{"id":27,"date":"2020-12-22T06:23:47","date_gmt":"2020-12-22T06:23:47","guid":{"rendered":"http:\/\/asianmusicology.org\/?page_id=27"},"modified":"2025-12-07T15:40:55","modified_gmt":"2025-12-07T15:40:55","slug":"create-your-website-with-blocks","status":"publish","type":"page","link":"https:\/\/asianmusicology.org\/?page_id=27","title":{"rendered":"Past Issues"},"content":{"rendered":"\n
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Council for Asian Musicology<\/strong> <\/p>\n\n\n\n

Whole Contents (vol. 1-34) of Asian Musicology<\/em> <\/strong><\/p>\n\n\n\n

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2002 (Vol. 1)<\/strong><\/strong><\/p>\n\n\n\n

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\n

Indian Tala and Korean Changdan\/ Chun In Pyong<\/p>\n<\/div>\n<\/div>\n\n\n\n

Indian Music and European Researchers from Late Eighteenth through Early Nineteenth Centuries Activities in the Asiatic Society in India\/ Kobinata, Hidetoshi<\/p>\n\n\n\n

The Dance-Songs and Dance Music of the Kenyah Community Of Sarawak , East Malaysia\/ Chong, Pek Lin<\/p>\n\n\n\n

Change to Ensure Continuity – The Extraordinary Ceremony Dabei Chan: Transformations of Chinese Buddhist Music in England\/ Tsai, Tsan-Huang<\/p>\n\n\n\n

Ethno-social processes and musical culture of antiquity: China, Korea, Japan.\/ Sergei B. Loupinos<\/p>\n\n\n\n

 ————————–<\/p>\n\n\n\n

2002 (Vol. 2)<\/strong><\/p>\n\n\n\n

Man Zhong Kuai Musical Form of Chinese and Korean Music\/ Chun In Pyong<\/p>\n\n\n\n

Pithi Sampeah Krou or Ceremony of Paying Homage to the Teacher in Khmer Dance and Music\/ SAM-ANG SAM<\/p>\n\n\n\n

The System of Images in the Dombra Tradition of the Kazakhs\/ Saule Utegalieva<\/p>\n\n\n\n

Invented Traditions of Koto Notation from the Meiji Period\/ Henry M. Johnson<\/p>\n\n\n\n

Pentatonic Patterns of Construction – a Study based on work by Gabor Luko\/ Gyorgy Kadar<\/p>\n\n\n\n

An overview of chordophonic instruments used in the folk music of rajasthan; a western region of indian subcontinent\/ SUREERA KASLIWAL<\/p>\n\n\n\n

Audience response to p’ansori and its impact on contemporary p’ansori performance\/ Yeonok jang<\/p>\n\n\n\n

A Composer’s Travel Journal\/ Hyo-shin Na<\/p>\n\n\n\n

Diehl, Keila. Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community. – Berkeley : University of California Press, 2002.\/ Elaine Dobson<\/p>\n\n\n\n

Hwang Byung-ki wa ui taehwa\/Conversations with Kayageum Master\/ Byung-ki Hwang.\/ Hilary Finchum-Sung<\/p>\n\n\n\n

 ——————–<\/p>\n\n\n\n

2003 (Vol. 3)<\/strong><\/strong><\/p>\n\n\n\n

The Triple Musical Form of Southeast Asian and Korean Music\/ Chun In Pyong<\/p>\n\n\n\n

The Evolution and Decline of the Ancient Chinese Practice of Watching for the Ethers\/ Hunag Yi Long and Chang  Chi Cheng<\/p>\n\n\n\n

The Coherent View between Human body and Musical Structure According to Indian Philosophical Thought\/ Yoon, HyeJin<\/p>\n\n\n\n

99 The Multiformity of Asian Music: A Comparative Study on Current Situation between Indian, Chinese and Philippine Music\/ Chen Ji Ming<\/p>\n\n\n\n

Is There a Reason for the Existence of a Stand-Alone Finno-Ugrian Musicology?\/ Gyorgy Kadar<\/p>\n\n\n\n

The Historical Routes of the Malay Gambus(Lutes)\/ Rarry Francis Hilarian<\/p>\n\n\n\n

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2004 (Vol. 4)<\/strong><\/p>\n\n\n\n

A Study of musical cultures in Samhan Period\/ Hwang Mi-yon<\/p>\n\n\n\n

YAMATARAJABHANAS ALAGAMAN; INTERESTING COMBINATORIC SUTRA\/ Subhash kak<\/p>\n\n\n\n

Musical drama on the Silk Road, and Hu-Han cultural exchange\/ Ke Lin<\/p>\n\n\n\n

The Music and Culture of the Silk Road-Enrichment Through Mutual Exchanges Between India and Central Asian Countries\/ Ms. Sharbari Mukherjee<\/p>\n\n\n\n

Korean Jangdan in Terms of “Long and Shor” with Reference to Yeongsanhoesang and Sanjo\/ Chun In Pyong<\/p>\n\n\n\n

