The Oxford Handbook of Music in China and the Chinese Diaspora

The Oxford Handbook of Music in China and the Chinese Diaspora illuminates new insights into Chinese music studies, musical genres, and contexts. This volume incorporates extensive scholarly insight from China, Taiwan, and the Chinese diaspora, and is arranged into three parts: the historical legacies of Chinese music, evolving practice and musical transformations, and prominent issues in Chinese music studies.

Yu Hui is a Chinese musicologist with interests in Chinese music history, traditional music theory, guqin zither, and opera traditions. He is the first musicologist to receive the title of Changjiang Distinguished Professor of the Chinese Ministry of Education and is currently a Donglu Distinguished Professor at Yunnan University and a Chair Professor at Xiamen University.
Jonathan P.J. Stock is a British ethnomusicologist specializing in music in China and Taiwan. He is Professor of Music at University College Cork with interests in research ethics, ethnography, indigeneity, music education, music analysis, and the diverse global histories of ethnomusicology.

- Acknowledgements
- List of Figures
- List of Contributors
- 1. Introduction: Frames of Reference for the Study of Music in China and Its Diaspora
- Yu Hui and Jonathan P.J. Stock
- PART I NEW DIRECTIONS IN HISTORY AND THEORY
- 2. Musical Archaeology and the Prehistory of Chinese Music
- Yang Yuanzheng
- 3. Theorizing "Natural Sound": Ancient Chinese Music Theory and Its Contemporary Applications in the Study of Guqin Intonation
- Yu Hui and Chen Yingshi
- 4. The Huxuan and Huteng Dances: Foreign Musical Dances in Chinese History
- Zhao Weiping
- 5. Kunqu from Analytical Perspectives: A Focus on Feng Ru Song
- Kar Lun Alan Lau
- 6. Why and How do Chinese Sing Shijing Songs?
- Joseph S.C. Lam
- 7. Music History and Historiography in the Chinese Context
- Hon-Lun Helan Yang
- 8. Chinese Music Modernities
- Frederick Lau
- PART II MUSIC GENRES AND PRACTICES IN EVOLVING CONTEXTS
- 9. Traditional Instruments and Heterophonic Practice
- Alan R. Thrasher
- 10. Jiangnan Sizhu in the Greater Suzhou Area: Context, Repertoire, and Sustainability
- Mercedes M. Dujunco
- 11. Social Change and the Maintenance of Music Tradition Among the Western Yugurs
- Du Yaxiong
- 12. The Making of a Musical Community as a Manifestation of Nationalism: The Jinyu Qinshe Society in 1930s China
- Yu Hui
- 13. A Multimodal and Interdisciplinary Approach to Luo Yusheng's Video Performance of "At Break Of Day"
- Francesca R. Sborgi Lawson
- 14. The Emergence of Taiwanese New Xiqu: A Case Study on Chichiao Musical Theater
- Hsieh Hsiao-Mei
- 15. Hybridity in the Modern Chinese Orchestral Music (Guoyue) of Taiwan
- Ching-Yi Chen
- 16. Trends in the Globalization of Pipa Music
- Ben Wu
- PART III Cross-Cutting Issues in Contemporary Settings
- 17. Humanism in Red: A New Mainstream Narrative in the Pop Songs of 1980s' China
- Lijuan Qian
- 18. Staging Race and Sexuality Across Borders: Marketing Pop Singer Coco Lee
- Grace Wang
- 19. Re-Imagining China's Female Pianists: Yuja Wang and Zhu Xiao-Mei
- Shzr Ee Tan
- 20. Liveness and Mediation in Chinese Art Music: From The Map to The Qingming Festival
- Germán Gil-Curiel
- 21. The Professional and Amateur in Wuhan's Park Pop
- Samuel Horlor
- 22. Minorities and the Mainstream: The Musical Place of the Non-Han Peoples in Modern China
- Chuen-Fung Wong
- 23. "Kita Anak Malaysia" [We are the Children of Malaysia]: Performing Multicultural Chinese Identities
- Tan Sooi Beng
- 24. Conclusions: New Directions in Chinese Music Research
- Jonathan P.J. Stock
- Index