Chou, Movement II, ca. 1985.

Ink and colour on paper, hanging scroll, 138.7 x 69.6 cm.

M+, Hong Kong. © Catherine Yang. Photo: M+, Hong Kong

Of course, this is just my interpretation of Chou's work. I do not know what the artist herself wished to convey. Nonetheless, her work has inspired me to create my own art reflecting the subject of human cruelty, the continuity of cruelty. Fortunately, I do not speak from a place of having experienced such atrocities, but I do hope that

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the piece encourages thought and conversation around the ideas of hate, human cruelty, violence, genocide, and the trauma that stays with those who have lived through such horrible events. Nocturnal Scars is dedicated to them, those who have suffered and those who are still suffering at the hands of human hate and cruelty.

Nocturnal Scars is a piece in four movements. The first three of which can be performed in any order the players would like. Each starts off with a slow, steady build in tension, fear, and anxiety that is supposed to represent the black and grey swirls in Chou's work.

This build ends in an explosion of thornier material supposed to mimic the rawness of the reds and pinks used in Chou's work. The fourth movement is supposed to give a sense of infinite continuation and variation that ends without feeling like an end has actually arrived as is unfortunately the case when it comes to human cruelty. It continues every day. Somewhere people are still suffering at the hands of others.

As with any piece I write, how effectively I'm able to communicate my ideas to the audience is a challenge and in some ways a risk, an unknown. I hope that I will succeed, but perhaps I will not.

Samuel Mutter is a composer, pianist, and trumpeter currently based at Bard College, where he attends the Conservatory as a third-year music composition student. Mutter's influences include a wide range of classical, folk, jazz, and rock music. He has a deep interest in the music of different cultures, and this often affects his writing. Samuel's music has been performed by large ensembles, chamber ensembles, and soloists. In addition to concert music, Samuel enjoys writing music for film and has participated in prestigious programmes such as the NYU Screen Scoring Workshop. Before coming to Bard College, Mutter studied composition privately with Long Island based composer, Alan Hankers. He currently studies composition with composer George Tsontakis, and is pursuing a Bachelor of Music in composition.

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• Programme Notes •

Wurzel aus OGA

Bard Conservatory of Music For percussion, violin, and guqin Chinese legend goes, Bo Ya, a qin player has a good friend Zhong Ziqi, who is able to understand whatever Bo Ya plays. When Zhong Ziqi dies, Bo Ya breaks his qin and vows never to play again because no one else would understand his music. Liushui ("Flowing Water"), is allegedly a piece Bo Ya once played.

In German, "Wurzel aus" means "square root of". While living in West Germany in the early 60s, Nam June Paik drew a square root sign on a blank hanging scroll as a gift for Mary Bauermeister, an artist friend who was part of the Fluxus circle (and, anecdotally, would later be married to composer Stockhausen). The 60s was a turbulent time for Paik's home country South Korea (from where he fled the war in the 50s). Paik later immigrated to the US. A recording of Liushui was included in the famous Voyager Golden Records, which were launched into space in 1977. This is to say, hints of that ancient piece are still floating in outer space, now, about 20 billion kilometres away from us, going ever further.

I grew up in Beijing. Many of my childhood sound memories reflect an aesthetic of synchronicity. We sang in choirs; we walked in formations; everybody did the same things under one command. I haven’t been able to go back to where I came from for years. "Perhaps home is not a place but simply an irrevocable condition", James Baldwin famously wrote. I wonder what Paik's relationship to home was.

Nam June Paik, Wurzel aus, 1961.

Permanent marker on paper, hanging scroll, 176.8 x 45.8 cm.

M+, Hong Kong. © Estate of Nam June Paik. Photo: M+, Hong Kong

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My piece concerns how the juxtaposition of seemingly unrelated fragments re-creates context. The piece is made up of 30 cells of sounds with different duration of silence in between them. Guqin plays fragments from Liushui. Violin plays fragments derived from what's known as the "red songs". The percussion plays found objects. They all play under one command.

OGA (they/them) is a fourth-year student at Bard College Conservatory, majoring in music composition and studio arts. Their practice is equally focused on music/sound and visual art, including music composition and other soundbased performances, alongside drawing, sculpture, video, and performance art. Their compositions have been performed by members of the International Contemporary Ensemble, Da Capo Chamber Players, and Fear No Music. They are a recipient of the Joan Tower Scholarship for composition at Bard College and their mentors include Sarah Hennies, George Tsontakis, Joan Tower, and Kenji Bunch.

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• Programme Notes •

Beyond Form AUSTIN LEUNG

The University of Hong Kong For zheng and cello Beyond Form is inspired by Mr. Leung Kui Ting's ink artwork of the same title. The music work focuses on utilising the sound of plucking strings.