 ———————–<\/p>\n\n\n\n

2004 (Vol. 5)<\/strong><\/p>\n\n\n\n

RASA: The Phenomenon of Indian and Indonesian Music\/ Bambang Sunarto<\/p>\n\n\n\n

Chordophones of Central Asia: a New Approach to Its Classification\/ Saule Utegalieva<\/p>\n\n\n\n

Musical Pervasiveness In Iran And Necessity of National Music Museum<\/p>\n\n\n\n

Golnaz Golsabahi\/<\/p>\n\n\n\n

Vietnamese Traditional Music and its Tradition of International Exchange: Issues in the Context of Globalization\/ Le Toan<\/p>\n\n\n\n

Vietnamese Traditional Music in the Background of Globalization\/ Van Minh Huong<\/p>\n\n\n\n

Korean Ensemble Music (Julpungryu) and Chinese Ensemble Music (Sizhuyue)\/ Chun In Pyong<\/p>\n\n\n\n

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2005 (Vol. 6)<\/strong><\/p>\n\n\n\n

Symbolism of Daegeum (Korean large transverse flute)\/ So In hwa<\/p>\n\n\n\n

Teaching Samulnori\/ Keith Howard<\/p>\n\n\n\n

The Teaching and Learning of World Musics in Tertiary Institutions of Singapore\/ Larry Francis Hilarian<\/p>\n\n\n\n

Vocal Music Art of “Tuong”\/ Van Minh Houng<\/p>\n\n\n\n

The Space Arrangement of the Royal Ceremony in the Chosun Dynasty\/ Shin Sun Hi<\/p>\n\n\n\n

The Thai chings, Korean jing and Indonesian gongs\/ Chun In Pyong<\/p>\n\n\n\n

Music Education in Malaysia: Transcending Borders Through Tradition\/ Tan Sooi Beng<\/p>\n\n\n\n

National Musics and National Orchestras: A Case Study on the “Modern Chinese Orchestra.\/ J. Lawrence Witzleben<\/p>\n\n\n\n

The Regeneration of Traditional Music in a Chinese Rural Village\/ IGUCHI Junko<\/p>\n\n\n\n

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2006 (Vol. 7)<\/strong><\/strong><\/p>\n\n\n\n

Phonological Research of Nanbeiqu\/ Yu Weimin<\/p>\n\n\n\n

R\u0100GAM\u0100L\u0100: the visual representation of melody types in Northern India\/ Saurabh Goswami and Selina Thielemann<\/p>\n\n\n\n

Eastern Influence: The Medieval Japanese No Dram As a Basis for Benjamin Britten\u2019s Curlew River\/ CHUNG Yoo jin<\/p>\n\n\n\n

Soviet-Korean Folksongs in the early 20th Century: Formation and Transformation. Bohi Gim Ban<\/p>\n\n\n\n

Analysis And Differentiation Among Three Concepts Yue-Ji, Hra-JI and Hua-JI\/ Cheng Huihui<\/p>\n\n\n\n

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2006 (Vol. 8)<\/strong><\/strong><\/p>\n\n\n\n

Semiotic Analysis on Discourse of Cheongseonggok(\u6df8\u8072\u66f2)\/ Surh, Usoc<\/p>\n\n\n\n

Introduction to the Aesthetics of Korean Traditional Music\/ So Inhwa<\/p>\n\n\n\n

The Concept of T\u0101la in the N\u0101tya \u015a\u0101stra : the Harmony of Music and Drama\/ Lee Jae sook<\/p>\n\n\n\n

The Need for a New Notational System for Korean Traditional Music: Focusing on Gagok\/ Lee, Insuk<\/p>\n\n\n\n

000 Aesthetics of Javanese Gamelan Music: Structure, Style and Musical Feeling\/ R. Anderson Sutton<\/p>\n\n\n\n

Gamlan Music and Literature in Javanese Court Traditions\/ Bambang Sunarto<\/p>\n\n\n\n

Traditional Music Performance Education at Kazakh National Conservatory named after Kurmangazy: Tasks and Perspectives\/ Saule Utegaliyeva<\/p>\n\n\n\n

On the Intervallic Associations of the Cheremis Musical Culture Cheremis Musical Culture and Western Musical Thinking\/ Gyrgy Kdrar<\/p>\n\n\n\n

Women and Music in the Great Silk Road\/ Razia Sultanova<\/p>\n\n\n\n

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2006 (Vol. 9)<\/strong><\/p>\n\n\n\n

The Future of the Uygher Musical Past: Reconstructing Uygher Muqam in Chinese Central Asia\/ Wong Chuen-Fung<\/p>\n\n\n\n

Transnational Popular Music Culture and Local Cultural Politics: Korea\u2019s Open-Door Policy on Japanese Popular Culture (1998-2004) and its Antecedents\/ Jung Eun-Young<\/p>\n\n\n\n

Gaidong in Hong Kong: The Ecology of Commercial Chinese Instrumental Music Performance\/ Lung Man Wai, Mavis<\/p>\n\n\n\n

