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The Routledge Handbook of Asian Music: Cultural Intersections
introduces Asian music as a way to ask questions about what happens
when cultures converge and how readers may evaluate cultural
junctures through expressive forms. The volume's thirteen original
chapters cover musical practices in historical and modern contexts
from Central Asia, East Asia, South Asia, and Southeast Asia,
including art music traditions, folk music and composition,
religious and ritual music, as well as popular music. These
chapters showcase the diversity of Asian music, requiring readers
to constantly reconsider their understanding of this vibrant and
complex area. The book is divided into three sections: Locating
meanings Boundaries and difference Cultural flows Contributors to
the book offer a multidisciplinary portfolio of methods, ranging
from archival research and field ethnography to biographical
studies and music analysis. In addition to rich illustrations,
numerous samples of notation and sheet music are featured as
insightful study resources. Readers are invited to study
individuals, music-makers, listeners, and viewers to learn about
their concerns, their musical choices, and their lives through a
combination of humanistic and social-scientific approaches.
Demonstrating how transformative cultural differences can become in
intercultural encounters, this book will appeal to students and
scholars of musicology, ethnomusicology, and anthropology.
The Routledge Handbook of Asian Music: Cultural Intersections
introduces Asian music as a way to ask questions about what happens
when cultures converge and how readers may evaluate cultural
junctures through expressive forms. The volume's thirteen original
chapters cover musical practices in historical and modern contexts
from Central Asia, East Asia, South Asia, and Southeast Asia,
including art music traditions, folk music and composition,
religious and ritual music, as well as popular music. These
chapters showcase the diversity of Asian music, requiring readers
to constantly reconsider their understanding of this vibrant and
complex area. The book is divided into three sections: Locating
meanings Boundaries and difference Cultural flows Contributors to
the book offer a multidisciplinary portfolio of methods, ranging
from archival research and field ethnography to biographical
studies and music analysis. In addition to rich illustrations,
numerous samples of notation and sheet music are featured as
insightful study resources. Readers are invited to study
individuals, music-makers, listeners, and viewers to learn about
their concerns, their musical choices, and their lives through a
combination of humanistic and social-scientific approaches.
Demonstrating how transformative cultural differences can become in
intercultural encounters, this book will appeal to students and
scholars of musicology, ethnomusicology, and anthropology.
Until recently, most scholarly work on Chinese music in both
Chinese and Western languages has focused on genres, musical
structure, and general history and concepts, rather than on the
musicians themselves. This volume breaks new ground by focusing on
individual musicians active in different amateur and professional
music scenes in mainland China, Hong Kong, and Chinese communities
in Europe. Using biography to deepen understanding of Chinese
music, contributors present richly contextualized portraits of
rural folk singers, urban opera singers, literati, and musicians on
both geographic and cultural frontiers. The topics investigated by
these authors provide fresh insights into issues such as the
urban-rural divide, the position of ethnic minorities within the
People's Republic of China, the adaptation of performing arts to
modernizing trends of the twentieth century, and the use of the
arts for propaganda and commercial purposes. The social and
political history of China serves as a backdrop to these
discussions of music and culture, as the lives chronicled here
illuminate experiences from the pre-Communist period through the
Cultural Revolution to the present. Showcasing multiple facets of
Chinese musical life, this collection is especially effective in
taking advantage of the liberalization of mainland China that has
permitted researchers to work closely with artists and to discuss
the interactions of life and local and national histories in
musicians' experiences. Contributors are Nimrod Baranovitch, Rachel
Harris, Frank Kouwenhoven, Tong Soon Lee, Peter Micic, Helen Rees,
Antoinet Schimmelpenninck, Shao Binsun, Jonathan P. J. Stock, and
Bell Yung.
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