The cello only plays pizzicato in the entire piece. The glissando gestures are greatly emphasised in the music.

The glissando idea is inspired by the clear and firm strokes in Mr. Leung Kui Ting's ink artwork.

Leung Kui Ting, Beyond Form, 1969.

Ink on paper, 135.9 x 80.7cm.

M+, Hong Kong. © Leung Kui Ting.

Photo courtesy: Leung Kui Ting

Austin Leung graduated from the Royal Academy of Music, London. In the UK , Leung's main mentor was Simon Bainbridge. Leung also studied with Unsuk Chin at the competitive Philharmonia Orchestra Composers' Academy. Leung's composition is distinctive in its manner of integrating contrasting musical materials in the same work.

Materials range from tonal, expressive melodies to brutal contemporary noise. He is currently studying for his Ph.D. in composition at the University of Hong Kong under the guidance of Prof. Chan Hing-yan.

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FACULTY COMPOSERS

• Programme Notes •

Song of Ink YEUNG-PING CHEN

South China Normal University For flute, violin, pipa, guqin, and piano Commissioned and supported by Bard College's US-China Music Institute The piece is composed for a mixed ensemble with inspiration from a set of momentous calligraphic pieces by artist Tong Yang-Tze displayed in the Main Hall at M+. The texts of the five pieces are The movement of heaven is powerful 天行健 ; Renew oneself daily 日新 ; Delight in the existence of heaven and understand its order 樂天知命 ; At the auspicious moment, act without delay 見機而作 ; and Embracing the way of heaven brings progress 何天之衢，道大行也 .

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2

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5 Tong Yang-Tze 1. The movement of heaven is powerful, 360 x 194 cm; 2. Renew oneself daily, 360 x 194 cm; 3. Delight in the existence of heaven and understand its order, 360 x 194 cm; 4. At the auspicious moment, act without delay, 360 x 194 cm; 5. Embracing the way of heaven brings progress, 360 x 1037 cm.

2020. Ink on paper. Commissioned by M+, 2020. © Tong Yang-Tze. Photos: Lok Cheng & Dan Leung, M+, Hong Kong

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Tong once said to Lesley Ma, who is a scholar of ink art and one of the main collaborators of this compositional project, "Calligraphy is like music; its lines are what stimulate me greatly". This composition, Song of Ink is to capture the singing qualities and dynamic of the ink I have perceived from Tong's work. It is divided into five sections, as my personal response to the texts of the calligraphy, which are: Heaven 天 , Human 人 , Self-awareness 自 知 , Overcome ego 自勝 , and Unity 和合 .

Hong Kong composer Yeung-ping Chen has received degrees from Hong Kong Baptist University, the Hong Kong Academy for Performing Arts, and the University of California San Diego, where he studied with Lei Liang. Chen is a recipient of fellowships from the Asian Cultural Council, the Hong Kong Jockey Club Music and Dance Fund, and the CASH Music Scholarship. His recent research focuses are new music of the area of Guangzhou-Hong Kong-Macau, contemporary "wenren" music, as well as a compositional model based on traditional transcriptional practice. Chen is Associate Professor and Director of Academic Colloquia of the School of Music at South China Normal University.

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• Programme Notes •

An Ink Artist's Two Seasons CHAN HING-YAN

The University of Hong Kong For violin, erhu, and percussion Commissioned by Bard College's US-China Music Institute, supported by YS Liu An Ink Artist's Two Seasons was composed between February and March 2022. The work was commissioned by the US-China Music Institute and was written specially for a project entitled 'Ink Art and New Music'.

This two-movement miniature is based on two paintings of Lui Shou-kwan (1919-1975), namely Autumn 1964 and Winter 1968, both currently housed in M+, Hong Kong. Widely regarded as a trailblazer in Chinese art and a leading figure in the New Ink Art Movement in Hong Kong, Lui charted a new path in his quest to connect Chinese art with the times and to contrive new "forms" for the genre.

It is sometimes of interest to a composer to recall the original impulse—the "creative germ"—of a compositional project. In the case of An Ink Artist's Two Seasons I felt this impulse to be ink master Lui's enlightening remark: "For art, form matters. It originates in objects which I seek to resonate with, respond to and then depict."

Lui Shou-kwan, Autumn 1964, 1964. Ink and colour on paper, 58.4 x 84.6 cm.

M+, Hong Kong. © Helen C. Ting. Photo: M+, Hong Kong

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Lui Shou-kwan, Winter 1968, 1968.

Ink on paper, 95.2 x 45.3 cm.

M+, Hong Kong. © Helen C. Ting.

