 |
Journal of the Society
for Asian Music ASIAN MUSIC  VOLUMES
I-XXXIndex |
| Part 3: Subjects of Articles A-C | |
| aak | 8/2 (Song Bang-Song) |
| Abing | 25/1-2 (Stock) |
| aesthetics | Balinese 13/1 (Herbst) |
| East Asian 6/1-2 (Scott) | |
| Islamic 16/1 (al Faruqi) | |
| Japanese 12/2 (Tsuge) | |
| Javanese 7/1 (Morrison) | |
| Korean 9/2 (Hwang Byong-ki) | |
| Marxist-Leninist 12/1 (Levin) | |
| Afghan | rebab 8/1 (Baily) |
| Afghan Turkestan | ballad style 18/1 (Tapper) |
| Afghanistan | female musicians 8/1 (Baily); 17/1 (Sakata) |
| Indian influences in music 11/2 (Baily) | |
| influence of film and radio music 8/1 (Baily) | |
| instrumental ensembles 11/2 (Baily) | |
| Iranian elements in music 8/1 (Baily) | |
| lutes 8/1 (Baily); 6/1-2 (Hoerburger) | |
| maqams 11/2 (Baily) | |
| puppetry 6/1-2 (Slobin) | |
| role of musicians in 8/1 (Baily); 8/1 (Sakata); 17/1 (Sakata) | |
| traditional music 6/1-2 (Hoerburger) | |
| Al-turath | 28/2 (Davis) |
| angklung | 18/1 (Wolbers) |
| Arabic | ethnomusicology 18/1 (Bohlman) |
| modes 18/1 (Bohlman) | |
| Arabic music | folk 12/1 (al Faruqi) |
| in Egypt | |
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| intonation in 24/2 (Marcus) | |
| popular 19/1 (Danielson) | |
| Rashidiyya 28/2 (Davis) | |
| religious 3/2 (Qureshi); 12/1 (al Faruqi) | |
| traditional music ensembles 28/2 (Davis) | |
| Western influences in 12/1 (al Faruqi); 12/1 (Shiloah) | |
| Arabic | music theory 18/1 (Bohlman) |
| oral epic tradition 26/1 (Reynolds) | |
| school songs in Palestine 11/1 (Shiloah) | |
| art music | terms for music 17/1 (al Faruqi) |
| definitions of 12/1 (al Faruqi); 12/1 (Powers); 12/1 (Signell) | |
| Hindustani 12/1 (Powers) | |
| Javanese 12/1 (Powers) | |
| Kashmiri, factors in the decline of 12/1 (Pacholczyk) | |
| Near Eastern | |
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| Turkish 12/1 (Signell) | |
| Muslim nations 12/1 (al Faruqi); 12/1 (Powers); 12/1 (Shiloah) | |
| asheq | (motreb, bakhshi) 4/1 (Blum) |
| asheq | song genres 4/1 (Blum) |
| musical training of 4/1 (Blum) | |
| Asian music | influence of Western music 2/1 (Craig) |
| Western stereotypes of 11/1 (DeJean) | |
| asik | 6/1-2 (Reinhard) |
| asli | 18/1 (Chopyak) |
| atavus | 18/2 (Van Zile) |
| avaz | 12/1 (Nettl) |
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| baban | 20/2 (Thrasher) |
| bakhshi repertoire | musical training of 4/1 (Blum) |
| importance of oral tradition in 4/1 (Blum) | |
| Turkic and Kurdish elements in 4/1 (Blum) | |
| role in Iranian society of 4/1 (Blum) | |
| Turkmen 21/2 (Zeranska-Kominek) | |
| Balakrishnan’s Tagore Band | 28/1 (Booth) |
| Balinese | performing arts, aesthetics 13/1 (Herbst) |
| Balinese | cultural show 23/2 (Rubenstein) |
| Balinese | dance-drama 10/1 (Bandem & deBoer) |
| Balinese music | 18/1 (Wolbers) |
| womens gamelan beleganjur 29/1 (Bakan) | |
| womens keybar 29/1 (Bakan) | |
| balungan | 11/1 (Sutton) |
| bangsawan | 18/1 (Chopyak) |
