11) THE SOUND OF MUSIC

The Suona is an instrument with origins in Central Asia, yet during the past few centuries it has become 'sinicized' to the extent that most Chinese assume it is but another invention in the pantheon of Chinese inventions. Most commonly associated with funeral processions, musicans like 23-year-old Ge Li who choose to devote their careers and their lives to the obscure, clarinet-like instrument, are to be commended for their passion. Especially in a city like Hong Kong, a 'dead-end' job is hardly thought of favourably.


On the contrary, Ren Fei who is a Zheng specialist, will have a prosperous life whether she is taken into an orchestra or if she whiles away her years teaching private lessons. Why? Because in Hong Kong playing the Zheng is the ultimate nouvelle-status instrument. It is part of a pop culture trend to reclaim Chinese identity. Yet, over the past decades the Zheng has been transformed with the addition of metal strings, foregoing the silk ones it was originally created to use, and is now a closer cousin to the piano then any other instrument. Pleasant on the ears, it is a parents dream come true, and like a piano it is thought of as 'furniture instrument' that ornaments the house whether it is ever played or not. What is quite fascinating about the Zheng is that the player is required to wear nail extensions, tortoise shell guitar-pick implements that attach to the hand with tiny elastics. Unlike Ge Li who would be paid minimally for funeral playing, Ren Fei will be paid handsomely to accompany celebration banquets and wedding ceremonies.


To understand the complexities of Classical Chinese music in a modern context, I was urged to read a book by Prof. Yu Siu-wah: "Such the Fading Sounds" an English translation of his PhD thesis, which he completed at Harvard. Only after arriving did I realize the suggesion was more than just advice, it was an imperative as an interview with the man himself had been arranged on my behalf. Naturally, I wanted to present myself as well-researched and began my quest to read his work before meeting with him. Naturally, something as easy as purchasing a book turned out to be a ridiculous adventure and involved me visiting 8 separate stores before buying my own copy. Apparently, as the book is bilingual, with alternating chapters in Chinese and English, none of the clerks would sell me a copy even though the book was in stock. The night before my interview, I demolished his turgid text and felt smug as we wandered around the musical instrument archive together and I could mumble with some authority "that would be from the Tang dynasty I imagine . . ." At the end of the afternoon together, he autographed my precious book for me.