Bibliography

Pls enter the bibliographic items in alphabetical order by last name.

Pls use the citation format for the bibliography in JAMS, but slightly altered:

For articles: Last name, First name. “Article title,” Journal title in italics, Journal volume[period]issue (Year):  Beginning page-Ending page.

For books: Last name, First name. Book title in italics. City, State: Publisher, Year.

For book chapters: Last name, First name. “Chapter title.” Book title in italics, edited by [name of editors in normal spelling], beginning page-ending page. City, State: Pub lisher, Year.

For dissertations. Last name, First name. “Dissertation title.” University, Year.

 

Contents

1. East Asia: General
2. Musics, soundscapes, diaspora, and imagination of Korea
3. Musics, soundscapes, diaspora, and imagination of Japan
4. Musics, soundscapes, diaspora, and imagination of China
5. Musics, soundscapes, diasporas, and imagination of Southeast Asia
6. East Asian ethno/musicologies (provincializing European/North American music research)

 

We are a group dedicated to the study of musics and soundscapes of East Asia, East Asian diasporas, and other milieus culturally proximate to (even if geographically distant from) East Asia–as well as the imagination of these cultural spheres–from a broadly global, comparative perspective, critiquing and crossing the non-/Western musical divide. We adopt a global, network, or assemblage perspective on research that emphasizes the intersection of local, minoritarian, national, regional, post/colonial, decolonial, and deimperial forces, whether the geographical sites involved are located in Asia or elsewhere. Moving beyond bounded cultural milieus, our work frequently translates into the examination of various forms of hybridity involving Western, traditional, folk, popular, pop rock, avant-garde, electronic, and other musics. While our research clearly overlaps with ethnomusicology to some extent, its emergence within AMS reflects the proximity of our work to methodologies and topics recognized as broadly recognized as musicological–global music historiography, history and current practices of music theory and analysis, avant-gardism, hybridity, and Western art music performance in East Asia. While we embrace ethnomusicological methodologies and topics as a group, the primary feature of this bibliography is its focus on musicological approaches to East Asia.

 

SECTION 1. East Asia: General

 

Chang, Hyun Kyong Hannah. “Colonial Circulations: Japan’s Classroom Songbooks in Korea,” Ethnomusicology Forum, 27.2 (2018): 157-83.

[colonialism, school songs]

Chang, Hyun Kyong Hannah. “Introduction to the Special Issue on Musics of Coeval East Asia,” Twentieth-Century Music, 18.3 (2021): 333-40.

Fosler-Lussier, Danielle. “Classical Music as Development Aid,” in Music in America’s Cold War Diplomacy, chapter 2. Oakland, California: University of California Press, 2015. (Deals with US music diplomacy in East and Southeast Asia.)

[Cold War, cultural exchange]

Heile, Björn. “Musical Modernism, Global: Comparative Observations,” in: The Routledge Research Companion to Modernism in Music, ed. Björn Heile and Charles Wilson (Abingdon, Oxon ; New York, NY: Routledge, 2019), 175-98.

[modernism]

Janz, Tobias, and Chien-Chang Yang, eds. Decentering Musical Modernity: Perspectives on East Asian and European Music History. Bielefeld: Transcript Verlag, 2019.

[modernity]

Locke, Ralph P. “Reflections on Orientalism in Opera (and Musical Theater).” Revista de musicología 16.6 (1993): 10-22 [pages also carry a second numbering: pp. 3122-34]. Expanded version (without parentheses in the title): Opera Quarterly 10.1 (1993): 48-64. The Revista version has also appeared in German and Italian journals (in translation). (Works discussed include Madama Butterfly, Turandot, and The King and I.)

Locke, Ralph P. “Exotic Elements in Kapsberger’s Jesuit Opera (Rome, 1622) Honoring Saints Ignatius and Francis Xavier,” 1-28. In the online Festschrift for Prof. Kerala J. Snyder, ed. Joel Speerstra and Johan Norrback: http://www.goart.gu.se/publications/festschrift_kjs or Table of contents (with links for the articles that have thus far been uploaded): https://www.goart.gu.se/publications/festschrift_kjs, Permanent URL (but trickier to use): https://gupea.ub.gu.se/handle/2077/54931. (The article discusses “China” and “Japan” as singing characters in an opera and includes period illustrations showing them onstage, in costume.)

Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009. Esp. pp. 132 (Berlioz on Chinese music), 175-213 (“the Orient,” imperialism, and nineteenth-century opera, especially Madama Butterfly and Turandot), 226-44 (pentatonicism, portrayals of China and Indonesia by Debussy and others), 252 (Gershwin’s “Chinese” pieces), 257-68 (East Asia in operetta and in French and American film and popular music, including Lehár’s Der Land des Lächelns, Josephine Baker’s recording of “Petite Tonkinoise,” and “My Lord and Master” from The King and I), 279-80 (Isang Yun), 284-88 (Indonesian influence), 293-300 (Takemitsu, Tan Dun, Toshiko Akiyoshi), 305 (Kyu Sakamoto’s “Sukiyaki”), 319-20 (Thailand on Broadway: The King and I), 324-27 (Madama Butterfly, Miss Saigon).