| bangzi | 20/2 (Huang Jinpei) |
| bank | 20/1 (Hardgrave & Slavek) |
| bansuri (bansri) | 2/2 (Krishnaswami); 20/1 (Hardgrave & Slavek) |
| Banyuwangi, music | 18/1 (Wolbers) |
| baqqashot | 12/1 (Shiloah); 17/2 (Seroussi) |
| Barots of Gujarat | 24/1 (Thompson) |
| Batak | traditional music and dance 15/2 (Simon) |
| baya | 20/1 (Hardgrave & Slavek) |
| Bedouin | gatherings, role of music in 4/1 (Shiloah) |
| Bedouin | music 4/1 (Shiloah) |
| beleganjur | 29/1 (Bakan) |
| bells, China | Shang dynasty 15/1 (Tong Kin-Woon) |
| belly dancing | 23/2 (Rasmussen) |
| bena | 20/1 (Hardgrave & Slavek) |
| bene-Israel, | music of 17/2 (Moskovich) |
| Ben-Haim, Paul | 17/2 (Bohlman) |
| Bhairav Prasad Misra | influence on tabla playing styles 3/2 (Roach) |
| Bharata Natyam | dance 18/2 (Van Zile) |
| music 18/2 (Higgins) | |
| bin | 2/2 (Krishnaswami); 16/2 (Subramanian); 18/1 (Wrazen); 20/1 (Hardgrave & Slavek) |
| biraha | 24/1 (Marcus); 26/1 (Marcus) |
| Buddhism | music and 25/1-2 (Pennanen); 25/1-2 (Harnish); 25/1-2 (Mabbett) |
| influence on the music of Sri Lanka 25/1-2 (Laade) | |
| religious festivals and 25/1-2 (Harnish) | |
| Buddhist notation | Dung Chen 23/2 (Pertl) |
| Bukharan makoms | 14/1 (Zeranska-Kominek et al.) |
| Bukhara-Samarkand region | music of 4/1 (Karamatov) |
| Burma, | musical ensembles 2/1 (Okell); 16/1 (Garifas) |
| Burmese modes | 7/1 (Garfias) |
| buz-bazi | (goat-play) puppetry 6/1-2 (Slobin) |
| buzuk | 13/2 (Hassan) |
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| Cairo (Egypt) | contemporary music 13/1 (Racy) |
| Carnatic, see Karnatak | |
| cassette marketing | Indonesia 21/1 (Williams) |
| Thailand 21/1 (Wong) | |
| castes | association with specific Indian musical instruments 20/1 (Hardgrave & Slavek) |
| association with specific musician groups 1/2 (Ries) | |
| cengkok | 11/2 (Forrest) |
| Central Asia, | see Afghan, Kurdish, Mongol, Tajik, Turkmen, Tuvin, Ugyur, Uzbek |
| Cerebonese | music 13/2 (Suanda); 16/2 (Suanda) |
| ch’in | 6/1-2 (Liang); 12/2 (Thrasher); 6/1-2 (Lieberman) |
| Chaitra Parva festival | 3/2 (Reck) |
| Cham music | influence on Vietnamese music 2/1 (Addiss) |
| Cham people | history 2/1 (Addiss) |
| chanting | of the Koran 19/1 (al Faruqi); 19/1 (Danielson) |
| of the Vedas 6/1-2 (Jairazbhoy) | |
| in Tibetan monastic music 1/2 (Lhalungpa); 10/2 (Ellingson) | |
| Syrian Christian liturgical 11/1 (Ross) | |
| chauk lon bat | 16/1 (Garifas) |
| Chhau dance | musical instruments used in 3/2 (Reck) |
| performance of 3/2 (Reck) | |
| theatrical themes of 3/2 (Reck) | |
| chih | 10/1 (Thrasher) |
| China | 68-beat melodic variants 19/2 (Thrasher) |
| Beijing | |
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| birthday celebration music 6/1-2 (Chuang) | |
| British imperialism and 1/1 (Graves) | |
| Chaozhou instrumental repertoire 19/2 (Thrasher) | |
| Chou wen-Chung 25/1-2 (Lai) | |
| Chuanju 28/2 (Lee) | |
| contemporary dance | |
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| dance music 5/1 (Wolpert et al.) | |
