Journal of the Society for Asian Music ASIAN MUSIC  VOLUMES I-XXX Index

	Part 3: Subjects of Articles D-I
daire	20/1 (Hardgrave & Slavek)
dalak	8/1 (Sakata); 17/1 (Sakata)
damaru	10/2 (Dorje & Ellingson)
dampha (daph)	20/1 (Hardgrave & Slavek)
dan nguyet	18/1 (Nguyen)
danbura	6/1-2 (Hoerburger)
dance	China 5/1 (Delza)
	Chinese, in Hawaii 6/1-2 (Smith)
	East Asian, influences of Zen Buddhism on 6/1-2 (Scott)
	Indonesia 7/1 (Morrison)
	North India, as portrayed in paintings 18/2 (Flora)
	perceptions in Lebanese society 17/1 (Racy)
	portrayal in Islamic art 17/1 (Denny)
	South India 18/2 (Higgins); 18/2 (Van Zile)
	Tibetan ritual 1/2 (Lhalungpa); 10/2 (Rakra)
	Tibetan sacred plays 1/2 (Lhalungpa)
	Vietnamese traditional, performance of 3/1 (Khe)
dance-drama	Chinese 5/1 (Chen Fu-yen)
	Kerala 18/2 (Jones)
	Taiwanese 5/1 (Chen Fu-yen)
	Ugyur (Uighur) 16/1 (Mackerras)
dance forms	Bedouin 4/1 (Shiloah)
	in Indian musical theater 1/1 (Schramm)
dance music	Kurdish 6/1-2 (Christensen)
	Malay 16/2 (Matusky)
	Turkey 3/1 (Tewari)
dangdut	18/1 (Chopyak)
daph (dampha)	20/1 (Hardgrave & Slavek)
Darbar, Gorkha	23/2 (Tingey)
dasai	23/2 (Tingey)
dastgahs	12/1 (Nettl); 19/1 (Babiracki and Nettl)
Dayak	music and poetry 21/2 (Rubenstein)
dbyangs	10/2 (Ellingson); 10/2 (Rakra)
degung	21/1 (Williams)
dendung	20/1 (Hardgrave & Slavek)
devotional	functions of music, Tibetan 5/2 (Ellingson-Waugh)
devotional	songs, Turkish 3/1 (Tewari)
dhak	depiction of 20/1 (Hardgrave & Slavek)
	use in expiation rituals 20/1 (Hardgrave & Slavek)
dhol	20/1 (Hardgrave & Slavek)
dholak	20/1 (Hardgrave & Slavek)
dhrupad	18/2 (Owens)
di-dze	10/1 (Thrasher)
dilruba	2/2 (Krishnaswami)
don	(Tibetan monastic chant) 10/2 (Ellingson)
dondang sayang	18/1 (Chopyak)
drama,	East Asian, influences of Zen Buddhism on 6/1-2 (Scott)
drums,	see also percussion instruments
	in Sumatran pre-Islamic music 12/2 (Kartomi)
	Sarajevo 25/1 (Pennanen)
	Tibetan 5/2 (Ellingson-Waugh)
Dung Chen	23/2 (Pertl)
dutar (dotar)	construction and development 8/1 (Baily)
	Turkmen 21/2 (Zeranska-Kominek)
	types of 6/1-2 (Hoerburger)
East Asia	see China, Korea, Japan, Tibet
Egypt	contemporary music 13/1 (Racy)
	Karaite Jews, music of 17/2 (Hirshberg)
	patronage of art music 12/1 (El-Shawan); 13/1 (Racy)
	popular music 12/1 (El-Shawan); 13/1 (Racy)
	Western music in 17/1 (El-Shawan)
Egyptian	music 22/1 (Danielson)
Epics	Arabic 26/1 (Reynolds)
Erhu	pieces 25/1-2 (Stock)
erhuang	20/2 (Huang Jinpei)
erotic folk music	Japan 28/2 (Maring and Maring)
ethnomusicology	Arabic 18/1 (Bohlman)
	history and future of 14/1 (Garfias)
	Israel 17/2 (Benski, et. al.)
