戲專的校園中，我們經常可以看見一個白髮點點的老先生，提著一只長長的琴箱，漫步其中。走過他的身旁，時常傳來小朋友們清甜的聲音叫著：「賀爺爺…」以及他爽朗的回應聲。當鎂光燈都理所當然的停留在臺前光鮮亮麗的名角身上，許多人可能不知道，鎂光燈後頭，一直有個對各個流派戲碼都倒背如流的琴師，默默的「棒」著這些名角。這個人，就是小朋友口中的賀爺爺，也是當年各大國劇社都爭相邀約的風雲琴師—賀肇黔。靠著一把胡琴，在臺灣京劇40、50年代的全盛時期，叱吒臺北京劇大小票房、社團。賀老師回憶；「那時臺北的京劇組織可以說是我的天下了！」賀爺爺的態度謙卑，但堅定自信的語氣中，卻讓人彷彿見到了他當年的風光情景。若干年後的今天，賀老師真正卸下了所有外頭的演出邀約，在戲專從事教學工作。他的兒子賀懷飛也因著他的興趣，走進了京劇世界。現在父子兩代，都是戲專的老師，一個拉琴一個打鼓，繼續為京劇曲壇上培養新秀，傳承衣缽。

　　　　　On the JCPA's campus, we usually see an elder man with white hair carrying a long case and walking around. Approaching him closely, we can often hear students sweetly calling “Grandpa Ho” and his airy reply. While the spotlight is shed brightly on the actors on stage, few people would be aware of the behind-the-scene musician, who knows everything about all plays, adding color to the actors. The person, who is called grandpa Ho by students, was a hot musician invited by every major Jingju (Beijing Opera) clubs then. With a Jingju fiddle, he dominated all the Taipei's Jingju box-offices and clubs during the prime. Mr. Ho recollects that “Speaking of the Jingju organizations at that time, it was really my day!” His humble but steadfast tone presents us a vivid vision of his brilliant past. Today, a couple of years later, Mr. Ho declines all the performing invitations, and dedicates himself to teaching. His son follows his steps, walking into the word of Jingju. Now, both the two generations work as teachers in NTJCPA; one plays the Jingju fiddle and the other the drums. They continue cultivating new performers for the Jingju and transmit their profession.