Works by Rulan

I. Published Works
1956 Revue bibliographique de sinologie¸ vol. 2, entry 470. [Between 1956 and 1964 Rulan Chao Pian wrote 23 items for the Revue bibliographique de sinologie (Paris). These are short discussions, in English, of Chinese-language publications on theater, music, history and aesthetics. They will be listed in summary form by year.]
1957 Revue bibliographique de sinologie, vol. 3, entries 686, 698, 700, 750.
1958 Review of “China,” by Laurence E. R. Picken, in The New Oxford History of Music, vol. 1: Ancient and Oriental Music. The Journal of Asian Studies 17/3: 450–53.
1959 Review of Japanese Music and Musical Instruments, by William P. Malm. Harvard Journal of Asiatic Studies 22: 297–98.
1960 A Syllabus for the Mandarin Primer. Cambridge: Harvard University Press. Review: The Journal of Asian Studies 20/3 (1961): 370–71, by Frederick W. Mote.
1961 Revue bibliographique de sinologie, vol. 7, entries 5, 253, 479, 504.
1962 Revue bibliographique de sinologie, vol. 8, entries 675–679, 682, 687.
1963 Revue bibliographique de sinologie, vol. 9, entries 468–470.
1964 Revue bibliographique de sinologie, vol. 10, entries 427, 429, 432, 436.
1966 “Teaching Elementary and Intermediate Written Chinese at Harvard.” Chinese Language Teachers Association Journal 1/1: 20–25.
1967 Sonq Dynasty Musical Sources and Their Interpretation. Cambridge: Harvard University Press. [Received Otto Kinkeldey Award from the American Musicological Society]. Reviews: Notes 26/1 (1969): 23–24, by Fredric Lieberman; Harvard Journal of Asiatic Studies 28 (1968): 259–62, by William P. Malm; Monumenta Serica 27 (1968): 447–50, by Colin Mackerras; Ethnomusicology 13/3 (1969): 553–57, by Fritz Kuttner; Journal of the American Oriental Society 89/3 (1969): 600–21, by Laurence E. R. Picken. 2003, Reprint Edition, Hong Kong: Chinese University Press. With Lam, Joseph S. C. “A Mirror of Chinese Music Scholarship.” xix – xxx. Lam’s essay was translated into Chinese. “Zhongguo yinyue yanjiu de yimian jingzi: Du Zhao Rulan Songdai yinyue ziliao ji qi quanshi” 中國音樂研究的一面鏡子：讀趙如蘭《宋代音樂資料及其詮釋》. In Zai Ni Wenhou de Xiaorong Zhong Dangyang 在你溫厚的笑容中蕩漾 [Remembering Rulan Chao Pian: Harvard’s First Female Professor of Chinese Heritage], edited by Bell Yung and Samuel M. Wu, 88–102. Shanghai: Shanghai Conservatory of Music Press, 2016.
1968a Review of Musical Notation of the Orient, by Walter Kaufmann. Journal of the American Oriental Society 88/3: 636–40.
1968b Review of Peking Opera: A Short Guide, by Elizabeth Halson. Bulletin of the School of Oriental and African Studies 31/1: 177–79.
1969 “China,” “Chyn, guuchyn (ch’in, ku-ch’in),” and “Pyiba, pyipar (p’i-pa, p’i-p’a).” In Harvard Dictionary of Music, 2nd edition, revised and enlarged 151–57, 170, 709. Cambridge: Harvard University Press.
1970 “Rewriting of an Act of Yuan Drama, Lii Kwei Fuh Jing, in the Style of the Peking Opera: A Fieldworker’s Experiment,” Chinoperl (Journal of Chinese Oral and Performing Literature) News 2: 19–39.
1971a “The Function of Rhythm in the Peking Opera.” In The Musics of Asia, edited by Jose Maceda, 114–31. Manila: The National Music Council of the Philippines with the UNESCO National Commission of the Philippines.
