Journal of the Society for Asian Music
ASIAN MUSIC
  VOLUMES I-XXX
Index
  Part 3: Subjects of Articles L-N
laggi 23/1 (Booth)
lagu 11/1 (Sutton); 11/2 (Forrest); 26/1 (Weintraub)
lagu rakyat 18/1 (Chopyak)
Lao Lioban 13/2 (Huang Jinpei)
Lebanese proverbs, portrayal of music and dance 17/1 (Racy)
Lee, Hye-Ku 2/2 (Harrison)
Lei dynasty musical instrument makers 6/1-2 (Gimm)
lha mo (Tibetan opera) 10/2 (Snyder)
Lhasa drama festival 10/2 (Snyder)
liuban 20/2 (Thrasher)
Lombak, music and Buddhism in 25/1-2 (Harnish)


macapat meters in tembang 7/2 (Hatch)
Madhyamagrama 6/1-2 (Jairazbhoy)
Madras (India), corporation band 28/1 (Booth)
music culture 15/2 (Nettl)
Maguindanaon kulintang music analysis of style 27/2 (Posner)
compostion and 27/2 (Kalanduyan)
gandingan playing 27/2 (Terada)
influence in America 27/2 (Cadar)
instruments of 27/2 (Scholz)
repertorial nomenclature in 27/2 (Otto)
role in Maranao societyl 27/2 (Cadar)
variation in 27/2 (Cadar and Garfias)
mahayuga 24/1 (Simms)
Malaya musical instruments 16/2 (Matusky)
record industry in 28/1 (Tan Sooi Beng)
traditional music 16/2 (Matusky)
Malaysia modern theater 21/1 (Tan)
popular music 18/1 (Chopyak); 21/1 (Tan); 27/2 (Lockard)
Portuguese settlement, ethnic identities 27/1 (Sarkissian)
puppet theater 13/1 (Tan)
Sarawak Dayak music and poetry 21/2 (Rubenstein)
social dance 18/1 (Chopyak)
state control of performing arts 21/1 (Tan); 21/2 (Rubenstein)
traditional music 18/1 (Chopyak); 21/2 (Rubenstein)
manjira 20/1 (Hardgrave & Slavek)
Mao Zedong 22/2 (Ma Yu Run)
maqams 12/1 (Powers); 16/1 (al Faruqi); 19/1 (al Faruqi)
Afghanistan 11/2 (Baily)
Iraq 4/1 (Tsuge); 17/2 (Warkov)
Kashmir 10/1 (Pacholczyk); 12/1 (Pacholczyk)
Syrian Christian liturgical 11/1 (Ross)
Turkey 5/2 (Signell)
Ugyur (Uighur) 14/1 (Czekanowska); 16/1 (Mackerras)
Uzbek and Tajik 14/1 (Zeranska-Kominek et al.)