Locke, Ralph P. Music and the Exotic from the Renaissance to Mozart. Cambridge: Cambridge University Press, 2015. Esp. pp. 149-51 (Siamese ambassadors and Lully), 190-91 (“China” as a singing character in Kapsberger’s Jesuit  opera–a topic more fully treated in Locke’s “Exotic Elements” article), 248-50 and 257 (Baroque operas about a Chinese hero, to a text by Metastasio), 279-80 (Buddhist Kalmyks in Mongolia), 283-86 (Vogler and Gluck “Chinese” works).

[music and gender]

Li, Huan. “An Unorthodox Voice: The Rise of Female Qinshi, Their Challenges, and Their Pursuits.” Yearbook for Traditional Music, 53 (2021): 71-101.

Manabe, Noriko. “The Unending History of Protest Music.” In “Response to Peter Manuel,” Music and Politics XI/1 (Winter 2017). http://quod.lib.umich.edu/m/mp/9460447.0011.102?view=text;rgn=main

Ng, Nicholas. “Engaging with a Genre in Decline: Teochew Opera in Western Sydney.” The Asia Pacific Journal of Anthropology [The Value of Ethnographic Research on Music], 22 (2021), 162-183. https://doi.org/10.1080/14442213.2021.1923794

Rocha, Luzia. “Oriente e Ocidente – A Música no Sínodo de Diamper representada nos azulejos do Convento da Graça (Torres Vedras),” Glosas, 13 (2015): 80-82.

Rocha, Luzia. “’The Music Party Dish’, Qing Dynasty, Kangxi Period (1662-1722), c. 1700” Tomás Pereira /1646-1708) A Jesuit in Kangxi’s China, Luís Filipe Barreto, 136-139. Lisboa, Portugal: Centro Científico e Cultural de Macau, 2009

Rocha, Luzia. “Some Considerations About The Chinese Opera Musical Instruments in The Kwok On Collection (Fundação Oriente).” The Chinese Opera, Maria Manuela d’Oliveira Martins, 81-87. Lisboa, Portugal: Fundação Oriente, 2016

Rocha, Luzia. ” Chinese Opera Musical Instruments in The Kwok On Collection (Fundação Oriente) – Cataloguing.” The Chinese Opera, Maria Manuela d’Oliveira Martins, 134-139. Lisboa, Portugal: Fundação Oriente, 2016

Rocha, Luzia. “A Ópera Chinesa no período da Revolução Cultural,” Oriente, Nº 25 (2017): 81-95.

Rocha, Luzia. “Music Iconography, Opera, Gender and Cultural Revolution: The Case Study of the Kwok On Collection (Portugal) ,” Studia Musicologica, Volume 59, Issue 3-4, (2018): 365-398.

Saeji, CedarBough. “The Audience as a Force for Preservation: A Typology of Audiences for the Traditional Performing Arts.” Korea Journal 56, no. 2 (Summer 2016): 5-31.  

Utz, Christian, and Frederick Lau, eds. Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West. New York and London: Routledge, 2013.

Yang, Hon-Lun, and Michael Saffle.: “The 12 Girls Band –Tradition, Gender, Globalization and Identity.” Asian Music 41/2 (Summer-Fall 2010): 88-112.

Weintraub, Andrew N., and Bart Barendregt, eds. Vamping the Stage: Female Voices of Asian Modernities. Honolulu, Hawai‘i: University of Hawai‘i Press, 2017.

Yoshihara, Mari. Musicians from a Different Shore: Asians and Asian Americans in Classical Music. Philadelphia: Temple University Press, 2007.

 

SECTION 2. Musics, soundscapes, diaspora, and imagination of Korea

 

Chang, Hyun Kyong Hannah. “Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora,” 18.3 (2021): 347-67.

Chang, Hyun Kyong Hannah. “Exilic Suffering: Music, Nation, and Protestantism in Cold War South Korea,” Music and Politics, 8.1 (2014): n.p.

Chang, Hyun Kyong Hannah. “Singing and Praying among Korean Christian Converts (1896-1915): A Trans-Pacific Genealogy of the Modern Korean Voice.” The Oxford Handbook of Voice Studies, edited by Nina Eidsheim and Katherine Meizel, 457-474. New York: Oxford University Press, 2019.

Fosler-Lussier, Danielle. Music on the Move. Ann Arbor: University of Michigan Press, 2020. Chapter on Korean diasporic music in the United States.

Fuhr, Michael. Globalization and Popular Music in South Korea: Sounding Out K-Pop. New York, NY: Routledge, 2016.

Harkness, Nicholas. Songs of Seoul: An Ethnography of Voice and Voicing in Christian South Korea. Berkeley and Los Angeles, CA: University of California Press, 2014.

Johnson, Stephen. “Hybrid in Form, Socialist in Content: The Formal Politics of Chŏlga in the North Korean Revolutionary Opera Sea of Blood,” Twentieth-Century Music 18.3 (2021): 419-45.

Lee, Katherine. Dynamic Korea and Rhythmic Form. Middletown: Wesleyan University Press, 2018.

Pilzer, Joshua D. Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese “Comfort Women.” New York: Oxford University Press, 2012.

