一才鑼鼓
「才」為鑼鼓經之記譜用字，又用作「槌」字之簡寫；「一才鑼鼓」既是一鑼鼓點名稱，亦是戲班用語，有「開鑼」、連演多天之意，如「一才鑼鼓十日」，即連演十日。
一才鑼鼓成立於2012年香港，專攻戲曲音樂，致力以音樂會、說唱、劇場、即興等各種表演形式呈現戲曲之音樂感和戲劇感，傳統現代不拘，尤愛演出應景說唱南音，2016年首場說唱演出以南音與塘西為題在長春社文化古蹟資源中心上演，此後常為不同活動場合撰曲，2019年更獲非物質文化遺產辦事處邀請於「南音遊記：行到邊，唱到邊」計劃中為香港各區撰寫南音新曲，並廣邀唱家樂師，於特色地點說唱一番。
其首個劇場作品「俺，武松」(2017）以無唱唸之獨腳戲探索戲曲形體與音樂之極致。此後積極製作各類創作及研究項目，近年項目有：電台節目「戲曲輕音樂」(2020 香港電台社區參與廣播服務節目)、說唱系列「在海底拾起銅鑼一面故事一樁說唱幾回」（2020；社區文化大使計劃）、以戲曲曲式與劇情為藍本創作而成之網上音樂庫「香港微音樂」（2021；香港藝術發展局「Arts Go Digital 藝術數碼平台計劃」支持）、互動劇場「學行」（2021；不貧窮藝術節 x 香港）、香港早期工尺譜研究計劃「工尺之間」（2022；衞奕信勳爵文物信託資助）等。最新出版《講下嘢，唱下歌：南音有聲書》，為大眾以南音演繹舊日木魚書中經典故事。
Founded in 2012, The Gong Strikes One specializes in traditional Chinese theatrical music and embraces various kinds of performances, such as concerts, story-telling concerts, theatre and improvisation. They also specialise in composing site-specific/occasional naamyam lyrics for different events. In 2019, they were invited by the Intangible Cultural Heritage Office to tour Hong Kong’s 18 districts with original naamyam pieces specifically written for each district.
Their debut theatre work, “I, Wu Song” (2017) was a one-man Chinese Opera with no words, which sets out to explore the very essence of operatic movements and music. Since then, they have devoted themselves to producing a variety of creative and research projects. Their recent projects include: “Hong Kong Music Miniatures” (2021), an online music library of newly written mini-music based on musical styles and dramatic needs of traditional Chinese theatres; “To Learn to Walk”, an interactive theatre work (performed at Let’s be Together Arts Festival x Hong Kong 2021 & Itoshima International Arts Festival 2023), and “Between the Notes” (2022), a research project on gongche scores from early Hong Kong. The group has recently published a naamyam audio book, which performs classic tales from early “wooden-fish books”.
Founders 創辦人
陳志江 Kong CHAN
⾃⼩隨⽗親習粤曲，隨名家習笛⼦、胡琴，後畢業於⾹港演藝學院中國戲曲課程，主修伴奏。陳氏曾活躍於香港各大小戲班，任伴奏樂師。2014至2017年間，於⾹港中⽂⼤學戲曲資料中⼼主辦之「民初粤樂探微」講座⾳樂會系列擔任領奏樂師，重構早期樂譜。自2012年創辦「⼀才鑼⿎」，積極創作、重構、重編各種戲曲作品，當中又以南音作品為主。
近年亦涉獵即興演奏、劇場及各類跨界合作，如：新視野藝術節「微藝進行中」(2018) 及衛武營TIFA當代音樂平台(2019，高雄)上演之「南音味自慢」、「何必。館」製作的「觀。聲。陣——參與式劇場在地研究計劃」(2019)、盤彥燊舞蹈作品「髮膚」(2021 香港藝術節）等。
At a young age, Kong CHAN learnt Cantonese Opera accompaniment from his father. He graduated from the Hong Kong Academy for Performing Arts, where he majored in Cantonese opera accompaniment. He had been an active accompanist in the local Cantonese Opera scene and founded the group The Gong Strikes One in 2012. Since then, he devotes himself to creating original Chinese operatic works, especially naamyam pieces. In 2014-2017, he reconstructed and performed historical scores for a lecture-concert series on early Cantonese music presented by the Chinese Opera Information Centre, CUHK.
Recently, he also performs improvised music and collaborates with theatrical works and multidisciplinary performances, including: The Modern-day Flavours of Nanyin and Naamyam (2018 New Vision Arts Festival, Hong Kong & 2019 Weiwuying TIFA Contemporary Music Platform, Kaohsiung, “To Behold! To Voice! To Remap!”, a participatory theatre project (2019, produced by Ho Bit Goon), and “A Letter to Father”, a dance video choreographed by dance artist Wayson Poon (2020 Hong Kong Arts Festival), etc.
李勁持 King-chi LEE
少時於朗暉粵劇團習粵劇，後入讀香港演藝學院音樂學院中樂系，隨許菱子教授習箏，2010年畢業。其畢業習作以粵劇板腔拍和為題，促使其繼續音樂研究之課業，遂於⾹港中⽂⼤學⾳樂系修讀哲學碩⼠課程。其碩⼠論文以1916於香港出版之粵樂教本《絃歌必讀》為研究對象，藉以探討早期粵樂與中國音樂出版文化之關連；此項研究亦得以於「民初粤樂探微」講座⾳樂會系列延續，於2014至2017年間由⾹港中⽂⼤學戲曲資料中⼼主辦，李氏兼任統籌及主持，邀請多位唱家樂師演繹早期粵曲，探討玩家文化、戲曲官話、傳統樂器組合等課題。
李氏曾活躍於南音伴奏及各大小粵劇團伴奏樂隊；現為一才鑼鼓成員，身兼樂師及監製之職。
King-chi Lee learnt Cantonese Opera at the Love and Faith Cantonese Opera Laboratory during her teenage years. She received formal music education at the Department of Chinese Music at The Hong Kong Academy for Performing Arts, where she majored in the zheng under Professor Xu Ling-zi. In her final year project, she studied the accompaniment of Cantonese Opera, which led her to further her studies at the Music Department at The Chinese University of Hong Kong. She developed her research interest in early Cantonese music and its music publishing culture. In her master thesis, she studied The Essential Book of Strings and Songs (絃歌必讀), the earliest extant Cantonese music method book from early 20th-century Hong Kong . In connecting her interests in music research and performance, she initiated for the Chinese Opera Information Centre, CUHK the lecture-concert series, Interpreting Early Cantonese Music, held between 2014 and 2017. As the presenter of this series, she invited Cantonese Opera vocalists and musicians to perform Cantonese operatic pieces from early music scores and discussed early Cantonese music culture, including performance practices of virtuoso amateurs, the Mandarin language used on stage as well as traditional instrumentations.
As a zheng player, she has been active in the local Cantonese Opera scene as well as naamyam and Cantonese music performances. She is a core member of The Gong Strikes One, where she serves as musician and producer.
最近更新：2025年6月21日
Last update: 21st June 2025
一才鑼鼓 The Gong Strikes One 
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