“A fine collection of essays that present Asian music as forming along a diverse array of continuums of interconnections: between local and global, east and west, elite and popular, ethnic identity claims, ritual and entertainment, human and nature, self and other, and imagined notions of community. The ethnographic studies and theoretical analyses here offer a new scope of understanding Asian music that defies fixed boundaries.” —Joys H.Y. Cheung, Assistant Professor Graduate Institute of Ethnomusicology, National Taiwan Normal University “This is an essential resource for scholars of Asian music. With contributions from a diverse group of internationally renowned academics, the chapters push beyond bounded understandings of musical communities by foregrounding social interaction and cultural exchange. These rich case studies are organised around key contemporary themes that will help to invigorate debate on music and society in Asia.” —Lonán Ó Briain, Associate Professor of Music Department of Music, University of Nottingham ROUTLEDGE HANDBOOK OF ASIAN MUSIC: CULTURAL INTERSECTIONS The Routledge Handbook of Asian Music: Cultural Intersections introduces Asian music as a way to ask questions about what happens when cultures converge and how readers may evaluate cultural junctures through expressive forms. The volume’s thirteen original chapters cover musical practices in historical and modern contexts from Central Asia, East Asia, South Asia, and Southeast Asia, including art music traditions, folk music and composition, religious and ritual music, as well as popular music. These chapters showcase the diversity of Asian music, requiring readers to constantly reconsider their understanding of this vibrant and complex area. The book is divided into three sections: • Locating meanings • Boundaries and difference • Cultural flows Contributors to the book offer a multidisciplinary portfolio of methods, ranging from archival research and field ethnography to biographical studies and music analysis. In addition to rich illustrations, numerous samples of notation and sheet music are featured as insightful study resources. Readers are invited to study individuals, music-makers, listeners, and viewers to learn about their concerns, their musical choices, and their lives through a combination of humanistic and social-scientific approaches. Demonstrating how transformative cultural differences can become in intercultural encounters, this book will appeal to students and scholars of musicology, ethnomusicology, and anthropology. Lee Tong Soon is a Professor of ethnomusicology and Asian studies at Lehigh University and the General Editor of the Yearbook for Traditional Music (International Council for Traditional Music). His primary area of teaching and research is Asian music and its diaspora, particularly on the music of the Chinese, Malay, and Peranakan communities in Singapore, Malaysia, and England. He is the author of Chinese Street Opera in Singapore (2009). ROUTLEDGE HANDBOOK OF ASIAN MUSIC: CULTURAL INTERSECTIONS Edited by Lee Tong Soon First published 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 selection and editorial matter, Lee Tong Soon; individual chapters, the contributors The right of Lee Tong Soon to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Lee, Tong Soon, 1969– editor. Title: Routledge handbook of Asian music / edited by Lee Tong Soon. Description: [1.] | New York : Routledge, 2021. | Includes bibliographical references and index. Identifiers: LCCN 2020044780 | ISBN 9780415830669 (hardback) | ISBN 9781000337204 (adobe pdf ) | ISBN 9781000337327 (epub) | ISBN 9781000337266 (mobi) Subjects: LCSH: Music—Asia—History and criticism. | Music—Social aspects—Asia—History. Classification: LCC ML330 .R68 2021 | DDC 780.95—dc23 LC record available at https://lccn.loc.gov/2020044780 ISBN: 978-0-415-83066-9 (hbk) ISBN: 978-0-367-72326-2 (pbk) ISBN: 978-1-003-14272-0 (ebk) Typeset in Bembo by Apex CoVantage, LLC CONTENTS List of figures ix List of tables xiii List of appendices xiv List of contributors xv Preface xviii Introduction: cultural intersections in Asian music 1 Lee Tong Soon PART I Locating meanings 1 Indonesia, meet the Beatles! Sound, style, and meaning in Indonesian popular music 15 Andrew N. Weintraub 2 Composing at the intersection of East and West: beyond nationalism and exoticism? 47 Andrew P. Killick 3 Composing traditions: cultural consciousness and hybridity in cross-cultural musicking 72 Jonghee Kang 4 From humble beginnings to qin master: the remarkable cross- fertilisation of folk and elite cultures in Yao Bingyan’s dapu music 88 Bell Yung vii Contents PART II Boundaries and difference 5 Water festival as spectacle: Sino-Burmese identities, ethnic politics, and public performances in Macau 123 Tasaw Lu Hsin-chun 6 Nature of narye: sound, spectacle, and the politics of performance in fifteenth-century Korea 150 Hyeok Hweon Kang 7 Negotiating rural modernity with acoustemology: Hakka children’s songs in contemporary Taiwan 174 Luo Ai Mei 8 Peranakan music and multiculturalism in Singapore 204 Lee Tong Soon PART III Cultural flows 9 Imagined homogeneity: maqom in Soviet and Uzbek national projects 221 Tanya Merchant 10 Sikh music and its revival in post-partition India 241 Li Wai Chung 11 Tradition and innovation in the dayunday courtship drama of the Magindanao, Muslim Filipinos from the southern Philippines 262 Mary Talusan 12 Creativity in Sundanese music and radio broadcasting in West Java, Indonesia 294 Indra Ridwan 13 Music, tourism, and cultural exchange among the Naxi of Southwest China 320 Helen Rees Index 355 viii FIGURES 1.1 Drawing of Soekarno and the Beatles by Aga Depresi 17 1.2 Transcription of bars 4–6, “I Want to Hold Your Hand,” Koes Bersaudara Plus 22 1.3 Photograph of Koes Plus on the exit stairs of an airplane landing in Kupang, Timor, in 1974 24 1.4 Photograph of the Beatles on the exit stairs of an airplane landing at London Heathrow Airport on 5 February 1964 25 1.5 Vocal parts, verse 1, “Balada Kamar 15,” Koes Bersaudara Plus 26 1.6 Selection of posters advertising concerts of Beatles cover bands and groups 33 2.1 Conceptual map of the “Old High Culture” and its neighbours 49 2.2 Southern Fantasy by Hwang Byungki, second movement, cycles 15–22, compared with passages from Hwang’s sanjo 63 3.1 Beginning of “Tribulationem, et dolorem inveni” by Carlo Gesualdo 76 3.2 Second movement (bars 53–60), Morning of the Ocean 78 3.3 Excerpts from Morning of the Ocean featuring ornamental figuration of the main melody 81 3.4 Opening of Azalea Flowers (bars 1–4) 82 3.5 Morning of the Ocean, first movement (bars 1–14) 82 3.6 Vocal parts sung by haegŭm players in Azalea Flowers 83 3.7 Singing with polyphonic accompaniment in Azalea Flowers 84 3.8 Singing and playing the haegŭm in Azalea Flowers 84 4.1 Map showing Hangzhou, Sandun, and Hushu 94 4.2 Sequence of ten-finger actions 100 4.3 Pitches produced by the ten-finger actions 100 4.4 Two optional rhythmic treatments of the ten-finger actions 101 4.5 “Drunk” rhythmic motif 101 4.6 “Drunk” melodic motif 101 4.7 Chen Zhuo’s rhythmic groupings of three-pitched lines 102 4.8 Two rhythmic interpretations of “Jiukuang.” 103 4.9 The jianzipu notation of “Jiukuang” from 1425 copied out by Yao in his calligraphy, showing sections one and two 105 ix