Robison, John O. “Kim Eunhye at Age 60: Arirang, Animals, and Signs of the Zodiac. Asian Music 29 (2019), 1-53.

Robison, John O. Korean Women Composers and Their Music. Missoula, Mt: College Music Society, 2012.

Saeji, CedarBough. “From Hanok to Hanbok: Traditional Iconography in Korean Hip Hop Music Videos.” Global Hip Hop Studies Journal 1, no. 2 (2022): 249-272.

Saeji, CedarBough, et. al. ed. Invented Traditions in North and South Korea. Honolulu: University of Hawai’i Press, 2021.

Saeji, CedarBough. “Spinning South Korean Cultural Industry for Soft Power and Nation Branding.” East Asia Forum 13, no. 4 (2021): 33-36. link

Saeji, CedarBough. “Ten years after ‘Gangnam Style’.” East Asia Forum, (December 25, 2021). link

Saeji, CedarBough. “From Hanok to Hanbok: Traditional Iconography in Korean Hip Hop Music Videos” Global Hip Hop Studies Journal 1, no. 2 (2021): 249-272.

Saeji, CedarBough. “Spinning South Korean Cultural Industry for Soft Power and Nation Branding.” East Asia Forum 13, no. 4 (2021): 33-36. link [online version is abridged]

Saeji, CedarBough. “Commentary: ‘Always Fans of Something: Fandom and Concealment of Taste by Young Koreans by Lee Eungchel’.” Korean Anthropology Review 5, no. 1 (2021): 79-84. link

Saeji, CedarBough and Kim Kyung Hyun. “A Short History of Afro-Korean Music and Identity.” Introduction to a special issue of the Journal of World Popular Music 7, no. 2 (February 2021): 115-124. link

Saeji, CedarBough. “Thinking through Intertextuality in Korean Pop Music Videos” Translation Review 108, no. 1 (2020): 48-63.

Saeji, CedarBough. “Borrowed National Bodies: Ideological Conditioning and Idol-Logical Practices of K-pop Cover Dance.” Transactions of the Royal Asiatic Society, Korea Branch 94 (2020): 43-68. link

Saeji, CedarBough. “Burning Sun Club Scandal Scorches South Korea’s Image.” East Asia Forum 11, no. 2 (2019): 16-19.

Saeji, CedarBough, Gina Choi, Darby Selinger, Guy Shababo, Elliott YN Cheung, Ali Khalaf, Tessa Owens, and Kyle Tang.  “Regulating the Idol: The Life and Death of a South Korean Popular Music Star” Asia-Pacific Journal: Japan Focus 16, no. 13 (July 1, 2018): 1-32. link

Saeji, CedarBough. “Replacing Faith in Spirits with Faith in Heritage: A Story of the Management of the Gangneung Danoje Festival.” In Safeguarding Intangible Heritage: Practices and Policies, edited by Natsuko Akagawa and Laurajane Smith. 155-173. London: Routledge, 2018.

Saeji, CedarBough. 2017. “It’s Fantastic Baby: Eine Einführung in die Koreanische Popmusik.” In Uri Korea: Kunsthistorische und Ethnographische Beiträge zur Ausstellung N.F. Vol 50. Edited by Susanne Knodel. Hamburg: Mitteilungen des Museums für Völkerkunde Hamburg.

Saeji, CedarBough. 2017. “An Unexpected Voice: Performance, Gender, and Protecting Tradition in Korean Mask Dance Dramas.” In Women in Asian Performance: Aesthetics and Politics, edited by Arya Mandavan. 142-156. London: Routledge.

Saeji, CedarBough. 2016. “Cosmopolitan Strivings and Racialization: The Foreign Dancing Body in Korean Popular Music Videos.” In Korean Screen Cultures: Interrogating Cinema, TV, Music and Online Games, edited by Andrew David Jackson and Colette Balmain. 257-92. Oxford: Peter Lang Publishers.

Saeji, CedarBough. 2015. “Protection and Transmission of Korean Folk Theatre.” In Korean Musicology Series 7: Yeonhui: Korean Performing Arts. 247-267. Seoul: National Gugak Center. link

Saeji, CedarBough. 2014. “The Republic of Korea and Curating Displays of Koreanness: Guest Editor’s Introduction.” Acta Koreana 17, no. 2 (December 2014): 523-536. link

Saeji, CedarBough. 2013. “Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts.” Acta Koreana 16, no. 2 (December 2013): 277-312. link

Saeji, CedarBough. 2013. “Drumming, Dancing and Drinking Makgeolli: Liminal Time-Travel through Intensive Camps Teaching Traditional Performing Arts.” Journal of Korean Studies 19, no. 1 (Spring 2013): 61-88. link

Saeji, CedarBough. 2012. “The Bawdy, Brawling, Boisterous World of Korean Mask Dance Dramas” (with photo essay). Cross Currents: East Asian History and Culture Review (e-journal no. 4-link). Also published in Cross Currents: East Asian History and Culture Review 1, no. 2 (November 2012): 439-468.