Chinese Opera in Singapore, 1840s-1960s\/ Lee Tong Soon<\/p>\n\n\n\n

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2007 (Vol. 10)<\/strong><\/p>\n\n\n\n

The History of Korean Music from a New Perspective\/ CHUN In Pyong<\/p>\n\n\n\n

Campursari Music: The Content and Modal System Application\/ Bambang Sunarto<\/p>\n\n\n\n

Binh Dinh Popular Classical Drama-A Phenomenon of Popular Traditional Culture in Adaption in the Current Life and Culture\/ Van Minh Huong<\/p>\n\n\n\n

The Regeneration of Traditional Music in a Chinese Rural Village\/ IGUCHI Junko<\/p>\n\n\n\n

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2007 (Vol. 11)<\/strong><\/p>\n\n\n\n

Musico-Artistic (A Perspective on Music Studies)\/ Bambang Sunarto<\/p>\n\n\n\n

The Inconspicuous Acceleration in Qin Music: An Insider\u2019s View with Validation by a Perceptive Study\/ Tse, Chun-Yan<\/p>\n\n\n\n

Canon in the Musical Cultures of China, Korea and Japan\/ Sergey B.Lupinos<\/p>\n\n\n\n

The Magnificent and Grand Beauty in Korean Traditional Music\/ Chun In Pyong<\/p>\n\n\n\n

Appendix; Akhakgweabeum (Vol. 3 \u2013 Vol. 6)\/ Seong hyeon<\/p>\n\n\n\n

———————————-<\/p>\n\n\n\n

2008 (Vol. 12)<\/strong><\/p>\n\n\n\n

Selective Identity: Korean Minority Composers and the Performance of Ethnicity in the People\u2019s Republic of China (PRC)\/ Koo Sun hee<\/p>\n\n\n\n

Re-creating \u201cIndia\u201dthrough Ritual and Musical Practices in Pittsburgh, USA\/ Eguchi Yuko<\/p>\n\n\n\n

Performing Kimigayo: Japanese National Anthem and the Sonorous Undoing of the Collective Voice\/ Oba Junko <\/p>\n\n\n\n

The Chinese Music Archive as a Musical Bridge\/ Yu Siu Wah<\/p>\n\n\n\n

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2008 (Vol. 13)<\/strong><\/p>\n\n\n\n

The Epistemology of the Music Creation\/ Bambang Sunarto<\/p>\n\n\n\n

Gamelan Music: Meanings and Contexts in Village Rituals and Celebrations\/ Santosa<\/p>\n\n\n\n

Ritual Music in Prehistoric China\/ Fang Jianjun<\/p>\n\n\n\n

Language in Music Creativity with Kod\u00e1ly\/ Hsiao-Shien Chen, Yu-Chuan Yao  <\/p>\n\n\n\n

The Effect of the Ganggangsullae Guidance by Kodaly Method on the development of Infant musicality: with Focus on Age 5\/  Prof. Kim, Jung Hwa<\/p>\n\n\n\n

——————<\/p>\n\n\n\n

2009 (Vol. 14)<\/strong><\/p>\n\n\n\n

Encountering Modernity in Asian Music Korean Wave in Japan vs. Japanese Wave in Korea\/ Jung Eun-Young<\/p>\n\n\n\n

Expanding Practices and Performing Popular Songs in Taiwanese Opera\/ Pattie Hsu<\/p>\n\n\n\n

Displaying \u201cJapan\u201d: Kumidaiko and the Exhibition of Culture at Walt Disney World\/ Benjamin Pachter<\/p>\n\n\n\n

Mediating Tradition and Modernity in Chennai: Notes on Carnatic Classical Music in Contemporary India\/ Anita Balasubramanian <\/p>\n\n\n\n

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2009 (Vol. 15)<\/strong><\/p>\n\n\n\n

Sadra’s Ethic and Consideration In His Music Piece Creation\/ Bambang Unarto<\/p>\n\n\n\n

P’ansori Performance Style in The Eighteenth Century\/ Jang Yeon-ok<\/p>\n\n\n\n

A Research on the Life of Yoo Dong-cho, the Master of Tungso\/ Cho Seog-yeon<\/p>\n\n\n\n

Intangible Cultural Heritage in Korea – Focusing on Performing Arts\/ Lee Yong-shik <\/p>\n\n\n\n

Current Situation of Asian Music Study in Korea\/ So In-hwa<\/p>\n\n\n\n

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2010 (Vol. 16)<\/strong><\/p>\n\n\n\n

Music and Identities in Asian Music<\/strong> <\/p>\n\n\n\n

Inventing Ethnic Music: Vocal Music of the Korean Ethnic Minority in the People\u2019s Republic of China\/ Koo Sun Hee<\/p>\n\n\n\n

Korean Songs in Japanese Music Textbooks: Music Education and Japan-Korea Relationship since the 1980s\/ Fujii Koki<\/p>\n\n\n\n

\u201cDirty Theatre\u201dand Reform: Huaguxi Before and After 1949 in Hunan Province, China\/ Li Huan<\/p>\n\n\n\n