| Dizi genre 27/1 (Lau) | |
| Ethnic minorities, loss of music 27/1 (Yang Mu) | |
| Fujian chamber music 19/2 (Yeh) | |
| Gushi drummer 28/2 (Lee) | |
| Hakka instrumental repertoire 19/2 (Thrasher) | |
| Han Chinese 27/1 (Rees) | |
| Hui people 27/1 (Yang Mu) | |
| importance of text in music 19/2 (Yeh) | |
| Li people 27/1 (Yang Mu) | |
| music and cultural change 12/2 (Fang); 12/2 (Provine); 12/2 (Thrasher) | |
| music of ethnic minorities 12/2 (Thrasher); 14/1 (Ho); 16/1 (Mackerras); 20/2 (Thrasher) | |
| musical ensembles 11/1 (Han Kuo-Huang); 13/2 (Peng); 19/2 (Yeh); 20/2 (Thrasher) | |
| musicians, Shang dynasty 15/2 (Tong Kin-woon) | |
| musical notation systems 19/2 (Yeh) | |
| music loss of Li and Hui people 27/1 (Yang Mu) | |
| Naxi music 27/1 (Rees) | |
| oral tradition in musical training19/2 (Yeh) | |
| People’s Republic, and the arts 5/1 (Delza); 5/1 (Stevens); 16/1 (Mackerras) | |
| Rhythm and phrashing 23/1 (Wells) | |
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| Shang dynasty dance 14/2 (Tong Kin-Woon); 15/2 (Tong Kin-woon) | |
| traditional dance contrasted with contemporary 5/1 (Delza) | |
| traditional music 12/2 (Fang); 12/2 (Provine); 12/2 (Thrasher) | |
| Yue Ji 26/2 (Cook) | |
| zithers 14/2 (Cao Zheng) | |
| Zhou Xuan, popular twentieth century music 26/2 (Stock) | |
| Chinese-American | Music 25/1-2 (Wei- hua Zhang) |
| Chinese ancient music | 10/1 (Mok); 15/2 (Tong Kin-woon) |
| history 22/2 (Ma Yu Run) | |
| European classical influence 22/2 (Ma Yu Run) | |
| musical scores 5/1 (Wolpert et al.) | |
| Russian influence 22/2 (Ma Yu Run) | |
| Chinese | characters for "music" and various musical instruments 1/2 (Kuttner) |
| Chinese composition | history of instrumental 22/2 (Jing) |
| influence of traditional Chinese music on 22/2 (Jing) | |
| "March to the Bright" 22/2 (Jing) | |
| "Taiwanese Dance" 22/2 (Jing) | |
| use of variations in 5/1 (Yan Yin Liu); 13/2 (Huang Jinpei); 19/2 (Thrasher) | |
| Chinese | concept of music 1/2 (Kuttner) |
| Chinese | dance in Hawaii 6/1-2 (Smith) |
| Chinese | instrumental ensembles 20/2 (Gao Huoyong) |
| Chinese | instrumental music genres 20/2 (Gao Huoyong) |
| Chinese | literature, Jin Ping Mei.... 23/2 (Wei-hua Zhang) |
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| Chinese | melodic concepts 19/2 (Thrasher); 20/2 (Jones); 25/1-2 (Lai) |
| Chinese | melody types, opera 20/2 (Huang Jinpei) |
| Chinese | modes 6/1-2 (Liang); 20/2 (Han Kuo-Huang) |
| Chinese | music in Hawaii 6/1-2 (Smith) |
| Chinese | music history, Dizi genre 27/1 (Lau Yue Ji); 26/2 (Cook) |
| Chinese | music theory 6/1-2 (Kuttner); 10/1 (Han Kuo-huang) |
| Chinese | music 19th-century sources 19/2 (Han) |
| classical music, 22/2 (Hamm) | |
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| Confucianism and music 12/2 (Thrasher) | |
| contemporary | |
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| Western influences in music 11/1 (Han Kuo-Huang); 12/2 (Fang); 12/2 (Thrasher) | |