Saeji, CedarBough.2012. “Performance Review: Cheonha Je’il Talgongjakso’s ‘Chushyeoyo’ and Ta’ak Project’s ‘Good Pan’.” Asian Theatre Journal 29, no. 1 (Summer 2012): 291-301. link

Shin, Hyunjoon, and Seung-Ah Lee. Made in Korea: Studies in Popular Music, ed. Hyunjoon Shin and Seung-Ah Lee. New York, NY: Routledge, 2017.

 

SECTION 3. Musics, soundscapes, diaspora, and imagination of Japan

 

Asai, Susan Miyo. “Transformations of Tradition: Three Generations of Japanese American Music Making.” The Musical Quarterly 79, no. 3 (1995): 429-53.

Atkins, E. Taylor. Blue Nippon: Authenticating Jazz in Japan. Durham: Duke University Press, 2001.

Bourdaghs, Michael K. Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. New York: Columbia University Press, 2012.

Bridges, Rose. Yoko Kanno’s Cowboy Bebop Soundtrack. 33-⅓ Japan series, ed. Noriko Manabe. Bloomsbury Publishing, 2017.

Condry, Ian. Hip-Hop Japan: Rap and the Paths of Cultural Globalization. Durham, NC: Duke University Press, 2006.

Galbraith, Patrick W. and Jason G. Karlin. AKB48: The Economy of Affect. 33-1/3 Japan series. New York: Bloomsbury Academic, 2019.

Galliano, Luciana. Yōgaku: Japanese Music in the Twentieth Century. Trans. Martin Mayes. Lanham, MD: Scarecrow Press, 2002.

Hara, Kunio. “1 + 1 = 1: Measuring Time’s Distance in Tōru Takemitsu’s Nostalghia: In Memory of Andrei Tarkovskij.” Music and the Moving Image 9, no. 3 (2016): 3–18.

Hara, Kunio. Joe Hisaishi’s Soundtrack for My Neighbor Totoro. 33-1/3 Japan series. New York: Bloomsbury Academic, 2020.

Hara, Kunio. “The Death of Tamaki Miura: Performing Madama Butterfly During the Allied Occupation of Japan.” Music & Politics 11, no. 1 (2017). DOI: http://dx.doi.org/10.3998/mp.9460447.0011.106.

Hara, Kunio. “Rudolf Dittrich’s Nippon Gakufu and Giacomo Puccini’s Madama Butterfly.” Music Research Forum 19 (2004): 1–24.

Hosokawa, Shuhei. “Nationalizing Chō-Chō-San: The Signification of ‘Butterfly Singers’ in a Japanese-Brazilian Community.” Japanese Studies 19, no. 3 (1999): 253–68.

Johnson, Henry. Nene’s Koza Dabasa: Okinawa in the World Music Market. 33-1/3 Japan series. New York: Bloomsbury Academic, 2021.

Lancefield, Robert C. “Hearing orientality in (white) America, 1900–1930.” Ph.D. diss., Wesleyan University, 2004.

Lehtonen, Lasse. Yuming’s The 14th Moon. 33-1/3 Japan series. New York: Bloomsbury Academic, 2022.

Manabe, Noriko. “‘It’s Our Turn to Be Heard’: The Life and Legacy of Rapper-Activist ECD (1960-2018).” The Asia-Pacific Journal 16, no. 6/3 (March 14, 2018). https://apjjf.org/2018/06/Manabe.html.

Manabe, Noriko. The Revolution Will Not Be Televised: Protest Music after Fukushima. Oxford University Press, 2015.

Manabe, Noriko. “Music Commemorating the Hiroshima and Nagasaki Bombings.” In Performing Commemoration: Musical Reenactment and the Politics of Trauma, ed. Annegret Fauser and Michael Figueroa, 68–94, 2020. University of Michigan Press.  doi:10.3998/mpub.11560559.

Manabe, Noriko. “Uprising: Music, Youth, and Protest against the Policies of the Abe Shinzō Government.” The Asia-Pacific Journal 12, no. 32/3 (August 11, 2014). http://www.japanfocus.org/-Noriko-MANABE/4163.

Manabe, Noriko. “Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance Model.” The Asia-Pacific Journal, 11/42 (October 21, 2013), http://japanfocus.org/-Noriko-MANABE/4015.

Manabe, Noriko.  “Representing Japan: ‘National’ Style Among Hip-Hop DJs.” Popular Music 32/1 (2013): 35–50.

Manabe, Noriko. “Straight Outta Ichimiya: The Rise of a Rural Japanese Rapper.” The Asia-Pacific Journal 11/5 (February 4, 2013), http://www.japanfocus.org/-Noriko-MANABE/3889.

Manabe, Noriko. “The No Nukes 2012 Concert and the Role of Musicians in the Anti-Nuclear Movement.” The Asia-Pacific Journal Vol. 10, Issue 29, No. 2, July 16, 2012, http://japanfocus.org/-Noriko-MANABE/3799.

Manabe, Noriko.  “New Technologies, Industrial Structure, and the Consumption of Music in Japan.” Asian Music 39/1 (2008): 81–107.

Manabe, Noriko.  “Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.” Ethnomusicology 50/1 (Winter 2006): 1–36.

Manabe, Noriko. “Japanese Elections: The Ghost of Constitutional Revision and Campaign Discourse.” Asia-Pacific Journal 14/15/8 (August 1, 2016). http://apjjf.org/2016/15/Manabe.html.