Photo: M+, Hong Kong

Chan Hing-yan is currently James Chen and Yuen-Han Chan Professor in Music at the University of Hong Kong. Lauded for their subtle mediation between Chinese elements and Western idioms, Professor Chan's compositions have been heard around the world at prestigious festivals. Recent works include four chamber operas (2022, 2018, 2015, 2013). The first two were commissioned by the Hong Kong Arts Festival, who also entrusted Chan as the composer and Music Director of an extravaganza staged cantata to commemorate the 20th anniversary of Hong Kong's handover in 2017. Professor Chan served as Artist Associate 2016-18 of the Hong Kong Sinfonietta. Over the years, the orchestra has commissioned and presented his works at home and abroad in Europe (2005), South America (2010), Canada and New York (2012), Taiwan (2016), Beijing (2010), and Shanghai (2007).

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• Programme Notes •

Wild Grass YIWEN SHEN

The Tianjin Julliard School For flute, erhu, pipa, zheng, and cello Commissioned and supported by Bard College's US-China Music Institute My piece Wild Grass for flute, erhu, pipa, zheng, and cello is commissioned in connection with the 'Ink Art and New Music Project', a collaborative music exchange project between the US-China Music Institute of the Bard College Conservatory of Music, the University of Hong Kong, and M+, Hong Kong. The work is inspired by Wild Grass II by Hung Fai, an ink art artwork at M+.

Mr. Hung Fai's work reminds me of a verse from a famous Chinese poem: Even a prairie fire cannot burn all the grass, it grows again when the spring breeze blows.

In my work, the erhu is treated as the protagonist, the wild grass; its lines are often imitated, interacted, interrupted, interfered by other instruments. The piece is divided into a few sections; each is built as some sort of variation of the previous.

Yiwen Shen is a Chinese conductor, composer, and pianist. He currently serves as the assistant dean of performance activities at The Tianjin Juilliard School. Shen made his conducting debut in China with the National Ballet of China Symphony Orchestra at the National Centre for the Performing Arts in Beijing. He has also worked with many orchestras in Europe and North America.

Shen has received many composition awards in China and abroad. His full-length ballet, The Crane Calling, commissioned by the National Ballet of China, premiered in 2015, toured over 30 cities in China, and received its European debut in 2017 and North American debut in 2018. In 2010 Shen received a dual Bachelor's in composition and German studies from Bard College and the Bard Conservatory of Music. He also holds a Master's and Doctorate in composition from Juilliard, and a Master's in orchestral conducting from the University of Maryland.

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Hung Fai, Wild Grass II, 2014.

Ink on paper, sheet (sight): 180.8 x 97 cm.

M+, Hong Kong. © Grotto Fine Art Limited and Hung Fai. Photo: M+, Hong Kong

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• Biographies •

Lesley Ma

contributor / lecturer

Lesley Ma is the inaugural Ming Chu Hsu and Daniel Xu Associate Curator of Asian Art in the Department of Modern and Contemporary Art at The Metropolitan Museum of Art, New York.

From 2013 to 2022, she was founding Curator, Ink Art at M+, Hong Kong and led the museum's acquisition and programming on ink art. She co-curated 'Individuals, Networks, Expressions', a survey of visual art from the museum's collection, and curated 'M+ Commission: Tong Yang-Tze', a set of large-scale calligraphy, for the museum opening in November 2021. A co-editor of M+ Collections: Highlights and writer for Chinese Art since 1970: M+ Sigg Collection, she curated 'The Weight of Lightness: Ink Art at M+' in 2017. Previously Ma was project director at Cai Guo-Qiang's studio in New York. She received her Bachelor's degree from Harvard College, Master's degree from New York University, and Ph.D. from University of Califonia San Diego.

Tina Pang

speaker

Tina Pang is a Curator at M+, Hong Kong's museum of visual culture, part of the West Kowloon Cultural District, where she has responsibility for public programmes, exhibitions, and displays related to the visual culture of the city. As part of the museum's founding curatorial team, she also contributes to the building of the museum's collections. For the opening of M+ in November 2021, she led the team behind the museum's inaugural exhibition of Hong Kong visual culture, and edited Hong Kong Visual Culture: The M+ Guide (2021). In 2017, she curated the M+ Pavilion exhibition, 'Ambiguously Yours: Gender in Hong Kong Popular Culture'. Prior to joining M+ in 2014, she was Curator at the University Museum and Art Gallery, The University of Hong Kong where she also taught courses in Chinese material culture and museum studies.

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Ensemble Traversée

To traverse is to travel across and traveling back and forth. Ensemble Traversée was formed with that very idea in mind: to travel between different musical periods between the antiquity and contemporary, and from classical to popular genres. We see no boundaries in the arts and therefore no border needs to be broken, just as we believe all art forms are interconnected and complementary to each other. Under the direction of Vicky Shin, Ensemble Traversée aims to take audiences on journeys through unimagined dimensions of time and space.