Styles of Pedagogy and Performance Practices in Carnatic Vocal Music\/ Niranjani Prahbakar<\/p>\n\n\n\n

———————–<\/p>\n\n\n\n

2011 (Volume 17)<\/strong><\/strong><\/p>\n\n\n\n

Songs and Cultural Aesthetics in Asia<\/strong><\/strong><\/p>\n\n\n\n

Kakawihan Barudak Sunda: Sundanese Children\u2019s Songs of West Java\/ Indra Ridwan<\/p>\n\n\n\n

Ahabala in China\u2019s Mosuo Society: Performance, Representation and Meaning\/ Yang Min<\/p>\n\n\n\n

Movies and Politics in the History of a Chinese Popular Song: From Tang Wei, Li Koran, Zhou Xuan to Abing the Blind\/ Yu Siu Wah<\/p>\n\n\n\n

Performance Structure and Transmission in the South Indian Mridangam\/ L. Ramakrishnan —————————————————<\/p>\n\n\n\n

2011 (Vol. 18)<\/strong><\/p>\n\n\n\n

Study of the Periodization of the History of Korean and Japanese Music\/ Chun In pyong<\/p>\n\n\n\n

The Origin and the Disappearance of the Korean Lutes\/ Lee Yong shik<\/p>\n\n\n\n

A Study on Korean Saenghwang (a Korean wind nstrument)\/ Cho Seog yeon<\/p>\n\n\n\n

An Inscribed Guoshul\u01daBell from the Freer Collections and its Relevant Issues\/ Fang Jian jun<\/p>\n\n\n\n

Marriage Ritual, Campurssari Music, and Imagination of Modernity in Java\/ Budi Setiyono<\/p>\n\n\n\n

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2012 (Vol. 19)<\/strong><\/p>\n\n\n\n

Contemporary Chinese Pipa Music and Its Future\/ Lu Liu<\/p>\n\n\n\n

The Repertoire of the Dizi Chinese Bamboo Flute\/ Chang Ning Chai<\/p>\n\n\n\n

Puyuma Bells: The Markers Of Honour, Passage, And Social Status\/ Lancini Jen-hao Cheng<\/p>\n\n\n\n

The Unwritten and the Recorded\/ Chun-bin Chen<\/p>\n\n\n\n

Playing for People or the Gods? Sustainability of Local Religious Music Popular in Yunnan Province\/ Zhang Boyu<\/p>\n\n\n\n

Mainstreaming, Popularising and Packaging : New Trends in the Christian Music of the Minorities in Yunnan\/ Yang Minkang<\/p>\n\n\n\n

The Latest Trends in Huangmei Opera\/ Ching-wah Lam<\/p>\n\n\n\n

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2012 (Vol. 20)<\/strong><\/p>\n\n\n\n

Between Global and Local: Twenty-First Century Korean Music-Making\/ Hee-Sun Kim<\/p>\n\n\n\n

We\u2019re All Applied Ethnomusicologists Now: The Case of the Chinese Musical Instrument Collection at the Chinese University of Hong Kong and Its Database Project\/ Tsai Tsan-Huang<\/p>\n\n\n\n

Politics of Arts, Arts of Politics: Political Influences on the Development of Peking Opera in Hong Kong\/ Chan Pui Lun<\/p>\n\n\n\n

Directions for the Future of Asian Musicology in the 21st Century\/ Oh-Sung Kwon<\/p>\n\n\n\n

A Study on Jongmyo Jeryeak (\u5b97\u5edf\u796d\u79ae\u6a02)(I)\/  Seongyeon Park<\/p>\n\n\n\n

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2013 (Vol. 21)<\/strong><\/p>\n\n\n\n

In search of the world of a new Gayageum music.\/ HWANG Byungki<\/p>\n\n\n\n

On the rhythm of the Korean music education at elementary schools\/ YI Haeshik<\/p>\n\n\n\n

The purism and justification pervading in Korea after the embracement of Western music\/ CHUN In Pyong<\/p>\n\n\n\n

A Study of Jongmyo Jeryeak II\/ PARK Seong yeon<\/p>\n\n\n\n

Synthesis of Hangyeore (One Nation) Music and Musicians\/ SONG Ji won<\/p>\n\n\n\n

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2013 (Vol. 22)<\/strong><\/p>\n\n\n\n

Changjak Gugak as viewed in the ethnomusicological perspective\/ CHUN In pyong<\/p>\n\n\n\n

A Study on the Singing style of Gyeonggiseonsori Santaryeong: Focused on the Analysis of Apsantaryeong\/ LEE Hyung-Hwan<\/p>\n\n\n\n

A Study of the Kyoto Performance of Yiwangjik Aakbu\/ Sri Hesti Heriwati.<\/p>\n\n\n\n

Extracting Meanings of Literary Texts in New Environments\/ Santosa SW<\/p>\n\n\n\n

A Pragmatic study of the classical verse in the Gara-gara scene in classical Surakarta style shadow puppet theatre performed by puppeteer Ki Anom\/ Suroto Karju<\/p>\n\n\n\n