Manabe, Noriko. “Monju-kun: Children’s Culture as Protest.” In Child’s Play: Multi-sensory Histories of Children and Childhood in Japan, ed. Sabine Frühstück and Anne Walthall, 264–285. Berkeley: University of California Press, 2017.

Manabe, Noriko. “Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice.” In Networked Music Cultures: Contemporary Approaches, Emerging Issues, ed. Raphael Nowak and Andrew Whelan, 67–76. New York: Palgrave Macmillan, 2016.

Manabe, Noriko.  “La musique dans le mouvement antinucléaire japonais après Fukushima: quatre espaces de manifestation.” Politiques des musiques populaires au XXIe siècle, ed. Elsa Grassy and Jedediah Sklower, 161–186. Saffré, France: Éditions Seteun, 2016.

Manabe, Noriko.  “Hip-Hop and Reggae in Recent Japanese Social Movements.” In Two Haiku and a Microphone: Traveling Texts and the Work of Afro-Japanese Cultural Production, ed. William H. Bridges IV and Nina Cornyetz, 209–22. Lanham, MD: Lexington Books, 2015. Invited submission.

Manabe, Noriko. “Japanese Hip-Hop: Alternative Stories.” In Cambridge Companion to Hip-Hop, ed. Justin Williams, 243–55. Cambridge: Cambridge University Press, 2015.

Manabe, Noriko. “A Tale of Two Countries: Online Radio in the United States and Japan.” In Oxford Handbook of Mobile Music and Sound Studies, Vol. 1, ed. Sumanth Gopinath and Jason Stanyek, 456–95. New York: Oxford University Press, 2014.

Manabe, Noriko. “Songs of Japanese Schoolchildren During World War II.”  In Oxford Handbook of Children’s Musical Cultures, ed. Patricia Campbell and Trevor Wiggins, 96–113. New York: Oxford University Press, 2012.

Manabe, Noriko. “Going Mobile: Ringtones, the Mobile Internet, and the Music Market in Japan.” In Internationalizing Internet Studies: Beyond Anglophone Paradigms, ed. Gerard Goggin and Mark McLelland, 316–32. New York: Routledge, 2009.

Manabe, Noriko. “Ring My Bell: Cell Phones and the Japanese Music Market.” Music in Japan Today, ed. E. Michael Richards and Kazuko Tanosaki, 257–67. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2008.

Manabe, Noriko. “The Life of an Activist-Musician: Japanese Rapper ECD.” Oxford University Press Blog. April 17, 2018. https://blog.oup.com/2018/04/activist-musician-japanese-rapper-ecd/.

Manabe, Noriko. “Japanese Elections: Constitutional Revision and the Anxiety of Free Speech.” Oxford University Press Blog. August 4, 2016. http://blog.oup.com/2016/08/japanese-elections-constitutional-revision-free-speech/.

Manabe, Noriko.  “Five Years After: The Legacy of the Japanese Anti-Nuclear Movement.” Oxford University Press Blog. March 16, 2016. http://blog.oup.com/2016/03/fukushima-accident-japanese-protest-music/.

Manabe, Noriko.  “J-Pop.” In Grove Dictionary of American Music, ed. Charles Garrett. New York: Oxford University Press, 2013.

McCorkle, Brooke. “Searching for Wagner in Japan.” Ph.D. diss., University of Pennsylvania, 2015.

McCorkle, Brooke. “Nature, Technology, and Sound Design in Gojira (1954).” Horror Studies 3, no. 1 (2012): 21-37.

McCorkle, Brooke.  “Akira Ifukube” In Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press. Online. 2017.

McCorkle, Brooke. “Twilight of an Empire: Staging Wagner in Wartime Tokyo.” In Music Theater as Global Culture: Wagner’s Legacy Today. Eds. Anno Mungen, Nicholas Vazsonyi, Julie Hubbert, Ivana Rentsch, Arne Stollberg, 51-64.. Würzburg: Königshausen & Neumann, 2017.

McCorkle Okazaki, Brooke. Shonen Knife’s Happy Hour: Food, Gender, Rock and Roll. 33-1/3 Japan series. New York: Bloomsbury Academic, 2021.

Nagahara, Hiromu. Tokyo Boogie-Woogie: Japan’s Pop Era and Its Discontents. Cambridge, MA: Harvard University Press, 2017.

Novak, David. Japanoise: Music at the Edge of Circulation. Durham, NC: Duke University Press, 2013.

Pacun, David. “‘Thus We Cultivate Our Own World and Thus We Share It With Others’: Kósçak Yamada’s Visit to the United States in 1918-1919.” American Music, vol. 24 (1) (Spring 2006): 67-94.

Saffle, Michael. “China and Japan in Late Nineteenth- and Early Twentieth-century Anglo-American Sheet Music.” Music in Art 42/1-2 (2017): 329-340.

St. Michel, Patrick. Perfume’s GAME. 33-⅓ Japan series, ed. Noriko Manabe. Bloomsbury Publishing, 2018.

Sheppard, W. Anthony. Extreme Exoticism: Japan in the American Musical Imagination. New York: Oxford University Press, 2019.