1971b Review of Chinese Music: An Annotated Bibliography, by Fredric Lieberman. Notes 28/2: 227–29.
1971c Review of “Instrumental Music” by Fredric Lieberman, notes for the record The Music of China, vol. 1: Chinese Instruments. Ethnomusicology 15/2: 310–13.
1971d Review of notes by Dale Craig, for the record The Chinese Opera: Arias from Eight Peking Operas. Ethnomusicology 15/2: 313–15.
1972 “Text Setting with the Shipyi Animated Aria.” In Words and Music, the Scholar’s View: A Medley of Problems and Solutions, compiled in Honor of A.T. Merrit by Sundry Hands, edited by Lawrence Berman, 237–70. Cambridge: Department of Music, Harvard University.
1974a “Word Treatment in Chinese Popular Entertainment.” Chinoperl News 4, 36–52. [Proceedings at the Fourth Meeting of the Conference.]
1974b “Primary Sources of Materials from the Chinese Oral Tradition: An Interim Bibliography.” Chinoperl News 4: 78–84.
1974c “Report on Field Work in Taiwan in the Summer of 1964.” Chinoperl News 4: 123–28.
1974d “Report on Research in the year 1965–66.” Chinoperl News 4: 129–32.
1974e “Videotaping Peking Opera.” Chinoperl News 4: 133-37.
1974f Review of liner notes by Henry Miller, for the record performed by Lisa Lu and K. S. Chen “Chinese Opera: ‘The Reunion’ a Peking Opera.” Ethnomusicology 18/2: 333–34.
1974g Review of jacket notes by Frederic Lieberman, the record performed by the Lu-sheng Ensemble “China: Shantung Folk Music and Traditional Instrumental Pieces.” Ethnomusicology 18/2: 334–35.
1975a “Aria Structural Patterns in the Peking Opera.” In Chinese and Japanese Music Drama, edited by J. I. Crump and W. P. Malm, 65–86. Ann Arbor: Center for Chinese Studies, The University of Michigan.
1975b “Wo zai chongji yinyue xi de yixie zagan” 我在崇基音樂系的一些雜感 [Some thoughts on my days in Chung Chi Music Department]. The Bauhinian Suite (Bulletin of The Music Department). Hong Kong: Department of Music, The Chinese University of Hong Kong: 1–2.
1976a “The Peking Drum Song, Tzu Ch’i Listening to the Ch’in.” In Festschrift for Dr. Chang Sa-hun: Articles on Asian Music, 281–96. Seoul: Korean Musicological Society. [Translation and partial transcription.]
1976b “Ch’en Yang,” “Hu Yüan,” “Nieh Ch’ung-I,” and “Ts’ai Yüan-Ting.” In Sung Biographies, edited by Herbert Franke. Wiesbaden: Franz Steiner Verlag.
1977 “Huiyi zaonian zai Jianqiao de ‘he’ chang tuan” 回憶早年在劍橋的“合”唱團[Remembering the Early Years of the ‘Combined’ choirs at Cambridge]. In Boshidun Zhonghua Hechangtuan Chengli Shi Zhounian Jinian Tekan 波士頓中華合唱團成立十週年紀年特刊 [The Chinese Intercollegiate Choral Society 1966–1976], edited by Samuel M. Wu and Albert D. Lo, 2–5. Cambridge: The Chinese Intercollegiate Choral Society.
1978 “The Courtesan’s Jewel Box–A Musical Transcription.” Chinoperl Papers 8: 161–206.
1979 “Rhythmic Texture in the Peking Opera, The Fisherman’s Revenge.” Asian Cultural Quarterly 7/4: 19–26. [Paper given at the International Symposium on Asian Music, Taipei, 8–12 July 1979.]
1980a “The Use of Music as a Narrative Device in the Medley Song: The Courtesan’s Jewel Box.” Chinoperl Papers 9: 9–31.
1980b “Chinese Music––Overview.” In The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. London: Macmillan.