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2014 (Vol. 23)<\/strong><\/p>\n\n\n\n

From Henan Opera to Taiwan Bangzi- Localisation and Identity of Taiwan\/<\/p>\n\n\n\n

Ma Ming-Hui<\/p>\n\n\n\n

A Study of the Kyoto Performance of Yiwangjik Aakbu\/ LEE Sujoung<\/p>\n\n\n\n

Isang Yun in-between\/ Lee Moon kyung<\/p>\n\n\n\n

The Relation and influence between the musics and cultures for India and Korea\/ CHUN In Pyong<\/p>\n\n\n\n

An Essay on establishing the concept of Korean musicology\/ SONG Bangsong<\/p>\n\n\n\n

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2014 (Vol. 24)<\/strong><\/p>\n\n\n\n

A Study on the origin of the saengso byeongju type performance\/ Kim Seong-hye<\/p>\n\n\n\n

Korean Ritual of Mental Patient (Michingut) of Daejeon :Based on Chants of Sin Seokbong Beopsa\/ Park Hye- Jeong<\/p>\n\n\n\n

A study of the adaptive ability of a Chinese Opera: three case studies of the localized Taiwan Bangzi\/ Ma Ming-Hui<\/p>\n\n\n\n

———————–<\/p>\n\n\n\n

2015 (Vol. 25)<\/strong><\/p>\n\n\n\n

Performing Age, Class, and Gender in Korean P\u2019ansori\/ Ruth Mueller<\/p>\n\n\n\n

Syncretism of the Korean cheonju gasa Sipjjapuriga with Gaksseoritaryeong\/ Kang, Young-yeah<\/p>\n\n\n\n

Krontjong Toegoe in Jakarta\u2019s Tugu Village: A Musical Heritage from the Colonial Era\/ Victor Ganap<\/p>\n\n\n\n

Revitalizing the lost instruments: Research and reconstruction of the bronze bells and stone chimes in Vietnamese court music\/ Phan Thuan Thao<\/p>\n\n\n\n

An Investigation into the Point ( \u2022 ) in Akjangnyoram\/ Nam Sang-sook<\/p>\n\n\n\n

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2016 (Vol. 26)<\/strong><\/p>\n\n\n\n

From the Editor\/ Yu Hui<\/p>\n\n\n\n

Traditional Song Lyrics and Ritual Actions in Cambodian Weddings\/ Francesca Billeri<\/p>\n\n\n\n

Indonesian Influences in the Music of Elaine Barkin\/ John O. Robison<\/p>\n\n\n\n

Political Significance and Performance Contexts of the North Korean \u01d3nhasu Orchestra\/ Yeonok Jang<\/p>\n\n\n\n

\u201cWe Found Ourselves\u201d\u2013 Music and Identity among the Chinese American Diaspora in Miami\/ Yiyu Zhang<\/p>\n\n\n\n

Jazz in Japan: The Process of Cultural Integration\/ Michael Pronko<\/p>\n\n\n\n

Jazz Characteristics of the Chinese Bowed String Instrument Erhu<\/p>\n\n\n\n

in Sanshui and Lanhuahua\/ Zongyan Wang<\/p>\n\n\n\n

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2017 (Vol. 27)<\/strong><\/p>\n\n\n\n

From the Editor: Music and Cultural Interactions in the Internet Age\/ Yu Hui<\/p>\n\n\n\n

Local Music in the Global Digital Field: A Study of Distribution and Popularity of Chinese Music on Youtube\/ Yu Hui &Sary Schroeder<\/p>\n\n\n\n

Virtual Fieldwork on Chinese Folk Songs: The Participatory Culture of Online Hua’er Videos\/ Lukas Park<\/p>\n\n\n\n

Country and Eastern: Music, the Internet, and the Dharma Realm Buddhist Association\/ Beth Szczepanski<\/p>\n\n\n\n

The Modern Transformation of the Zheng\/ Ann L. Silverberg<\/p>\n\n\n\n

Reality and fiction: audiovisual representations of traditional musical cultures in China\/ Leonardo D\u2019Amico<\/p>\n\n\n\n

The Durham Oriental Music Festival and its Legacy\/ Keith Pratt &Simon Mills<\/p>\n\n\n\n

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2018 (Vol. 28)<\/strong><\/p>\n\n\n\n

Tracking the Korean Wave in Transnational Asia: K-Pop and K-Pop Fandom in Indonesia\/ R. Anderson Sutton<\/p>\n\n\n\n

Korean Wave 3.0 with reference to K-pop\/ CHUN In Pyong<\/p>\n\n\n\n

Emerging contemporary gugak as the essence of Hallyu in Britain : Rediscovery of gugak and the geomungo\/ Ilwoo Park<\/p>\n\n\n\n

Korean Wave and the African Continent: major developments and strategies\/ Bethel Ghebru<\/p>\n\n\n\n

Staying Relevant in the Digital Age: 100 Years of (Re)defining Gugak\/ Jocelyn Clark<\/p>\n\n\n\n