Fars (Iran),	music culture 4/1 (Loeb)
Ferghana-Tashkent region	music of 4/1 (Karamatov)
film songs	Hindi 24/1 (Arnold)
Fred Wei-Han Ho	25/1-2 (Wei- hua Zhang)
fu ho u notation	19/2 (Lee)
fuke-shakuhachi	8/2 (Tsuge)
gagaku	14/1 (Olsen)
gaggara	20/1 (Hardgrave & Slavek)
gambang	11/1 (Sutton)
gamakas, South Indian	9/1 (Viswanathan); 21/2 (Swift)
gambuh	music of 10/1 (Bandem & deBoer)
	staging of 10/1 (Bandem & deBoer)
gamelan,	see also Bali, Indonesia, Java, Malaysia
	beleganjur 29/1 (Bakan)
	cadence gesture forms 11/2 (Forrest)
	female musicians in 16/2 (Suanda); 29/1 (Bakan)
	historical role of 12/1 (Powers)
	in America 15/1 (Becker)
	in modern Western music 15/1 (Becker); 15/1 (Thomas)
	in village festivals, Cerebonese 13/1 (Suanda);16/2 (Suanda)
	instruments in 7/1 (Sumarsam); 24/2 (Brinner)
	jerujeng 25/1-2 (Harnish)
	ladrang sobrang 24/2 (Brinner)
	leading instruments 12/2 (Sumarsam)
	Malaysian 16/2 (Matusky)
	melody concepts 7/1 (Sumarsam); 11/1 (Sutton); 11/2 (Forrest)
	performance 21/1 (Brinner)
	role of the director 3/1 (Becker)
	role of vocal parts 3/1 (Becker); 11/1 (Sutton); 15/2 (Sumarsam)
	srepegan 14/1 (Becker); 14/1 (Perlman)
	staging 16/2 (Suanda)
	standardization of styles 3/1 (Becker)
	suling in 24/2 (Brinner)
	training of musicians 11/2 (Forrest); 16/2 (Suanda)
	tuning 14/1 (Becker)
	use in gambuh 10/1 (Bandem & deBoer)
	use of traditional tembang in 7/2 (Hatch)
gamelan composition	adaptations in sekaten 12/2 (Sumarsam)
	modern Javanese 3/1 (Becker)
	sociocultural context 15/2 (Sumarsam)
gamelan melodic patterns	history 11/2 (Forrest)
	Western influence on modern 3/1 (Becker)
gamelan sekaten	12/2 (Sumarsam)
gandrung	18/1 (Wolbers)
gar pa	(Tibetan dance ensemble) 10/2 (Rakra)
garapan	11/1 (Sutton)
Garhwali bagpipes	29/1 (Alter)
gatra	14/1 (Becker)
gcod ritual,	musical instruments in 10/2 (Dorje & Ellingson)
Ge sar epic cycle	10/2 (Helffer)
gending	11/2 (Forrest); 15/2 (Sumarsam)
ghanta	20/1 (Hardgrave & Slavek)
gharana (North Indian musical dynasty)	7/2 (Silver); 17/1 (Neuman); 18/2 (Owens)
ghatam	2/2 (Krishnaswami)
ghazal,	Malaysian 18/1 (Chopyak)
ghera	20/1 (Hardgrave & Slavek)
ghungru	20/1 (Hardgrave & Slavek)
Gold lettered Sutra	23/1 (Wells)
gordang	12/2 (Kartomi)
gottuvadhyam	2/2 (Krishnaswami)
gu zheng	14/2 (Cao Zheng)
Gujarat, Barots of	24/1 (Thompson)
Gushi	drumming 28/2 (Lee)
Han culture	12/2 (Thrasher)
harikirtan	9/1 (Henry)
Hawaii	Chinese music in 6/1-2 (Smith)
	Korean music in 19/1 (Sutton)
	Okinawan music in 15/1 (Sutton)
heng-chui	10/1 (Thrasher)
Higo biwa	26/1 (Ferranti)
Hindi	film song industry 24/1 (Arnold)
Hindu	mythology concerning the origin of music 20/1 (Hardgrave & Slavek)
Hindustani	see also India, North India
Hindustani	(North India) art music
	cultural change and 12/1 (Powers)
	biraha 26/1 (Marcus)
	music and food analogies 25/1-2 (McNeil)
	teaching and preservation of 12/1 (Powers)
Hindustani	music and the concept of the individual 18/2 (Wade)
Hindustani	musical forms
	cosmological aspects in 24/1 (Simms)
	krtayuga 24/1 (Simms)