Uzbekistan 12/1 (Levin)
mardika (Indo-Portuguese) music 7/1 (Heins)
Marxist-Leninist aesthetics 5/1 (Delza); 12/1 (Levin); 12/2 (Thrasher)
masked dance, Javanese 16/2 (Suanda)
maskharaboz theater 8/1 (Nurjanov)
masri 18/1 (Chopyak)
Mei-an ch’in-pu 6/1-2 (Lieberman)
melodic motives, Syrian Christian liturgical 11/1 (Ross)
Middle East see Egypt, Lebanon, Iran, Iraq, Israel, Syria, Turkey
Middle Eastern night clubs in America 23/2 (Rasmussen)
min’yo 22/1 (Hughes)
modernization trends and ethnic music 7/2 (Neuman)
modes Afghanistan 8/1 (Baily); 11/2 (Baily)
Arabic 11/1 (Ross); 18/1 (Bohlman)
Bombay bene-Israel 17/2 (Moskovich)
Burmese 7/1 (Garfias)
Chinese 6/1-2 (Liang); 14/1 (Ho); 20/2 (Han Kuo-Huang)
Indian 6/1-2 (Jairazbhoy)
Indonesia 15/2 (Sumarsam)
Iranian 8/1 (Baily)
Japanese 6/1-2 (Kakinoki)
Korean 9/2 (Lee Kang-sook)
Siamese 13/2 (Duriyanga)
Syrian Christian liturgical 11/1 (Ross)
Turkey 5/2 (Signell)
Vietnam 7/1 (Trainor); 18/1 (Nguyen)
Mongol music historical accounts 18/1 (Emsheimer)
Moroccan Berbers music 17/1 (Schuyler)
Moroccan communal dance music 17/1 (Schuyler)
Moroccan Jews liturgical music 17/2 (Seroussi)
motreb, role in Iranian society of 4/1 (Loeb)
mrdang (pakhavaj) 20/1 (Hardgrave & Slavek)
mridangam 2/2 (Krishnaswami)
music importance in cultural understanding 2/1 (Craig); 2/2 (Danielou);14/1 (Garfias)
role in Afghan society 8/1 (Baily)
role in Iranian society 12/1 (Nettl)
role in Islamic societies 3/2 (Qureshi); 12/1 (al Faruqi); 12/1 (Powers)
role in maintaining culture 2/1 (Craig)
role in Moroccan society 17/1 (Schuyler)
role in North Indian village life 9/1 (Henry)
role in Turkish village life 3/1 (Tewari)
sociocultural context of 7/2 (Neuman)
musical dramas early Indian 1/1 (Schramm)
musical ensembles Arab 28/2 (Davis)
Burma 2/1 (Okell); 16/1 (Garifas)
China 10/1 (Thrasher)
East Java 18/1 (Wolbers)
Iran 4/1 (Loeb)
Siamese 13/2 (Duriyanga)
Vietnam 7/1 (Trainor)
musical instruments Afghan 11/2 (Baily)
Afghanistan 6/1-2 (Hoerburger)
ancient Chinese 6/1-2 (Hayashi); 10/1 (Mok)
Arabic 3/1 (Grame)
Burma 2/1 (Okell); 16/1 (Garifas)
China
  • foreign influences on 11/1 (Han Kuo-Huang)
  • contemporary 11/1 (Han Kuo-Huang); 12/2 (Fang)
  • sociocultural context 12/2 (Thrasher)
  • Shang dynasty 14/2 (Tong Kin-Woon); 15/1 (Tong Kin-Woon); 15/2 (Tong Kin-Woon)
  • T’ang dynasty 6/1-2 (Hayashi)
  • East Java 18/1 (Wolbers)
    India 2/2 (Krishnaswami); 13/2 (Reck); 16/2 (Subramanian); 18/1 (Wrazen); 18/2 (Flora); 20/1 (Hardgrave & Slavek)
    Iran 4/1 (Blum); 4/1 (Loeb)
    Iraq 13/2 (Hassan)
    Japan 2/1 (Lieberman); 6/1-2 (Malm); 8/2 (Tsuge); 14/1 (Olsen); 19/2 (Lee)
    Korea 8/2 (Song Bang-Song)
    Malay 16/2 (Matusky)
    Siamese 13/2 (Duriyanga); 15/2 (Miller)
    Sumatra 12/2 (Kartomi)
    Sumba 13/1 (Adams)
    Tibetan 1/2 (Lhalungpa); 5/2 (Ellingson-Waugh); 10/2 (Rakra)
    Ugyur (Uighur) 14/1 (Czekanowska); 16/1 (Mackerras)
    Uzbek 2/2 (Slobin); 4/1 (Karamatov); 15/1 (Karamatov)
    Vietnam 18/1 (Nguyen)
    musical narrative traditions 26/1 (Marcus and Reynolds)