\u201cYoo Nan Saeng\u201d: CL as master of the appropriative modes of KPOP and KHIP-HOP\/ Michael W. Hurt<\/p>\n\n\n\n

Bass Lee In Young who stowed away on a ship into Japan to study music\/ Lee In Young<\/p>\n\n\n\n

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2019 (Vol. 29)<\/strong><\/p>\n\n\n\n

 The Music of Kim Eunhye: Arirang, Animals, and Signs of the Zodiac\/ John O.Robinson<\/p>\n\n\n\n

Champru as a cultural strategy of Sustainability: focusing on The Okinawan Performing arts in Nanyo\/ Junko Konishi  <\/p>\n\n\n\n

Mlesed and Nggandhul in the Musical Accompaniment of Shadow Puppet Theater: A Case Study of Gendhing\/ Hanggar Budi Prasetya<\/p>\n\n\n\n

Legitimizing the Regime through Appropriating Central Asian Music:<\/p>\n\n\n\n

The Three Dances of Yayue in the Early Tang\/ Zhou Jing<\/p>\n\n\n\n

Silk Road transmission of the yogo (hourglass drum) types depicted in Dunhuang mural paintings to China, Korea and Japan\/ CHUN In pyong  <\/p>\n\n\n\n

My cello Music and My Musical life I loved\/ Na Duksung <\/p>\n\n\n\n

\u201cA potential Uralic philosophy\u201dby Gy\u00f6rgy K\u00e1d\u00e1r\/ Dr. Adrian Bury<\/p>\n\n\n\n

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2019 (Vol. 30)<\/strong><\/p>\n\n\n\n

From the Editor: TheFrom the Editor: Chinese Contribution to the Contemporary Music of the 21st Century\/ Yu Hui<\/p>\n\n\n\n

In Search of a Distinctive Asian Sound \u2013 Fusion and Transformation<\/p>\n\n\n\n

in Hong Kong Contemporary Compositions Since 1990\/ Yat-wai Joseph WON<\/p>\n\n\n\n

Fallen Leaves, New Roots\/ Nicholas Ng<\/p>\n\n\n\n

Ancient Melody and New Sound in Music from the Tang Court\/ Ye Yu<\/p>\n\n\n\n

Wang Xilin, Human Suffering, and Compositional Trends in Twenty-First Century China\/ John O. Robison<\/p>\n\n\n\n

Cross-Cultural Elements in Paul Rudy\u2019s Fantasie Composition\/ Wang Zheng-Ting<\/p>\n\n\n\n

Chinese Music in Malaysia: Sustainability and Convergence\/ Loo Fung Ying \/ Loo Fung Chiat<\/p>\n\n\n\n

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2020 (Vol. 31)<\/strong><\/p>\n\n\n\n

 Indo-mono musical works in modern Japan – a focus on Kazuo Yamada and Sadao It\u014d\/ Hidetoshi Kobinata<\/p>\n\n\n\n

Internationalen Ferienkursen f\u00fcr Neue Musik in Darmstadt as a platform of interest for composers from the People’s Republic of China, Hong Kong and Taiwan. A historical trace\/ Joevan de Mattos Caitano<\/p>\n\n\n\n

The characteristics of Thai popular singing dring 1925 – 1967\/ Nutthan Inkhong<\/p>\n\n\n\n

Korean Migrant Composers in Germany and their Background under the Aspect of \u2018Generation\u2019and Vocal Tex\/ Shin-Hyang Yun<\/p>\n\n\n\n

P\u2019ansori as an Alternative to Existing Performer-Audience Relationships in Modern World Theatre\/ Kim IkDoo<\/p>\n\n\n\n

Existence of Orchestral Music Group in Java: since the Dutch East Indies to the Post-Independence (1950)\/ Surtihadi and Sunarto<\/p>\n\n\n\n

———————————————————<\/p>\n\n\n\n

2021 (Vol. 32)<\/strong><\/p>\n\n\n\n

Special Issue; an Essay on Korean Music Aesthetics by Dr. CHUN in pyong
Preface
Introduction
Ten beauties represented in Korean traditional music
associated with Korean artsThe magnificent beauty \uc7a5\ub824\ubbf8\u58ef\u9e97\u7f8e <\/p>\n\n\n\n

The grand beauty \uc6c5\ud63c\ubbf8\u96c4\u6e3e\u7f8e <\/p>\n\n\n\n

The noble\/ lofty beauty \uace0\uacb0\ubbf8\u9ad8\u6f54\u7f8e<\/p>\n\n\n\n

The beauty of simplicity \uac04\uc18c\ubbf8\u7c21\u7d20\u7f8e <\/p>\n\n\n\n

The lengthy beauty \uc720\uc7a5\ubbf8\u60a0\u9577\u7f8e <\/p>\n\n\n\n

The natural beauty \ubb34\uc791\uc704\uc758 \ubbf8 \u7121\u4f5c\u7232\uc758 \u7f8e<\/p>\n\n\n\n