Sheppard, W. Anthony. “Puccini and the Music Boxes.” Journal of the Royal Musical Association 140, 1 (Spring 2015), 41-92. [Chinese folk songs; representation of Japan]

Sheppard, W. Anthony. “Representing the Authentic: Tak Shindo’s ‘Exotic Sound’ and Japanese American History,” ECHO 6, 2 (2004).

Sheppard, W. Anthony. Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater. Berkeley: University of California Press, 2001. [influence of noh]

Sterling, Marvin D.  Babylon East: Performing Dancehall, Roots Reggae and Rastafari in Japan. Durham, N.C.: Duke University Press, 2010.

Wade, Bonnie. Composing Japanese Musical Modernity. Chicago: University of Chicago Press, 2014.

Yamada, Keisuke. Supercell ft. Hatsune Miku. 33-⅓ Japan series, ed. Noriko Manabe. Bloomsbury Publishing, 2017.

Yano, Christine. Tears of Longing: Nostalgia and the Nation in Japanese Popular Song. Cambridge, MA: Harvard University Press, 2003.

Yoshihara, Mari. “The Flight of the Japanese Butterfly: Orientalism, Nationalism, and Performances of Japanese Womanhood.” American Quarterly 56, no. 4 (2004): 975–1001.

 

SECTION 4. Musics, soundscapes, diaspora, and imagination of China

 

Cheung, Joys Hoi Yan, and King Chung Wong, eds. Reading Chinese Music and Beyond. Hong Kong: Chinese Civilization Centre and City University of Hong Kong, 2010.

Chow, Rey. “Listening Otherwise, Music Miniaturized: A Different Type of Question about Revolution.” Discourse 13, no. 1, A Special Issue on the Emotions (1990–91): 129–148.

Jones, Andrew. Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham and London: Duke University Press, 2001.

Lai, Winnie W C. “‘Happy Birthday to You’: Music as Nonviolent Weapon in the Umbrella Movement.” Hong Kong Studies 1, no. 1 (March, 2018): 66-82.

Lee, Gavin. “Dialectics of Debate: Reflections on Three Pedagogical Scenes in Chinese Music History,” Current Musicology 104 (2019): 69-76.

Lee, Gavin. “Postcolonial Affect: Ambiguous Relationality in Robert Casteels’ L’(autre) fille aux cheveux de Bali,” Journal of the Royal Musical Association 140.2 (2015): 417-443 [work by a Singapore-based composer which uses Chinese instruments and gamelan].

Lee, Gavin. “Postcolonial Bifurcation: On John Sharpley’s Emptiness,” Music Analysis 38.3 (2019): 316-357 [work by Singapore-based composer based on Taoist and Buddhist texts].

Liu, Bess Xintong. “‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra’s 1973 China Tour.” Twentieth-Century Music 18.3 (2021): 395-418.

Lum, Casey Man Kong. In Search of a Voice: Karaoke and the Construction of Identity in Chinese America. Mahwah, NJ: Lawrence Erlbaum Associates, 1996.

Rao, Nancy Yunhwa. “Racial Essences and Historical Invisibility: Chinese Opera in New York, 1930.” Cambridge Opera Journal 12.2 (2000): 135-162.

Robison, John O. “Wang Xilin, Huma Suffering, and Compositional Trends in Twenty-First Century China.” In Wang Xilin’s Musical Life, ed. by Chen Yan (Chinese only). Guangzhou, China: Shen Yan Press, 2016.

Robison, John O. “Zhu Jianer, Tibet, and Symphony no. 3.” In Musicking the Soul, ed. by Kimasi Browne and Zhang Boyu, 98-144. Beijing, China: Central Conservatory of Music Press, 2018.

Robison, John O. Wang Xilin, Human Suffering, and Compositional Trends in Contemporary China. Richmond, CA: MRI Press, 2021.

Robison, John. Zhu Jianer and the Symphony in China (朱践耳和中国的交响乐创作), trans. Yu Hui, Zhao Qufei, and Wang Fang. Hangzhou: Zhejiang University Press, 2022.

Robison, John O. and Hui Yu. China’s International Contribution to Contemporary Music. Hangzhou: Zhejiang University Press, 2022

Robison, John O. The Symphonies of Zhu Jianer: A Western Perspective. Berlin, Brussels, Oxford, etc.: Peter Lang Publishers, 2022.

Rocha, Luzia. “Some considerations about the Chinese Opera Musical Instruments in the Kwok On Collection.” The Chinese Opera, Maria Manuela d’Oliveira Martins, 81-88; 134-139. Lisbon: Fundação Oriente/Museu, 2016.

Rocha, Luzia, “Ópera Chinesa no período da Revolução Cultural,” Revista Oriente 25 (2017): 76-81

Saffle, Michael and Hon-Lun Yang. “Aesthetic and Social Aspects of Emerging Utopian Musical Communities,” IRASM (International Review of Aesthetics and Sociology of Music) 41.2 (2010): 319-341.

Saffle, Michael. “Eastern Fantasies on Western Stages: British and American Chinese-themed Musical Comedies, 1885-1934.” In: China and the West: Music, Representation, and Reception, ed. Hon-Lun Yang and Michael Saffle (University of Michigan Press, 2017), 87-118.