Vicky Shin

conductor

Multi-talented conductor and percussionist Vicky Shin has collaborated with various ensembles across Asia, North America, and Europe in both conducting and percussion. He is currently the Associate Conductor of the Hong Kong New Music Ensemble, recorded several records, and premiered several new works. He is also the Founder/Music Director of Ensemble Traversée. Shin obtained a Master's degree in conducting from the Eastman School of Music and a Bachelor's degree in music from McGill University's Schulich School of Music. Shin's principal conducting teachers include Brad Lubman, Alain Cazes, and Alexis Hauser.

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• Biographies •

Tete Bae

flute

Tete Bae graduated from the Royal Academy of Music and King's College, London, UK, and later gained the highest Solistendiplom degree from Musikhochschule Winterthur Zürich, Switzerland.

Tete has performed in Festivals as solo and ensemble concerts in Edinburgh, Oundle, Cheltenham, Chichester, and Luzern. She has worked with numerous orchestras, including Il Pomeriggi Musicali in Italy, BBC Consort Orchestra, and Zurich Chamber Orchestra.

Samuel Chan

percussion

The First Prize winner of the 2015 Percussive Arts Society International Solo Percussion Competition, Samuel Chan's diverse performing experiences have taken him to celebrated concert halls in multiple continents. Samuel obtained his Artist Diploma from the Colburn School and Master of Music from The Juilliard School. He previously studied at the New England Conservatory and Hong Kong Academy for Performing Arts.

Chor Kai Hei

cello

Chor Kai Hai graduated from the Royal College of Music, Guildhall School of Music, and The Chinese University of Hong Kong. He is a prizewinner of various international competitions, and was awarded a full scholarship from the Hong Kong Jockey Club Music and Dance Fund and Croucher Foundation. He is currently a cellist of the Hong Kong New Music Ensemble and serves as Ensemble-in-Residence in CUHK and Cello Instructor at The Education University of Hong Kong.

Kaisan

guqin

Studying the qin for nearly two decades, with the fervent exploration of the musical world, Kaisan worked closely with composer Tung Lai-shing as his adviser on qin. Kaisin has put himself into a more intensive position as a traditional qin musician - practising dapu and songs transcription from the Southern Song dynasty, as well as participating performances in contemporary music.

Euna Kim

violin

Euna Kim has been invited to several music festivals in Europe, the US, Japan, and China. As a soloist, she has performed with Seoul Chamber Orchestra, Seoul Academy Symphony Orchestra, KBS Symphony Orchestra, and Suwon Philharmonic Orchestra. Euna is also actively playing contemporary music. She studied with world-renowned violinist Zahkar Bron in Germany.

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Leung Ka Lok

pipa

Leung Ka Lok is an awardee of the Hong Kong Jockey Club Music and Dance Fund Scholarship. He graduated with a Bachelor of Music from the Hong Kong Academy for Performing Arts and is currently pursuing his Master of Music there. Currently, Ka Lok is a freelance contract performer of the Hong Kong Chinese Orchestra, and a member of the Yue Pipa Ensemble and the HKAPA Chinese Orchestra.

Alexander Wong

piano

Alexander Wong holds a Master of Music degree in Piano Accompanying and Chamber Music from Eastman School of Music and a Bachelor of Arts degree in Music from The Chinese University of Hong Kong.

Currently, Alexander is an accompanist of The Learners Chorus, Die Konzertisten, Hong Kong Bach Choir, and Musica Viva, and is a parttime Teaching Assistant in the Music Department of the University of Hong Kong.

Wu Siu Hin

erhu

Wu Siu Hin holds a Bachelor's degree and Master's degree in erhu and gaohu from the Hong Kong Academy of Performing Arts, during which he was awarded five scholarships in the academy and has grown into a new force in the Chinese music industry. He is currently the instructor at the Music Office and a freelance musician of the Hong Kong Chinese Orchestra.

Yeung Ching Ho

zheng

Yeung Ching Ho Grammy attained her Master of Music degree, majoring in zheng, at the Hong Kong Academy for Performing Arts.

She is a music major graduate from the University of Hong Kong.

She was awarded Hong Kong Jockey Club Music and Dance Fund scholarship from 2019 to 2021. She joined the Hong Kong Chinese Orchestra as an intern and participated in their concerts.

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HKU MUSE 2022-23 FALL SEASON

23 OCT | SUN | 7:30PM

$250, 150

30 OCT | SUN | 5PM

$20 (admin fee)

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$420, 320, 220

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