The beauty of \u2018han\u2019 \ud55c\u6068 \uc758 \ubbf8<\/p>\n\n\n\n

The beauty of excitement and enjoyment
\uc2e0\ubc14\ub78c\uacfc \ud765\u8208\uc758 \uba4b <\/p>\n\n\n\n

The improvisational beauty \uc989\ud765\u537d\u8208\uc758 \ubbf8<\/p>\n\n\n\n

The jest\/ satirical beauty \ud574\ud559\ubbf8\u8ae7\u8b14\u7f8e
Characteristics of Korean traditional music
Glossaries Kobinata
Bibliography <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

– ————————————————<\/p>\n\n\n\n

2022-2023 (Vol. 33)<\/strong> <\/p>\n\n\n\n

From Volume 33 onward, Asian Musicology<\/em> publishes both a digital open access (OA) version and a print version. The digital OA version of Volume 33 is available at the following URL: https:\/\/www.peterlang.com\/journal\/48\/33-1<\/a>. <\/p>\n\n\n\n

The Editor\u2019s Preface<\/a> <\/h3>\n\n\n\n

The New Perspectives on Asian Traditional Music of the Twenty-First Century, Volume 33, Issue 1, Publication Year 2024, pp. 7 – 9, by Yu Hui (Author), 3 Pages.<\/p>\n\n\n\n

(\u62c9\u7f8e\u83ab\u723e\u7684\u9732\u742a\u4e9e) and (\u767d\u6bdb\u5973): Opera in China and the Perpetuation of Negative Narratives of Mentally Disabled Women<\/a> <\/h3>\n\n\n\n

Volume 33, Issue 1, Publication Year 2024, pp. 11 – 34, by Ellan A. Lincoln-Hyde (Author), 24 Pages.<\/p>\n\n\n\n

Gender Stratification in Seated Singing (\u516b\u97f3\u5750\u5531) among the Buyi Ethnic Group in Southwest China<\/a> <\/h3>\n\n\n\n

Volume 33, Issue 1, Publication Year 2024, pp. 35 – 60, by Wang Fang (Author), 26 Pages.<\/p>\n\n\n\n

Dancing along the Rivers: Shared Cultural Identity and Musical Diversity among the Lisu \u5088\u50f3 of Yunnan Province, China<\/a> <\/h3>\n\n\n\n

Volume 33Issue 1Publication Year 2024pp. 61 – 89by Liu Keyi (Author)30 Pages<\/p>\n\n\n\n

TikTok Music Virality in China: The Unlikely Case of the Divine Song \u201cThe Shepherd of the Cocoto Sea\u201d<\/a> <\/h3>\n\n\n\n

Volume 33Issue 1Publication Year 2024pp. 91 – 113by Li Weiyang (Author)23 Pages<\/p>\n\n\n\n

Paving a Path to Essentialize an \u201cImagined\u201d Community: Inquiring the Contemporary Music Culture in the Digital Age through Virtual Ethnography<\/a> <\/h3>\n\n\n\n

Volume 33, Issue 1, Publication Year 2024, pp. 115 – 140, by Chow Ow Wei (Author), 26 Pages.<\/p>\n\n\n\n

Everyday Musical Life Among the Indigenous Bunun, Taiwan<\/a> <\/h3>\n\n\n\n

(Jonathan P.J. Stock & Chiener Chou. New York and London: Routledge, 2021, ISBN: 9780367748494)Volume 33. Issue 1, Publication Year 2024, pp. 141 – 143, by Ma Ming-Hui (Author), 3 Pages.<\/p>\n\n\n\n

Ways of Voice: Vocal Striving and Moral Contestation in North India and Beyond.<\/a> <\/h3>\n\n\n\n

(Matthew Rahaim. Middletown: Wesleyan University Press, 2021, ISBN: 9780819579393) Volume 33, Issue 1, Publication Year 2024, pp. 145 – 148, by Luca Gambirasio (Author), 4 Pages.<\/p>\n\n\n\n

Contributors<\/a> <\/h3>\n\n\n\n

Volume 33, Issue 1, Publication Year 2024, pp. 149 – 15, 02 Pages.<\/p>\n\n\n\n

\n\n\n\n

<\/p>\n\n\n\n

Volume: 34 (2024) https:\/\/www.peterlang.com\/journal\/48\/34-1<\/a><\/h2>\n\n\n\n

The Editor\u2019s Preface<\/a>: New Directions in Chinese Music Research<\/a> 
Chinese Music Research in a New Global Era
Volume 34, Issue 1, Publication Year 2025, pp. 7 – 10, by Yu Hui (Author), 4 Pages
<\/p>\n\n\n\n

New Directions in Chinese Music Research Multi-disciplinarity, In-betweenness, and Engagement <\/a>
Volume 34, Issue 1, Publication Year 2025, pp. 11 – 20, by Jonathan P. J. Stock (Author), 10 Pages<\/p>\n\n\n\n


Thinking Beyond Chinese Music<\/a>
Volume 34, Issue 1, Publication Year 2025, pp. 21 – 34, by Frederick Lau (Author), 14 Pages<\/p>\n\n\n\n