1980c “Feng Yue Guei Jou, ‘Boat Return in the Rain’.” Journal of Far Eastern Studies (Seoul) 23–24: 389–403. [Transcription with Commentary.]
1980d “Wo fuqin de yinyue shenghuo” 我父親的音樂生活 [My Father’s (Y. R. Chao) Musical Life]. Yinyue Yishu (Shanghai) 音樂藝術（上海）Art of Music (Shanghai) 3: 18–21. [Expanded version in English published in 1985.]
1980e “Jingxi zhong yunlu (jiepai) zhi gongneng” 京戲中韻律（節拍）之功能 [The Function of Rhythm in the Peking Opera]. Zhongguo Xiju Jikan 中國戲劇集刊Chinese Drama Review 2: 64–67. [English version of the same title published in 1971.]
1981 “Modes, Transposed Scales, Melody Types and Tune Types.” In Proceedings of the Twelfth Congress of the International Musicological Society, Berkeley, California, August 1977, edited by Daniel Heartz & Bonnie Wade, 536–44. New York: Bärenreiter.
1982a Review of Music and Tradition: Essays on Asian and Other Musics, Presented to Laurence Picken, edited by Richard Widdess and Rembrant Wolpert. Zhongguo Jikan 中國季刊 [The China Quarterly] 90: 329–30.
1982b “Zhao Yuanren xiansheng nur Zhao Rulan de laixin” 趙元任先生女兒趙如蘭的來信 [A Letter from Rulan Chao, Daughter of Yuen Ren Chao]. Art of Music (Shanghai) 2: 94–96。
1982c “Xitian haiyou yixie er caixia: Gei baba pengyou de yi feng xin” 西天還有一些兒彩霞：給爸爸朋友的一封信 [Rosy Clouds in the West: A Letter to Friends of My Father]. Yinyue Yu Yinxiang (Xiangang) 音樂與音響（香港） [Music & Audiophile (Hong Kong)] IV: 22.
1982d “Zhao Yuanren xiansheng de zuihou yinian” 趙元任先生的最後一年 [The Final Year of Mr. Yuen Ren Chao]. Zhuanji Wenxue (Taibei) 傳記文學（台北） Biographical Literature (Taipei) 40/4: 7.
1982e “Zhao Yuanren wannian de rizi – Zhao Rulan gei qinyou de xin” 趙元任晚年的日子──趙如蘭給親友的信 [The Twilight Years of Yuen Ren Chao: A Letter to Friends and Relatives from Rulan Chao]. Nan Beiji (Xiangang) 南北極（香港） Antarctica and Arctic (Hong Kong) 145：90–91。
1983a “Zhao Rulan laihan (yinyue hui tekan wen lun xuan)” 趙如蘭來函（音樂會特刊文論選） [A Letter from Rulan Chao Pian (Selected Essays from Concert House Programmes)]. Zhongguo Yinyue (Beijing) 中國音樂（北京） China Music (Beijing) 3: 4–5。
1983b “Mantan minzu yinyuexue” 漫談民族音樂學 [Exploring Ethnomusicology]. China Music (Beijing) 3: 17–18.
1983c “Minshingaku” (Early Chinese Popular Songs Found in Japan). In Kodansha Encyclopedia of Japan 15: 197. Tokyo: Kodansha Ltd.
1983d “What is Ethnomusicology?” The Bauhinian Suite (Bulletin of The Music Department). Hong Kong: Department of Music, The Chinese University of Hong Kong.
1983e “Huida yixie guanyu fuqin de wenti” 回答一些關於父親的問題 [A Response to Some Questions about My Father]. China Music (Beijing) 2: 38–39.
1983f “Musical Elements in the Peking Opera Bah Wang Bye Ji 霸王別姬, The King’s Farewell.” Chinoperl Papers 12: 61–83. [Synopsis with translation and transcription.]
1984a “In Memoriam: Yang Yin-Liu.” Ethnomusicology 28/2: 289–90.