	mahayuga 24/1 (Simms)
	tetrayuga 24/1 (Simms)
hsaing	ensemble 16/1 (Garifas)
Hsi Ch’u	(Chinese dance drama)
	regional variations 5/1 (Chen Fu-Yen)
	history of 5/1 (Chen Fu-yen)
	Japanese influence on 5/1 (Chen Fu-yen)
	Taiwanese 5/1 (Chen Fu-yen)
Hunza people	Pakistan 23/2 (Rubenstein)
improvisation	in Iranian art music 12/1 (Nettl)
	in Turkish art music 5/2 (Signell)
inang	18/1 (Chopyak)
India	see also Cochin, Hindustani, Karnatak, Kashmir, Kerala, North India, South India
	Balakrishnan’s Tagore Band 28/1 (Booth)
	Barots of Gujarat 24/1 (Thompson)
	barhat 28/2 (Magriel)
	biraha 24/1 (Marcus)
	Bollywood 29/1 (Manuel)
	cultural show 23/2 (Rubenstein)
	Garhwali bagpipes 29/1 (Alter)
	Hindi film song industry 24/1 (Arnold)
	Madras Corporation band 28/1 (Booth)
	mashak 29/1 (Alter)
	Muslim devotional religious music and 24/1 (Qureshi)
	practical considerations for field work in music, 3/2 (Wade)
	Sikh Resistance 23/1 (Pettigrew)
	dhadhi 23/1 (Pettigrew)
	git 23/1 (Pettigrew)
	var 23/1 (Pettigrew)
	Tyagarajas kriti 24/1 (Jackson)
Indian	chant, pitch and grammatical accent 6/1-2 (Jairazbhoy)
	classical music
	influence of Amir Khan and 24/2 (Ross)
	mirkhand style and 24/2 (Ross)
	dance
	alarippu 18/2 (Van Zile)
	Bharata Natyam
	—— dance 18/2 (Van Zile)
	—— music 18/2 (Higgins)
	body movements in 18/2 (Van Zile)
	music 18/2 (Higgins)
	singhalese dance comparison 25/1-2 (Laade)
	Disco Laggi 23/1 (Booth)
	American influence 23/1 (Booth)
	brass bands 23/1 (Booth)
	light classical music 23/1 (Booth)
	traditional laggi 23/1 (Booth)
	film songs 24/1 (Marcus)
	Jews, music of 3/2 (Spector)
	modes 6/1-2 (Jairazbhoy)
	music and imperialism 12/1 (Powers)
	music theory 9/1 (Rowell)
	music
	biraha 26/1 (Marcus)
	classical music 24/2 (Ross)
	cultural change and 18/2 (Wade)
	folk music, seasonality in 3/2 (Wade)
	jazz music 21/1 (Pinckney)
	influence of Jewish music in Bombay 17/2 (Moskovich)
	Muslim 3/2 (Qureshi)
	religion and 18/2 (Wade)
	religious influence on 17/1 (Neuman)
	rhythm 17/1 (Neuman)
	role in 1960’s counterculture 16/1 (Reck)
	southern contrasted with northern 17/1 (Neuman)
	vocal 15/1 (Durga); 17/1 (Neuman)
	Hindusthani muscial forms
	krtayuga 24/1 (Simms)
	mahayuga 24/1 (Simms)
	tetrayuga 24/1 (Simms)
	musical instruments 2/2 (Krishnaswami); 18/1 (Wrazen); 16/2 (Subramanian); 20/1 (Hardgrave & Slavek)
	associated with wealth 20/1 (Hardgrave and Slavek)
	drums 13/2 (Reck)
	Garhwali bagpipes 29/1 (Alter)
	portrayed in miniature paintings 18/2 (Flora)
	used in entertainment 20/1 (Hardgrave & Slavek)
	use in jazz 21/1 (Pinckney)
	used in religious rituals 20/1 (Hardgrave & Slavek)
	musical theater
	colonial 18/1 (Capwell)
	contemporary innovations 1/1 (Schramm)
	dance forms 1/1 (Schramm)
	Kerala 18/2 (Jones)
	Malayalam 18/2 (Jones)
	Mogul influences 1/1 (Schramm)
	patronage 18/2 (Jones)
	performance techniques 1/1 (Schramm)
	pre-performance rituals 1/1 (Schramm)
	vocal music, technique 15/1 (Durga)
Indo-Caribbean	Diapora 29/1 (Manuel)
Indonesia	see also names of islands, ethnic groups, and ensembles prominent in the nation, especially Bali, gamelan, Java
