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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