1984b Review of The Performing Arts in Contemporary China, by Colin Mackerras. Ethnomusicology 28/3: 574–76.
1985a “My Life as a Drum Singer: The Autobiography of Jang Tsueyfenq.” Chinoperl Papers 13: 7–106. [As Told by Liou Fang. Complete translation of the autobiography of the drum singer Jang Tsueyfenq.]
1985b “The Twirling Duet: A Dance Narrative from Northeast China.” In Music and Context: Essays for John M. Ward, edited by Anne Dhu Shapiro, 210–41. Cambridge: Department of Music, Harvard University.
1985c “My Father’s (Y. R. Chao) Musical Life.” Stone Lion Review 13: 66–74. [Expanded version of the 1980 Chinese article of the same title.]
1985d “Dao Yang Yinliu xiansheng” 悼楊蔭瀏先生 [In Memoriam: Yang Yin-Liu]. Yinyue Yanjiu (Beijing) 音樂研究（北京） Music Research (Beijing) 1: 110. [The Chinese version of the 1984 English article.]
1985e “Dao Yang Yinliu xiansheng” 悼楊蔭瀏先生 [In Memoriam: Yang Yin-Liu]. China Music (Beijing) 1: 4. [The Chinese version of the 1984 English article.]
1986 “Birthday Greetings from the Eight Immortals: A Kaipian.” Chinoperl Papers 14: 15–25. [Translation and transcription of a kaipian, sung in the style of the Southern narrative song, tarntsyr.]
1987a Zhao Yuanren Yinyue Zuopin Quanji 趙元任音樂作品全集 [Complete Musical Works of Yuen Ren Chao]. Compiled by Rulan Chao. Shanghai: Shanghai Yinyue Chubanshe 上海音樂出版社 Shanghai Music Publishing House. [Awarded Citation for Excellence in Production by the Shanghai Association of Publishing Workers, 1989.] Reviews: “Du Zhao Yuanren Yinyue Zuopin Quanji” 讀《趙元任音樂作品全集》 “Review of Complete Musical Works of Yuen Ren Chao.” Art of Music: Shanghai Conservatory of Music 1987/3: 116–18, by Chen Lingqun 陳齡群; “Ji dian buchong yu shuoming” 幾點補充與說明 [Some Clarifications and Supplements] Art of Music: Shanghai Conservatory of Music 1987/4: 49–50, by Dai Penghai 戴鵬海.
1987b “Wo fuqin de yinyue shenghuo” 我父親的音樂生活 [My Father’s Musical Life]. Translated by Xue Liang 薛良. China Music (Beijing) 3: 7–9。 [The Chinese version of the 1980 English article.]
1987c “Zhao Yuanren zuopin shangxi” 趙元任作品賞析 [An Appreciation of Musical Works by Yuen Ren Chao]. Jinri Shenghuo 今日生活 Today 252: 29–32。
1987d “Zhao Yuanren Yinyue Zuopin Quanji de chengshu he chuban” 《趙元任音樂作品全集》的成書和出版 [The Compilation and Publication of the Complete Musical Works of Yuen Ren Chao]. Art of Music: Shanghai Conservatory of Music 4: 47–48。
1987e “My Graduate Training and My Career.” In Living Our Choices, Choosing Our Lives: Alumni Career Profiles from Harvard’s Graduate School of Arts and Science, 17.  Cambridge: Harvard University.
1988a “Music in China.” In Encyclopedia of Asian History, edited by Ainslie T. Embree, vol. 13: 59–62. New York: Charles Scribner.
1988b “Higashi Ajia no Ongaku no Tayosei to no Kankei” [Diversity and Interrelationships of the Musics of East Asia]. In Nippon no Ongaku, Ajia no Ongaku [Music Traditions of Japan, Asia and Oceania], vol. 3: 145–58. Tokyo: Iwanami Shoten.