Exorcism and the Categorical Concept of Dance as Embodied in the Co-ruled Spirit in Johor Old Temple\u2019s Parade of Deities<\/a> 
Volume 34, Issue 1, Publication Year 2025, pp. 35 – 60, by Lee Soo Foon (Author) Chan Cheong Jan (Author), 26 Pages<\/p>\n\n\n\n


Symbolic Metaphors in the Yi Ethnic Group\u2019s Bronze Drum Dance in Yunnan Province, China<\/a>
Volume 34, Issue 1, Publication Year 2025, pp. 61 – 81, by Feng Guorui (Author), 21 Pages
<\/p>\n\n\n\n

Changing Contexts for Wind-and-Percussion Music in Contemporary China<\/a>
Volume 34, Issue 1, Publication Year 2025, pp. 83 – 105, by Zhang Boyu (Author), 23 Pages<\/p>\n\n\n\n


Para-Liturgical Buddhist Music-Dance in Taiwan<\/a>
Volume 34, Issue 1, Publication Year 2025, pp. 107 – 136, by Li-Hua Ho (Author), 30 Pages
<\/p>\n\n\n\n

Conference Report: Rethinking Chinese Music Research as a Global Discipline: Retrospective and Prospective<\/a><\/p>\n\n\n\n

Volume 34, Issue 1, Publication Year 2025, pp. 137 – 144, by Yu Hui (Author), 8 Pages<\/p>\n\n\n\n


Contributors<\/a><\/strong>
Volume 34, Issue 1, Publication Year 2025, pp. 145 – 150, 6 Pages<\/p>\n","protected":false},"excerpt":{"rendered":"

Council for Asian Musicology Whole Contents (vol. 1-34) of Asian Musicology —————————————— 2002 (Vol. 1) Indian Tala and Korean Changdan\/ Chun In Pyong Indian Music and European Researchers from Late Eighteenth through Early Nineteenth Centuries Activities in the Asiatic Society in India\/ Kobinata, Hidetoshi The Dance-Songs and Dance Music of the Kenyah Community Of Sarawak…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-27","page","type-page","status-publish","hentry"],"yoast_head":"\nPast Issues - Asian Musicology<\/title>\n<link rel=\"canonical\" href=\"https:\/\/asianmusicology.org\/?page_id=27\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Past Issues - Asian Musicology\" \/>\n<meta property=\"og:description\" content=\"Council for Asian Musicology Whole Contents (vol. 1-34) of Asian Musicology —————————————— 2002 (Vol. 1) Indian Tala and Korean Changdan\/ Chun In Pyong Indian Music and European Researchers from Late Eighteenth through Early Nineteenth Centuries Activities in the Asiatic Society in India\/ Kobinata, Hidetoshi The Dance-Songs and Dance Music of the Kenyah Community Of Sarawak...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/asianmusicology.org\/?page_id=27\" \/>\n<meta property=\"og:site_name\" content=\"Asian Musicology\" \/>\n<meta property=\"article:modified_time\" content=\"2025-12-07T15:40:55+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\">\n\t<meta name=\"twitter:data1\" content=\"14 minutes\">\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"http:\/\/asianmusicology.org\/#website\",\"url\":\"http:\/\/asianmusicology.org\/\",\"name\":\"Asian Musicology\",\"description\":\"Journal of the Council for Asian Musicology\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":\"http:\/\/asianmusicology.org\/?s={search_term_string}\",\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/asianmusicology.org\/?page_id=27#webpage\",\"url\":\"https:\/\/asianmusicology.org\/?page_id=27\",\"name\":\"Past Issues - Asian Musicology\",\"isPartOf\":{\"@id\":\"http:\/\/asianmusicology.org\/#website\"},\"datePublished\":\"2020-12-22T06:23:47+00:00\",\"dateModified\":\"2025-12-07T15:40:55+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/asianmusicology.org\/?page_id=27#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/asianmusicology.org\/?page_id=27\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/asianmusicology.org\/?page_id=27#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/asianmusicology.org\/\",\"url\":\"https:\/\/asianmusicology.org\/\",\"name\":\"Home\"}},{\"@type\":\"ListItem\",\"position\":2,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/asianmusicology.org\/?page_id=27\",\"url\":\"https:\/\/asianmusicology.org\/?page_id=27\",\"name\":\"Past Issues\"}}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","_links":{"self":[{"href":"https:\/\/asianmusicology.org\/index.php?rest_route=\/wp\/v2\/pages\/27","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/asianmusicology.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/asianmusicology.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/asianmusicology.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/asianmusicology.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=27"}],"version-history":[{"count":14,"href":"https:\/\/asianmusicology.org\/index.php?rest_route=\/wp\/v2\/pages\/27\/revisions"}],"predecessor-version":[{"id":275,"href":"https:\/\/asianmusicology.org\/index.php?rest_route=\/wp\/v2\/pages\/27\/revisions\/275"}],"wp:attachment":[{"href":"https:\/\/asianmusicology.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=27"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}