Saffle, Michael; and Hon-Lun Yang. “Liszt, Shanghai, and the North China Herald, 1886-1919.” Journal of the American Liszt Society 69 (2018): 28-46.

Saffle, Michael. “China and Japan in Late Nineteenth- and Early Twentieth-century Anglo-American Sheet Music.” Music in Art XLII/1-2 (2017): 329-340.

Sheppard, W. Anthony. “Puccini and the Music Boxes.” Journal of the Royal Musical Association 140, 1 (Spring 2015), 41-92. [Chinese folk songs; representation of Japan]

Sheppard, W. Anthony. “Global Exoticism and Modernity.” The Cambridge History of World Music. Ed. Philip V. Bohlman (Cambridge University Press, 2013), 606-633. [Chinese hip hop, music videos]

Sheppard, W. Anthony. “Tan Dun and Zhang Yimou Between Film and Opera.” Journal of Musicological Research 29, 1 (January 2010): 1-33.

Sheppard, W. Anthony. “Blurring the Boundaries: Tan Dun’s tinte and The First Emperor.” Journal of Musicology 26, 3 (Summer 2009): 285-326.

Yang, Hon-Lun. “Cosmopolitanism, Vernacular Cosmopolitanism, and Sound Alignments: Covers and Cantonese Cover Songs in 1960s Hong Kong.” Sound Alignments: Popular Music in Asia’s Cold Wars, edited by Michael K. Bourdaghs, Paola Iovene, and Kaley Mason, 153-172. Durham, NC: Duke University Press, 2021.

Yang, Hon-Lun Helan, Simo Mikkonen, and John Winzenburg. Networking The Russian Diaspora: Russian Musicians And Musical Activities In Interwar Shanghai. University of Hawaii Press, 2020.

Yang, Hon-Lun. “The Chinese Piano Tradition and Liszt,” The Liszt Society Journal 21 (2001): 3-13.

Yang, Hon-Lun and Neil Edmunds. “Socialist Realism and Music in the Soviet Union and the People’s Republic of China,” BLOK 2 (2003): 70-89.

Yang, Hon-Lun.  “Politics, Identity, and Reception: Composers of the Second New England School.” In László Dobszay, The Past in the Present, Vol. 1, Budapest: Liszt Ferenc Academy of Music, 2003, 405-423.

Yang, Hon-Lun. “Socialist Realism and Chinese Music.” In Chew, G. et al eds. Colloquium Musicologicum Brunense 36/2001 Socialist Realism and Music, Praha: Koniasch Latin Press, 2004,135-144.

Yang, Hon-Lun. “The Making of a National Musical Icon: Xian Xinghai and his Yellow River Cantata.” Music, Power, and Politics, ed. Annie Randall. New York: Routledge, 2005, 87-111.

Yang, Hon-Lun. “‘Angry Young Old Man’ Wang Xilin’s Symphonic Odyssey,” CHIME [Journal of the European Foundation for Chinese Music]16-17 (2005): 34-56.

Yang, Hon-Lun. “People’s Music in the People’s Republic of China: A Semiotic Reading of Socialist Musical Culture from the mid to late 1950s.” Music, Meaning and Media, eds. Erkki Pekkila et al. Finland: International Semiotics Institute, 2006, 195-208.

Yang, Hon-Lun “Power, Politics, and Musical Commemoration: Western Musical Figures in the People’s Republic of China,” Music and Politics 2 (2007). (http://www.music.ucsb.edu/projects/musicandpolitics) Published by University of California, Santa Barbara.

Yang, Hon-Lun. “Wang Xilin,” in Die Musik in Geschichte und Gegenwart, Kassel: Bärenreiter and Metzler 17 (2007) 131.

Yang, Hon-Lun. “Culture, Memory, and Chinese Symphonic Music.” Musical Culture & Memory, eds. Tatjana Markovic and Vesna Mikic. Belgrade: University of Arts in Belgrade, 2008, 93-103.

Yang, Hon-Lun. “German Influence and Nineteenth-century American Symphonic Music: Lisztian Legacy and the Symphonic Poems of Paine and MacDowell.” Liszt und Europa, ed. Detlef Altenburg, Kassel: Bärenreiter –Verlag, 2008, 383-393.

Yang, Hon-Lun.. “The Manifestations of Cultural Processes in the Chinese Symphonic Tradition.” Cultures in Process: Encounter and Experience, eds. Stephan Gramley and Ralf Schneider. Bielefeld: Aisthesis Verlag, 2009, 65-70.

Yang, Hon-Lun and Michael Saffle. “Performing Chineseness Girl-Group Style: The 12 Girls Band – Traditions, Gender, Globalization and (Inter)national Identity,” Asian Music 41.2 (2010): 88-112.

Yang, Hon-Lun. “The Shanghai Conservatory, Chinese Musical Life, and the Russian Diaspora: 1927-1949,” Twentieth-Century China 37.1 (2012): 73-95.

