 |
Journal of the Society
for Asian Music ASIAN MUSIC  VOLUMES
I-XXXIndex |
| Part 3: Subjects of Articles O-S | |
| Okinawan music | association with Shuri Court music 25/1-2 (Garfias) |
| in Brazil 14/1 (Olsen) | |
| in Hawaii 15/1 (Sutton) | |
| in Peru 11/2 (Olsen) | |
| omorti | 20/1 (Hardgrave & Slavek) |
| oorni | 20/1 (Hardgrave & Slavek) |
| organum | 11/1 (Ross) |
| "Oriental-sounding" music | characteristics of 1/1 (Cage) |
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| pakhavaj (mrdang) | 2/2 (Krishnaswami); 20/1 (Hardgrave & Slavek) |
| Pakistan | Hunza people and dance 23/2 (Rubenstein) |
| Muslim devotional religious music and 24/1 (Qureshi) | |
| panpipes, ancient Chinese | 6/1-2 (Hayashi) |
| pathetan | 21/1 (Brinner) |
| percussion instruments | Bali 18/1 (Wolbers) |
| Burma 16/1 (Garifas) | |
| China, Shang dynasty 14/2 (Tong Kin-Woon); 15/1 (Tong Kin-Woon); 15/2 (Tong Kin-woon) | |
| East Java 18/1 (Wolbers) | |
| India 2/2 (Krishnaswami); 13/2 (Reck); 20/1 (Hardgrave & Slavek) | |
| Malay 16/2 (Matusky) | |
| Sarejevo 25/1-2 (Pennanen) | |
| Siamese 13/2 (Duriyanga) | |
| Uzbek 15/1 (Karamatov) | |
| Persian | see also Iranian |
| Persian classical music | 4/1 (Loeb); 12/1 (Nettl); 17/2 (Nettl and Shiloah); 19/1 (Babiracki and Nettl) |
| pesindhen, vocal style | 19/2 (Poedjosoedarmo) |
| Phillipine folk music | Hispanic elements 2/1 (Maceda) |
| Magindanaon kulintang 27/2 (Cadar) (see kulintang) | |
| Malaysian elements 2/1 (Maceda) | |
| popular music and politics 27/2 (Lockard) | |
| preservation 2/1 (Maceda) | |
| pi nai | 13/2 (Duriyanga) |
| pinak | 20/1 (Hardgrave & Slavek) |
| piphat band | 13/2 (Duriyanga) |
| po te hi | 13/1 (Tan Sooi-beng) |
| Portugal, | ethinic identity in Malaysia 27/1 (Sarkissian) |
| pu | 19/2 (Yeh) |
| pungi | 20/1 (Hardgrave & Slavek) |
| puppetry | Afghanistan 6/1-2 (Slobin) |
| India, Barots of 24/1 (Thompson) | |
| Japan 27/1 (Groemer) | |
| Malaysia 13/1 (Tan Sooi-beng) | |
| Tajik 8/1 (Nurjanov) | |
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| qasidah | 19/1 (Danielson) |
| qawwal musicians | patronage 18/2 (Qureshi) |
| qawwali, music | 3/2 (Qureshi); 18/2 (Qureshi) |
| qing | 14/2 (Tong Kin-Woon); 15/2 (Tong Kin-woon) |
| Qoli, Jafar | 4/1 (Blum) |
| Makhdum 4/1 (Blum) | |
| qu (changqu) | 19/2 (Yeh) |
| qupai | 19/2 (Thrasher); 19/2 (Yeh); 20/2 (Gao Huoyong); 20/2 (Jones); 20/2 (Thrasher) |
| Qur’an recitation | 19/1 (al Faruqi) |
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| radif | 12/1 (Nettl); 17/2 (Nettl and Shiloah); 19/1 (Babiracki and Nettl) |
| ragas | occasions suitable for playing certain 2/1 (Skelton) |
| use in modern Western music 1/1 (Cage) | |
| Ram Sahay | descendants and disciples of 3/2 (Roach) |
| influence on tabla playing styles 3/2 (Roach) | |
| Ramayana, | drama based on the 18/2 (Jones) |
| rambu | 12/2 (Sumarsam) |
| rangkung | 12/2 (Sumarsam) |
| Rashidiyya | 28/2 (Davis) |
| rebab | Afghan 8/1 (Baily) |
| role in gamelan 11/1 (Sutton) | |
| record industry, | in Malaya 28/1 (Tan Sooi Beng) |
| recording techniques | influences on indigenous music 7/2 (Neuman); 14/1 (Garfias) |
| rhythm, | importance in Japanese music of 11/2 (Burnett) |
| rhythms | in Korean music 2/2 (Lee Hye-Ku); 13/1 (Lee Hye-Ku) |
| ronggeng | 18/1 (Chopyak) |
| rta | (Tibetan melodic chant) 10/2 (Ellingson) |
| rwais | 17/1 (Schuyler) |
| Ryo schools of Japan | 25/1-2 (Garfias) |
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| Sadjagrama | 6/1-2 (Jairazbhoy) |
| sahnai | 20/1 (Hardgrave & Slavek) |
| sanjo | 12/2 (Provine) |
| sankh | 20/1 (Hardgrave & Slavek) |
| sarangi | 2/2 (Krishnaswami); 20/1 (Hardgrave & Slavek) |
| Sarajevo, | musical instruments and 25/1 (Pennanen) |
| Sarawak Dayaks | music and poetry 21/2 (Rubenstein) |
| sarinda | 20/1 (Hardgrave & Slavek) |