| Cultural Revolution and music 5/1 (Stevens); 22/2 (Hamm) | |
| differences between northern and southern music | |
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| Erhu pieces 25/1-2 (Stock) | |
| European influence in music 22/2 (Hamm) | |
| folk songs, Han 20/2 (Han Kuo-Huang) | |
| jazz, Fred Wei-Han Ho 25/1-2 (Wei- hua Zhang) | |
| light songs 22/2 (Hamm) | |
| National Minorities Music 22/2 (Hamm) | |
| Naxi music 27/1 (Rees) | |
| pop music 22/2 (Hamm) | |
| music portrayed in paintings 11/1 (Han Kuo-Huang) | |
| programmatic interpretation 10/1 (Han Kuo-huang) | |
| relation of texts and tunes 6/1-2 (Lieberman) | |
| rock and roll | |
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| marketed products 22/2 (Friedlander) | |
| musical equipment 22/2 (Friedlander) | |
| studios 22/2 (Friedlander) | |
| social stratification and 12/2 (Thrasher) | |
| symbolism in 10/1 (Han Kuo-huang) | |
| Taoism and 12/2 (Thrasher) | |
| Tianjin Shidiao 26/1 (Rebollo-Sborg) | |
| twentieth century popular 26/2 (Stock) | |
| Western influences in 27/1 (Rees) | |
| Chinese | musical instruments 10/1 (Thrasher) |
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| Chinese | musical instrument groupings 12/2 (Thrasher); 13/2 (Peng) |
| Chinese | musical instrument makers, T’ang dynasty 6/1-2 (Gimm) |
| Chinese | musical notation 10/1 (Thrasher); 20/2 (Thrasher) |
| Chinese | musical preferences 22/2 (Hamm) |
| Chinese | opera 12/2 (Thrasher); 20/2 (Gao Huoyong); 20/2 (Huang Jinpei); Chuanju 28/2 (Lee) |
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| Chinese | panpipes, eighth century 6/1-2 (Hayashi) |
| Chinese | radio |
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| Chinese | repertoire, compared to Japanese koto 26/2 (Thrasher) |
| Chinese | song 5/1 (Stevens); 5/1 (Yan Yin Liu); 12/2 (Thrasher); 20/2 (Gao Huoyong); 20/2 (Tsao Pen-Yeh); 26/1 (Rebollo-Sborg) |
| Chinese | song genres 20/2 (Han Kuo-Huang) |
| Chinese | string quartet see Tan Dun |
| Chinese | traditional instrumental music 25/1-2 (Stock) |
| Chinese | transverse flute 10/1 (Thrasher) |
| Chinese | tuning systems 6/1-2 (Kuttner) |
| Chinese | tuning systems 10/1 (Mok) |
| Chinese | translation of 1/1 (Graves) |
| Chou Wen-Cheng | 25/1-2 (Lai) |
| chuida | 12/2 (Thrasher); 13/2 (Peng) |
| Chuanju | 28/2 (Lee) |
| cipai | 20/2 (Gao Huoyong) |
| Cochin (India) | Jewish music in 3/2 (Spector) |
| Confucian rites, | Korean, music of 8/2 (Song Bang-Song) |
| contemplation, | Tibetan religious music as an act of 1/2 (Lhalungpa) |
| contemplative state, | importance in Asian music 1/1 (Chou) |
| contrafactum | 11/1 (Shiloah) |
| cosmological symbolism | Hindhusthani musical forms 24/1 (Simms) |
| courtesans, | association with specific Indian musical instruments 20/1 (Hardgrave & Slavek) |
| culture shows | 23/2 (Rubenstein) |
| culture change and music | 7/2 (Neuman) |
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