Yang, Hon-Lun. “The Politics of Music and Identity: Liszt’s Legacy and Chinese Symphonic Poems.” Musik und kulturelle Identität – Bericht über den Internationalen Kongress der Gesellschaft für Musikforschung in Weimar 2004 (Report of the13^th International Congress of the Gesellschaft für Musikforschung, Weimar), ed. Detlef Altenburg and Rainer Bayreuther, 3 vols, Kassel: Bärenreiter, 2012, 523-530.

Yang, Hon-Lun Helan, “‘1968’ — Womanhood and Gender Roles in Model Plays of the PRC and Movie Musicals of Hong Kong.” Music and Protest in 1968, eds. Barley Norton and Beate Kutschke. Cambridge: Cambridge University Press, 2013, 222-236.

Yang, Hon-Lun Helan. “Diaspora, Music, and Politics: Russian Musical Life in Shanghai during the Inter-War Period.” Music and Politics, ed. Pauline Fairclough. Farnham: Ashgate, 2013, 261-278.

Yang, Hon-Lun. “Teaching Music History at Hong Kong Baptist University: Problem-Based Learning and Outcome-Based Teaching and Learning,” Journal of Music History Pedagogy 4.2 (2014): 329-32.

Yang, Hon-Lun. “Liszt in Socialist China.” Liszt and his Legacy, eds. James Deaville and Michael Saffle. New York: Pendragon Press, 2014, 348-366.

Yang, Hon-Lun. “Unravelling The East is Red: Socialist Music and Politics in the People’s Republic of China.” Composing for the State: Music in Twentieth-Century Dictatorships, eds. Esteban Buch, Igor Contreras Zubillaga, Manuel Deniz Silva. New York: Ashgate/Routledge, 2016, 51-68.

Yang, Hon-Lun. Book review of “Paul Clark, Laikwan Pang, and Tsan-Huang Tsai eds., Listening to China’s Cultural Revolution: Music, Politics, and Cultural Continuities. Transposition: musique et sciences socials, [En ligne], 6 | 2016, mis en ligne le 20 mars 2017, consulté le 06 août 2017. URL: http://transposition.revues.org/1609.

Yang, Hon-Lun and Michael Saffle eds. China and the West: Music, Representation, and Reception. Ann Arbor and New York: University of Michigan Press, 2017.

Yang, Hon-Lun. “Music, China, and the West: A Musical-theoretical Introduction.” China and the West, Music, Representation, and Reception, eds. Hon-Lun Yang and Michael Saffle. University of Michigan Press, 2017, 1-17.

Yang, Hon-Lun.  “From Colonial Modernity to Global Identity: the Shanghai Municipal Orchestra.” China and the West, Music, Representation, and Reception, eds. Hon-Lun Yang and Michael Saffle. University of Michigan Press, 2017, 49-64.

Yang, Hon-Lun.  “Keeping China’s Soundscape in Check: Censorship in Chinese Popular Music. ” The Online Journal of the China Policy Institute, July (2017): https://cpianalysis.org/2017/07/24/keeping-chinas-soundscape-in-check-censorship-in-chinese-popular-music/.

Yang, Hon-Lun. “Towards a Relational View of Twentieth-Century Music” (21-24), as part of the journal forum “Defining Twentieth- and Twenty-First-Century Music,” Clarke et al. Twentieth-Century Music 14/3 (2018): 411-462.

Yang, Hon-Lun Helan. “Curb that Enticing Tone: Music Censorship in the PRC.”  The Oxford Handbook of Music Censorship, ed. Patricia Hall, Oxford University Press, 2018, 453-474.

Yang, Hon-Lun Helan. “Colonialism, Cosmopolitanism, and Nationalism: The Performativity of Western Music Endeavours in Interwar Shanghai.” Twentieth-Century Music 18.3 (2021): 363-93.

Yang, Serena. “Against ‘John Cage Shock’: Rethinking John Cage and the Post-war Avant-garde in Japan,” Twentieth-Century Music 18.3 (2021): 341-62.

Yu, Hui, and John Robison ed., Musical Creativity in the Internet Age: China’s International Contributions to Contemporary Music (互联网时代的音乐创造力：世界当代音乐创作的中国贡献). Hangzhou: Zhejiang University Press, 2022.

Zheng, Su. Claiming Diaspora: Music, Transnationalism, and Cultural Politics in Asian/Chinese America. Oxford: Oxford University Press, 2010.

 

SECTION 5. Southeast Asia and diasporas

 

Robison, John O. “Indonesian Influences in the Music of Elaine Barkin (b. 1932).” Asian Musicology 26 (2016), 35-62.

 

SECTION 6. East Asian ethno/musicologies (provincializing European/North American music research)

What goes in this section: research that is preferably published in East Asian languages (Korean, Japanese, Chinese), definitely departs from European/North American research. This might take the form: direct critique of European/North American research methodology (Lin 2011); research on a new research area neglected in European/North American research (Zhang 2013); methodological considerations anchored in the materialities of East Asia; global historical or historical approaches to East Asian music; interpretive methods anchored in East Asian perspectives etc.

Zhang, Yuexin. Beethoven in China: Research on a Case Study of Issues in the Reception of Western Classical Music. Beiduofen zai zhongguo: xifang gudian yinyue jeishou wenti ge’an yanjiu. Beijing, China: Central Conservatory of Music Press, 2013. Landmark study of Beethoven reception in China.