| sarod | 2/2 (Krishnaswami) |
| satar (setar, settar) | 14/1 (Czekanowska); 16/1 (Mackerras) |
| saz | 6/1-2 (Reinhard); 13/2 (Hassan) |
| serialism, | influence of ragas and talas on 1/1 (Chou) |
| shahnai | 2/2 (Krishnaswami) |
| shakuhachi | construction of 1/2 (Berger) |
| fingering of 1/2 (Berger) | |
| history of 1/2 (Berger); 8/2 (Tsuge) | |
| methods of playing 1/2 (Berger) | |
| notation 1/2 (Berger); 19/2 (Lee) | |
| use in performance 1/2 (Berger) | |
| shamanistic music | Mongol 18/1 (Emsheimer) |
| relation to Tibetan music 5/2 (Ellingson-Waugh) | |
| drums in 5/2 (Ellingson-Waugh) | |
| shamisen | 11/2 (Burnett) |
| Shang oracle bone graphs | musical depictions 14/2 (Tong Kin-Woon); 15/1 (Tong Kin-Woon); 15/2 (Tong Kin-Woon) |
| Shankar, Ravi | 16/1 (Reck) |
| shashmaqam | 12/1 (Levin); 13/1 (Karamatov & Radjabov); 14/1 (Zeranska-Kominek et al.) |
| shauqi | 8/1 (Sakata); 17/1 (Sakata) |
| Shiite drama | 13/2 (Benjamin) |
| Shiite liturgical music | 3/2 (Qureshi) |
| shin-min’yo | 22/1 (Hughes) |
| Shuri Court music | 25/1-2 (Garfias) |
| Siamese | see also Thai |
| Siamese music | 13/2 (Duriyanga); 15/2 (Miller) |
| Siamese musicians | names and titles 19/2 (Myers-Moro) |
| Siberian music culture | 4/2 (Aksenov) |
| si-daw ensemble | 16/1 (Garifas) |
| silampu | 20/1 (Hardgrave & Slavek) |
| simsimiyya | association with fishermen 4/1 (Shiloah) |
| construction and tuning of 4/1 (Shiloah) | |
| playing of 4/1 (Shiloah) | |
| Sinai coastal region, | music of the 4/1 (Shiloah) |
| Singhalese music, | influence of Buddhism 25/1-2 (Laade) |
| single independent tones | emphasis in Asian music on 1/1 (Chou) |
| sitar | 2/2 (Krishnaswami); 20/1 (Hardgrave & Slavek) |
| master players of 7/2 (Silver) | |
| popularization in the West 16/1 (Reck) | |
| sizhu | 12/2 (Thrasher); 20/2 (Thrasher) |
| Solvyns, Francois B. | 20/1 (Hardgrave & Slavek) |
| song and dance | combinations in Indian music 1/1 (Schramm) |
| South Asia | see names of nations and ethnic groups in the region |
| popular music and media culture in 24/1 (Manuel) | |
| South India | see also India, Karnatak |
| South Indian | folk music 1/2 (Ries) |
| Southeast Asia | see names of nations and ethnic groups in the region |
| popular music and politics 27/2 (Lockard) | |
| Soviet policy | on preservation of traditional ethnic music 12/1 (Levin) |
| srepegan | 14/1 (Becker); 14/1 (Perlman) |
| Sri Lanka | Buddhism influence on singhalese music 25/1-2 (Laade) |
| srutis | 6/1-2 (Jairazbhoy) |
| story-telling | Chinese 20/2 (Tsao Pen-Yeh) |
| stringed instruments | Afghanistan 6/1-2 (Hoerburger); 8/1 (Baily) |
| Arabic 3/1 (Grame); 18/1 (Bohlman) | |
| Burma 16/1 (Garifas) | |
| China | |
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| India 2/2 (Krishnaswami); 16/2 (Subramanian); 18/1 (Wrazen); 20/1 (Hardgrave & Slavek) | |
| Iraq 13/2 (Hassan) | |
| Malay 16/2 (Matusky) | |
| Turkey 6/1-2 (Reinhard) | |
| Ugyur (Uighur) 14/1 (Czekanowska); 16/1 (Mackerras) | |
| Vietnam 18/1 (Nguyen) | |
| Sufi | liturgical music 3/2 (Qureshi); 18/2 (Qureshi) |
| Sufi | music and dance, protrayal in paintings 17/1 (Denny) |
| sufyana kalam (sufyana musiqi) | 10/1 (Pacholczyk); 12/1 (Pacholczyk) |
| Sumatra, | Batak traditional music and ritual 15/2 (Simon) |
| Sumatra, | pre-Islamic Mandailing raja society, music of 12/2 (Kartomi) |
| Sumba (Indonesia) | musical instruments 13/1 (Adams) |
| songs 13/1 (Adams) | |
| Sundanese | popular music 21/1 (Williams) |
| Sundanese | oral traditions 26/1 (Weintraub) |
| Surkhandarya-Kashkadarya region, | music of 4/1 (Karamatov) |
| surmandal | 20/1 (Hardgrave & Slavek) |
| surnai | 20/1 (Hardgrave & Slavek) |
| surnay ensemble | 10/1 (Pacholczyk) |
| Syrian Christians | Kerala (India), rituals and music of 11/1 (Ross) |
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