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Journal of the Society
for Asian Music ASIAN MUSIC  VOLUMES
I-XXXIndex |
| Part 3: Subjects of Articles J-K | |
| jaipongan | 18/1 (Manuel and Baier) |
| jaltarang | 20/1 (Hardgrave & Slavek) |
| Japan | Edo period 27/1 (Groemer) |
| folk melody, regional styles 6/1-2 (Kakinoki) | |
| Higo biwa, Nagashi pattern in 26/1 (Ferranti) | |
| music and drama, amateur recitals 13/2 (Johnson) | |
| nomai, musical and spiritual syncretism of 28/2 (Asai) | |
| puppetry, kudoki 27/1 (Groemer) | |
| Ryo schools 25/1-2 (Garfias) | |
| Tokugawa period 27/1 (Groemer) | |
| Japanese | compositional principles 11/2 (Burnett) |
| Japanese | dance 27/1 (Groemer) |
| Japanese | expatriate music |
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| Japanese | modes 6/1-2 (Kakinoki) |
| Japanese music | art music, contemporary 7/2 (Signell); 4/2 (Malm) |
| chamber music (tegotomono) 11/2 (Burnett) | |
| Chinese influences in 6/1-2 (Malm) | |
| didactic 4/2 (Malm) | |
| erotic folk songs 28/2 (Maring and Maring) | |
| folk music, revival of 4/2 (Malm) | |
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| history 6/1-2 (Malm) | |
| Iwami kagura 29/1 (Lancashire) | |
| modernization and 7/2 (Signell); 4/2 (Malm) | |
| "non-musical" sounds in 12/2 (Tsuge) | |
| Okinawan Kunkunshi 25/1-2 (Garfias) | |
| Shuri Court music 25/1-2 (Garfias) | |
| theory of 3/1 (Malm); 12/2 (Burnett) | |
| Tokugawa period 27/1 (Groemer) | |
| traditional, preservation of 2/1 (Kishibe) | |
| Japanese | musical aesthetics 11/2 (Burnett) |
| Japanese musical instruments | 6/1-2 (Malm); 8/2 (Tsuge); 14/1 (Olsen) |
| koto 26/2 (Thrasher); 28/1 (Johnson) | |
| mentioned in the Tale of Genji 2/1 (Lieberman) | |
| shamisen 22/1 (Hughes) | |
| Japanese musical notation | 1/2 (Berger); 3/1 (Malm); 19/2 (Lee) |
| Japanese No drama | 13/2 (Johnson) |
| Japanese performing arts | training in 13/2 (Johnson) |
| Japanese repertoire, | koto compared to Chinese Zheng 26/2 (Thrasher) |
| Java, | see also gamelan, Indonesia |
| art music, teaching and preservation of 12/1 (Powers) | |
| historical ethnography of music theory 28/1 (Perlman) | |
| music and cultural change 7/2 (Hatch); 12/1 (Powers) | |
| pathet 28/1 (Perlman) | |
| patronage of music 7/2 (Hatch); 12/1 (Powers) | |
| social dance 18/1 (Manuel and Baier); 18/1 (Wolbers) | |
| theater and dance 7/1 (Morrison); 21/1 (Brinner) | |
| Javanese music | similarities with Balinese music 18/1 (Wolbers) |
| sociocultural context 15/2 (Sumarsam) | |
| vocal style 19/2 (Poedjosoedarmo) | |
| contemporary uses and adaptations of 7/2 (Hatch) | |
| Jazz Yatra | 21/1 (Pinckney) |
| Jewish music | 24/2 (Frigyesi) |
| Jewish Nusah | 24/2 (Frigyesi) |
| Jews | Baghdad (Iraq), music 17/2 (Warkov) |
| Bombay (India), music of 17/2 (Moskovich) | |
| Cochin (India), music of 3/2 (Spector) | |
| Fars (Iran), music of 4/1 (Loeb) | |
| Kerala (India), rituals of 11/1 (Ross) | |
| Moroccan, liturgical music 17/2 (Seroussi) | |
| jhanjhari | 20/1 (Hardgrave & Slavek) |
| jianpu notation system | 20/2 (Thrasher) |
| Jin Ping Mei | 23/2 (Wei-hua Zhang) |
| joget | 18/1 (Chopyak) |
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| K’un-Ch’u singing | 8/2 (Chen Fu-yen) |
| Kabbalistic liturgical music | 17/2 (Seroussi) |
| Kafir tribe, festivals | 8/1 (Robertson) |
| kagura | 29/1 (Lancashire) |
| kansar | 20/1 (Hardgrave & Slavek) |
| karah | 20/1 (Hardgrave & Slavek) |
| Karaite Jews | Israel, music of 17/2 (Hirshberg) |
| United States, music of 17/2 (Hirshberg) | |