    musical notation systems and preservation of indigenous art music 12/1 (Powers)
    musical notation Chinese 10/1 (Thrasher); 20/2 (Thrasher)
    Japanese 1/2 (Berger); 3/1 (Malm); 19/2 (Lee)
    musical theater China, contemporary 5/1 (Delza)
    India 1/1 (Schramm)
    Tibet 1/2 (Lhalungpa)
    Vietnam 3/1 (Khe)
    musicians Afghanistan
  • terms used for 8/1 (Sakata)
  • hereditary groups of 8/1 (Sakata); 8/1 (Baily)
  • China, Shang dynasty 15/2 (Tong Kin-woon)
    Hindustani
  • training of 7/2 (Silver); 12/1 (Powers); 17/1 (Neuman);18/2 (Owens)
  • traditional social role 17/1 (Neuman)
  • Iran, training of 12/1 (Nettl)
    Islamic concept of 4/1 (Blum); 8/1 (Sakata)
    Japan, training of 2/1 (Kishibe)
    Karnatak
  • training of 1/1 (Higgins);1/2 (Ries); 3/2 (Benary)
  • traditional social role 17/1 (Neuman)
  • Moroccan, association with religious elite 17/1 (Schuyler)
    perceptions in Lebanese society 17/1 (Racy)
    portrayal in Islamic art 17/1 (Denny)
    portrayal in medieval Islamic literature 17/1 (Sawa)
    portrayal in North Indian paintings 18/2 (Flora)
    role in Afghanistan society 8/1 (Baily); 8/1 (Sakata); 17/1 (Sakata)
    roles
  • in Iranian society 4/1 (Blum)
  • in Islamic societies 3/1 (Grame); 12/1 (Shiloah); 17/1 (al Faruqi); 17/1 (Denny)
  • medieval 17/1 (Sawa)
  • in Japanese society 2/1 (Kishibe)
  • in North Indian society 7/2 (Silver); 12/1 (Powers); 18/2 (Owens)
  • in qawwali worship 18/2 (Qureshi)
  • in South Indian society 1/2 (Ries)
  • in Turkish society 12/1 (Signell)
  • Siamese names and titles 19/2 (Myers-Moro)
  • Muslim devotional religious music 24/1 (Qureshi)


    naga-kalam 13/1 (Reck)
    nagara 20/1 (Hardgrave & Slavek)
    Nagashi pattern 26/1 (Ferranti)
    nagaswaram (nadaswaram) 2/1 (Skelton); 2/2 (Krishnaswami)
    nang ma (Tibetan art music) 10/2 (Rakra)
    nanguan (nanyin, xianguan, nanyue, nanqu) 19/2 (Yeh)
    naqqarakhana 11/2 (Baily)
    Naradiyasiksa 9/1 (Rowell)
    narsinga 20/1 (Hardgrave & Slavek)
    nashyid 18/1 (Chopyak)
    Navai tunes 4/1 (Blum)
    Naxi music 27/1 (Rees)
    Near Eastern views of music 11/1 (Shiloah)
    Nechung Monastery 23/2 (Pertl)
    Nepal, Darbar, Gorkha 23/2 (Tingey)
    dasai 23/2 (Tingey)
    kettlebands 23/2 (Tingey)
    nagara bana 23/2 (Tingey)
    nhai (nai, hne) 2/1 (Okell); 13/2 (Duriyanga); 16/1 (Garifas)
    nightclubs 23/2 (Rasmussen)
    nomai, musical and spiritual syncretism of 28/2 (Asai)
    nongak 23/1 (Howard)
    North India see also Hindustani, India
    barhat 28/2 (Magriel)
    biraha 26/1 (Marcus)
    folk music 9/1 (Henry)
    music and food analogy 25/1-2 (McNeil)
    Garhwali bagpipes 29/1 (Alter)
    gender segregation of music 18/2 (Owens)
    gender segregation of music genres 9/1 (Henry)
    music
  • history of 12/1 (Powers)
  • sociocultural context 17/1 (Neuman)
  • patronage of music 7/2 (Silver); 18/2 (Wade)
    popular music of Indian film songs 24/1 (Marcus)
    rag 28/2 (Magriel)
    nu pur 20/1 (Hardgrave & Slavek)
     
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