1988c Review of Flying Dragons, Flowing Streams: Music in the Life of San Francisco’s Chinese, by Ronald Riddle. Asian Theatre Journal 5/1: 103–5.
1990a Review of Music of the Billion: An Introduction to Chinese Musical Culture, by Liang Mingyue. Asian Music 21/2: 147–50.
1990b “Some Random Thoughts on the Question of Singing Styles in Present Day China.” ACMR (Association for Chinese Music Research) Newsletter 3/2: 5–6. [Summary of paper read at the fifth semi-annual meeting on 20 October 1988.]
1990c “Taolun Zhongguo shengyue zhong minge changfa, tongsuge changfa, meisheng changfa” 討論中國聲樂中民歌唱法、通俗歌唱法、美聲唱法 [Singing Styles in Folksong, Popular Song, and Bel Canto Singing in China]. In Minzu Yinyue Yanjiu Dierji: Zhongguo Yinyue Yu Yazhou Yinyue Yantaohui Lunwenji 民族音樂研究第二輯：中國音樂與亞洲音樂研討會論文集 [Studies of Ethnomusicology, No. 2: Papers and Proceedings of the International Seminar on Chinese Music and Asian Studies], edited by Liu Jingzhi 劉靖之, 210–20. Hong Kong: University of Hong Kong and the Hong Kong Ethnomusicology Society, 23–25 June 1988.
1990d “Cong ‘huar’ de yanchang tan biaoyan shikuang wenti” 從“花兒”的演唱談表演實況問題 [The Flower Songs of Lotus Mountain: A Study in Performance Context]. In Zhongguo Yinyue Guoji Yantaohui Lunwenji 中國音樂國際研討會論文集 [Proceedings of the International Conference on Chinese Music], edited by The Chinese Music Archive of The Chinese University of Hong Kong and The Research Institute of Ethnomusicology in Hong Kong, 70–78. Jinan: Shangdong Education Press.
1992a “The Flower Songs of Lotus Mountain: A Study in Performance Context.” In New Perspectives on Music: Essays in Honor of Eileen Southern, edited by Josephine Wright and Samuel Floyd, 341–54. Warren, MI: Harmonie Park Press.
1992b “Harmonizing Chinese Tunes.” ACMR Newsletter 5/2: 8. [Summary of paper read at the twelfth semi-annual meeting on 4 April 1992.]
1992c “Return of the Native Ethnomusicologist.” Yearbook for Traditional Music 24: 1–7. [Keynote speech at the 31st International Council for Traditional Music World Conference, Hong Kong, 1991.]
1993 “Text Setting and the Use of Tune Types in Chinese Dramatic and Narrative Music.” In Text, Tone, and Tune: Parameters of Music in Multicultural Perspective, edited by Bonnie C. Wade, 201–33. New Delhi–Bombay–Calcutta: American Institute of Indian Studies, Archives and Research Center for Ethnomusicology, and Oxford and IBH Publishing. [Paper read at Symposium on Texts, Tones and Tunes, New Delhi, 1986.]
1994a “Wo fuqin de yinyue shenghuo” 我父親的音樂生活 [My Father’s (Y. R. Chao) Musical Life]. Biaoyan yishu (Taibei) 表演藝術（台北）[Performing Arts Review (Taipei)] 15: 72–77.
1994b  “Jinian Zhao Yuanren yibai ling yi sui danchen de huodong” 紀念趙元任一百零一歲誕辰的活動 [Commemoration of Yuen Ren Chao’s 101 Birthday]. Renwen Xuekan (Xianggang Zhongwen Daxue) 人文學刊（香港中文大學） [The Humanities Bulletin (The Chinese University of Hong Kong)] 3: 90–92.
1995 “Autobiographical Sketches.” ACMR Reports: Journal of the Association for Chinese Music Research 8/1: 1–20.
1996 Zhao Yuanren Jinian Zhuankan 趙元任紀念專刊 [Festschrift for Yuen Ren Chao]. Taipei: Council for Cultural Affairs, Executive Yuan.