| Karnatak | see also India, South India |
| Karnatak concerts | 1/1 (Higgins); 7/2 (Higgins) |
| Karnatak music | and the individual 18/2 (Wade) |
| Karnatak music | composers 1/1 (Higgins); 3/2 (Benary) |
| devotional aspects 1/2 (Ries); 3/2 (Benary) | |
| for dance 18/2 (Higgins) | |
| history 1/2 (Ries) | |
| improvisation in 9/1 (Viswanathan) | |
| influence of the bhakti movement 1/2 (Ries); 3/2 (Benary) | |
| influences of caste 3/2 (Benary) | |
| Madras 15/2 (Nettl) | |
| modern, influence of broadcast media on 7/2 (Higgins) | |
| ornamentation (gamakas) 9/1 (Viswanathan); 21/2 (Swift) | |
| patronage of 3/2 (Benary); 7/2 (Higgins) | |
| sociocultural context 17/1 (Neuman) | |
| svaras 9/1 (Viswanathan) | |
| urbanization and 15/2 (Nettl) | |
| Western classical music and 15/2 (Nettl) | |
| Karnatak musicians | training of 1/1 (Higgins); 1/2 (Ries); 3/2 (Benary); 9/1 (Viswanathan) |
| kartal | 20/1 (Hardgrave & Slavek) |
| kasa | 9/2 (Condit) |
| Kashmir | classical music 10/1 (Pacholczyk); 12/1 (Pacholczyk) |
| history 10/1 (Pacholczyk) | |
| kathakali | dance-drama 18/2 (Jones) |
| Kerala (India) | ethnic minority music in 11/1 (Ross) |
| musical trance ceremony 13/1 (Reck) | |
| Kathakali dance-drama 18/2 (Jones) | |
| Kettledrums | use in Nepali music 23/2 (Tingey) |
| ketuk tilu | 18/1 (Manuel and Baier) |
| Khan, Amir | 24/2 (Ross) |
| Khan, Niaz Ahmed | 28/2 (Magriel) |
| khanjari | 20/1 (Hardgrave & Slavek) |
| khanjira | 2/2 (Krishnaswami) |
| khayal | 17/1 (Neuman) |
| khol | 20/1 (Hardgrave & Slavek) |
| Khwarizm region, | music 4/1 (Karamatov) |
| Koran recitation | 19/1 (al Faruqi); 19/1 (Danielson) |
| Korea, Yi dynasty | court music bureaucracy 9/2 (Provine) |
| Korean aesthetics | 9/2 (Hwang Byong-ki) |
| Korean court music | 9/2 (Condit) |
| Korean farming work songs | 9/2 (Hahn Man-young) |
| Korean folk song | (Yukcha-paegi or Nukza-baegi) 2/2 (Lee Hye-ku) |
| Korean music in Hawaii | 19/1 (Sutton) |
| Korean music theory | 9/2 (Hwang Byong-ki) |
| Korean music | Confucian ritual 8/2 (Song Bang-Song) |
| Korean folk music, common rhythms 2/2 (Lee Hye-ku) | |
| performance of 2/2 (Lee Hye-ku) | |
| regional variants 9/2 (Hahn Man-young) | |
| modes 9/2 (Lee Kang-sook) | |
| quintuple meter 13/1 (Lee Hye-Ku) | |
| rhythms and notation 2/2 (Lee Hye-Ku); 13/1 (Lee Hye-Ku); 23/1 (Howard) | |
| Shibi ch’ae 23/1 (Howard) | |
| traditional 12/2 (Provine) | |
| transcription of 2/2 (Lee Hye-ku) | |
| vocal 9/2 (Condit) | |
| Korean musical instrument ensembles | 8/2 (Song Bang-Song) |
| Korean percussive bands | chil kut 23/1 (Howard) |
| different models 23/1 (Howard) | |
| nongak 23/1 (Howard) | |
| percussive pieces 23/1 (Howard) | |
| yongnam nongak 23/1 (Howard) | |
| Korean | words for "music" 9/2 (Hwang Byong-ki) |
| koto | 11/2 (Burnett); 12/2 (Tsuge); 28/1 (Johnson) |
| compared to Chinese Zheng 26/2 (Thrasher) | |
| koto-kimiuta | 12/2 (Tsuge) |
| krtayuga | 24/1 (Simms) |
| kriti | 17/1 (Neuman); 24/1 (Jackson) |
| kroncong | 7/1 (Becker); 7/1 (Heins); 18/1 (Chopyak) |
| kudoki | 27/1 (Groemer) |
| kulintang music | 27/2 (Kalanduyan) |
| analysis of style 27/2 (Posner) | |
| 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) | |
| Kulthum, Umm | 19/1 (Danielson) |
| Kunkunshi | 25/1-2 (Garfias) |
| kunqu | 12/2 (Thrasher) |
| kurava | 11/1 (Ross) |
| Kurdish dance music | 6/1-2 (Christensen) |
| Kurdish narrative song | melodic and rhythmic structure 4/1 (Blum) |
| in bakhshi repertoire 4/1 (Blum) | |
| kyotaku | 8/2 (Tsuge) |
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