Indonesia	cassette marketing 21/1 (Williams)
	dance and drama 7/1 (Morrison); 16/2 (Suanda)
Indonesian music	Batak 15/2 (Simon)
	Boda culture and 25/1-2 (Harnish)
	Buddhism and music in Lombok 25/1-2 (Harnish)
	Cerebonese 13/2 Suanda; 16/2 (Suanda)
	Gamelan beleganjur 29/1 (Bakan)
	popular music 7/1 (Becker); 7/1 (Heins); 18/1 (Manuel and Baier); 21/1 (Williams); 27/2 (Lockard)
	Sumatra 12/2 (Kartomi); 15/2 (Simon)
	Sumba 13/1 (Adams)
	contemporary 3/1 (Becker); 7/2 (Hatch)
	teaching and preservation of 12/1 (Powers)
Iranian	see also Persian
Iranian Jewish music	influence of Persian secular music on 4/1 (Loeb)
Iranian Jewish musicians	17/2 (Nettl and Shiloah)
	association with professional music 4/1 (Loeb)
Iranian music	contemporary, Western influences in 7/2 (Beeman)
	cultural change and 7/2 (Beeman)
	distinction between rural and urban 4/1 (Blum); 7/2 (Beeman)
	influence of Jewish sacred music on 4/1 (Loeb)
	Islamic revolution and 15/2 (During); 23/2 (During)
	Kurdish and Turkic elements in 4/1 (Blum)
	modern genres 15/2 (During)
	modern, Western influences in 15/2 (Nettl)
	recording media and 15/2 (During)
	sociocultural context 4/1 (Loeb); 7/2 (Beeman); 12/1 (Nettl); 15/2 (Nettl)
	urbanization and 15/2 (Nettl)
Iranian	musical ensembles 4/1 (Loeb)
Iranian	musicians, patronage of 4/1 (Loeb)
Iranian society	role of music in 15/2 (Nettl)
	role of musicians in 4/1 (Blum); 4/1 (Loeb)
Iranian traditional music	preservation and revival of 7/2 (Beeman); 4/1 (Loeb)
Iraqi Jewish musicians	17/2 (Warkov)
Iraqi maqams	4/1 (Tsuge); 17/2 (Warkov)
Iraqi music	contemporary trends 4/1 (Tsuge)
	foreign influences on 4/1 (Tsuge)
Islamic arts	segmentation and repetition in 16/1 (al Faruqi)
Islamic music	alternation of instruments or voices in 16/1 (al Faruqi)
	comparison with Buddihism music 25/1 (Pennanen)
	interludes of silence in 16/1 (al Faruqi)
	religious music, importance of texts in 3/2 (Qureshi)
	repetition in 16/1 (al Faruqi)
	Urdu 3/2 (Qureshi)
Islamic society	music in 3/2 (Qureshi); 4/1 (Blum); 4/1 (Loeb); 8/1 (Baily); 8/1 (Sakata); 12/1 (al Faruqi); 12/1 (Powers); 15/2 (During); 15/2 (Nettl); 16/1 (Mackerras); 17/1 (al Faruqi); 17/1 (Denny); 19/1 (al Faruqi)
Israel	Bombay expatriate Jews in 17/2 (Moskovich)
	Christian Arab songs in 11/1 (Shiloah)
	classical orchestras and conservatories, origins of 17/2 (Bohlman)
Israeli music culture, urban	17/2 (Benski et al.)
	Ashkenazic music 17/2 (Sharvit)
	broadcast media and 17/2 (Benski et al.); 17/2 (Warkov)
	composers of Central European origin 17/2 (Bohlman)
	Moroccan Jewish music in 17/2 (Seroussi)
	music of minority groups
	trends 17/2 (Bohlman and Slobin); 17/2 (Hirshberg)
	political importance 17/2 (Seroussi)
	religious 17/2 (Sharvit)
	Persian classical music in 17/2 (Nettl and Shiloah)
	popular music
	traditional ethnic influences in 17/2 (Flam)
	Western influences in 17/2 (Flam)
	Sephardic music 17/2 (Sharvit)
Iwami kagura	29/1 (Lancashire)
	Return to Asian Music Contents Page