1997 “Music and the Confucian Sacrificial Ceremony.” In Enchanting Powers: Music in the World’s Religions, edited by Lawrence Eugene Sullivan, 237–62. Cambridge: Harvard University Press.
2000a “(Zi) diao yu (le) diao: Zai Zhongguo zi shang jia gezhong yinyue chengfen de juli” (字)調與(樂)調：在中國字上加各種音樂成分的舉例 [Tone and Tone: Applying Musical Elements to Chinese Words]. Zhongguo Yuyanxue Xuekan 中國語言學學刊 Journal of Chinese Linguistics 28/2: 181–200.
2000b “Minzu yinyue xue yu zhongguo yinyue yanjiu” 民族音樂學與中國音樂研究 [The Ethnomusicological Approach to Chinese Music Studies]. In Weilun Fangwen Jiaoshou Jiangzuo Zhuanji 偉倫訪問教授講座專輯 [Wei Lun Public Lecture] 9: 1–10。
2001 “Zhao Yuanren de yinyue shenghuo” 趙元任的音樂生活 [Yuen Ren Chao’s Musical Life]. Zhonghua Dushu Bao 中華讀書報 [China Reading Weekly], 18 July.
2002 “Peking Opera: Jingju.” In The Garland Encyclopedia of World Music. VII: East Asia, edited by Robert C. Provine, Yosihiko Tokumaru, and J. Lawrence Witzleben, 281–7. New York: General Music Publishing Co.
2005 “Fuqin yu women de Alisi tongnian” 父親與我們的阿麗思童年 [Father and Our Iris Childhood]. Zhongguo Shibao 中國時報 [China Times], 9 October.
II. Unpublished Papers
“Xuanlun xifang youguan jingju de zhuzuo” 選論西方有關京劇的著作 [A Selection of Works in Western Language on the Peking Opera with Commentary]. Read in Chinese at the International Academic Symposium on Chinese Traditional Opera Arts, Chinese National Academy of Arts, Beijing, 1987.
“Some Thoughts on the Classification Scheme Used by the Chinese Music Archives at the Chinese University of Hong Kong.” Originally written in early 1980s for Festschrift for Dr. A.K. Chiu (1898–1977).
“Music in the Chinese Context.” Paper read at Symposium on National Music Cultures and Intercultural Dependencies, Berlin, 5–9 June 1985. Originally written for Festschrift for Prof. Frederic Mote (1922–2005).
“Contribution of the Percussion Orchestra to Dramatic Structure in the Peking Opera.” Paper read at the 27th International Congress of Orientalists, Ann Arbor, Michigan, 1967. Originally written for Festschrift for Prof. James Crump.
“Yinyuexue yu minzu yinyuexue: Jikong yishi de zhengzhi hanyi” 音樂學與民族音樂學：祭孔儀式的政治含意 [The Social and Political Function of the Confucian Ceremonial Music and Its History]. Paper read at the Jiuzhou Annual Conference on Chinese Culture, 1987.
“English Translation of Hayashi Kenzo’s ‘Deciphering the Dun Huang Pipa Notation’.” Manuscript, mid-1960s.
“Foundation Work in Pronunciation of Mandarin Chinese: Exercises with Explanations and Recordings.” Manuscript and recordings.
“Transcription and Translation of Three Peking Operas: Daa yu sha jia [The Fisherman’s Revenge], Su San chii jieh, yuh tarng chuen [The Trail of Su San], and Juo fanq Tsaur [The Capture and Release of Tsaur Tsau].” Manuscript.
Updated and revised (2019) from:
Yu, Siuwah (1994). “Bibliography of Works by Rulan Chao Pian.” In Themes and Variations: Writings on Music in Honor of Rulan Chao Pian, edited by Bell Yung and Joseph S.C. Lam, 352–57. Cambridge: Department of Music, Harvard University & Hong Kong: Institute of Chinese Studies, CUHK.