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With the arrival in Canada of substantial numbers of immigrants originating from Chinese provinces other than Canton and from Hong Kong, many with broader education, Chinese musical fare in Canada has expanded to include the traditional, non-Cantonese repertoire. In 1991 there were Chinese choirs in many Ontario communities: Guelph, Mississauga, and Hamilton all had Mandarin choirs, Ottawa had its Chinese Cantabile Chorus, the Chinese Canadian Choir of Toronto performed with the Toronto Chinese Chamber Orchestra (founded in 1977), and women's choirs whose name translates as The Chinese Melody flourished in Guelph and Toronto. It is not unusual, however, for Cantonese ensembles to include western instruments such as the violin, the guitar, the clarinet, the saxophone, or the double-bass. The musical instruments typically found in the Cantonese ensemble for both opera and pure instrumental music are yang-ch'in (dulcimer), yueh-hu and ban-hu (two-string violins), and yueh-ch'in, ch'in-ch'in, and p'i-p'a (plucked lutes), as well as percussive instruments. The music associations, as exemplified by the Ching Won Musical Society (founded in Vancouver in 1936), engaged in such activities as the celebration of traditional Chinese festivals, banquets, and Chinese chess. The production of Cantonese opera required about six instrumentalists, and this led to the founding of music clubs apart from opera clubs. Local companies such as the United Dramatic Society in Toronto, the Wah Shing Music Group in Ottawa, and the Yuet Sing Chinese Musical Club in Montreal provide training and experience forCanadian performers.
CHINESE PURE MUSIC PROFESSIONAL
In Toronto, professional troupes from Hong Kong were frequently invited to perform Cantonese opera until the 1980s, when the expansion of the Chinese community provided the necessary personnel for locally produced Cantonese opera, often featuring artists from abroad. Opera clubs from San Francisco, and in at least one instance from Hong Kong, also were invited to perform. These and similar organizations filled a great need for social contact and entertainment and were encouraged by the merchant class in the rising 'Chinatowns'. By the 1870s there were three Cantonese operatic clubs established in Victoria, BC: Yuen-t'ien-lo, Yao-t'ien-lo, and Tan-feng-shang. Popular arias from Cantonese opera, a deeply rooted folk - rather than high-art - tradition, also were widely sung among the people. Presumably the Chinese, though possessing and patronizing an endless variety of music, perpetuated their folksongs and other traditional music in Canada to entertain and comfort themselves in a new land. That in the first two categories was perhaps the earliest heard in Canada. Canadian Chinese music is predominantly Cantonese and may be classified in four genres: folk-street-work songs Cantonese operas Cantonese ensemble music and traditional music other than Cantonese. What little is known has been gathered piecemeal from a variety of sources. Recorded evidence of music among the first Chinese Canadians is scarce for many reasons. (In British Columbia in 1904 the Chinese-Canadian residents of Victoria presented the city with a 2000-pound bell cast in 1627 in China.
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In the 20th century most of the over 414,000 (1986 census) Chinese Canadians have lived in and around the large cities of Ontario, Alberta, and British Columbia. In contrast, the later arrivals, particularly after 1960, have been highly trained, women as well as men, representing all areas of China and Hong Kong. These immigrants were men, mostly of peasant background, many of whom had left families behind: their primary goal in Canada was to make their fortunes and return to China. Most of the 19th-century migrants, including those contracted for CPR labour from 1882 to 1885, came from Kwangtung (Canton) Province, some via the USA. The migration of Chinese to Canada began in 1858 as a result of the Fraser River Gold Rush in British Columbia.