Additional Reading

Chapter 13: A Musicultural History of the Chinese Zheng

Further Reading

General Sources:

Provine, Robert C., Yosihiko Tokumaru, and J. Lawrence Witzleben (eds.). Garland Encyclopedia of World Music, Volume 7. East Asia: China, Japan, and Korea. Routledge.

Comprehensive and authoritative general reference work on music with articles by leading scholars. Includes hundreds of entries on diverse topics and issues relating to Chinese and other East Asian musics.

Broughton, Simon, Mark Ellingham, and Jon Lusk (eds.). 2009. The Rough Guide to World Music: Europe, Asia and Pacific. 3rd ed. Rough Guides.

This is a good resource for information on popular music traditions. Articles provide historical information, cultural contexts for performance, descriptions of selected musical genres, and biographical sketches of selected artists.

Roote, Deane L. et al., eds. 2009-. Grove Music Online. Oxford University Press. Available: subscription).

Part of the Oxford Music Online gateway, this online resource includes the full text of the 2d edition of the multi-volume New Grove Dictionary of Music and Musicians, with ongoing updates. Articles on music by country or region, musical genres, musical instruments, and well-known performers offer valuable information for fact-checking as well as in-depth research.

Other Sources:

Baranovitch, Nimrod. 2003. China’s New Voices: Popular Music, Ethnicity, Gender, and Politics, 1978-1997. University of California Press.

Examines new directions in the music of China during the post-Mao Zedong, post-Cultural Revolution era.

Cheng, Te-yuan. 1991. Zheng, Tradition and Change. Ph.D. Dissertation. University of Maryland, Baltimore County.

Thorough and informative study of the zheng by a scholar-performer of the instrument. Available in electronic (PDF) format from University Microfilms International.

Diehl, Keila. 2002. Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community. Berkeley: University of California Press.

An ethnography of contemporary music in Dharamsala that considers issues of cultural preservation among Tibetans refugees in that city. Diehl identifies music as a site for negotiating Tibetan identity in both traditional and popular (globalized) forms of expression.

Harris, Rachel. 2008. The Making of a Musical Canon in Chinese Central Asia: The Uyghur Twelve Muqam. SOAS Musicology Series. Ashgate.

A study of the system of musical suites (muqam) used by the Uyghur (Uighur) people. Includes information on musical genres, instruments, and performance contexts.

Jones, Stephen. 1995. Folk Music in China: Living Instrumental Traditions. Clarendon Press.

Focuses on the “living folk music” traditions of Han Chinese in rural areas and small towns of mainland China. Important counterbalance to other literature on Chinese music that focuses principally on urban/conservatory and historic, imperial court music traditions.

Lau, Frederick. 2008. Music in China. Global Music Series. Oxford University Press.

An introductory text on Chinese music-making, considering diverse genres and social and cultural environments for performance, including national and regional music, music that combines influences from East and West, and music in the Chinese diaspora.

Light, Nathan. 2008. Intimate Heritage: Creating Uyghur Muqam Song in Xinjiang. Halle Studies in the Anthropology of Eurasia, v. 19. Global.

A study of the Uyghur (Uighur) muqam tradition in the context of historical and political change.

Mackerras, Colin. 1997. Peking Opera. Oxford University Press (Hong Kong).

A concise and accessible volume on Beijing (Peking) Opera, including good coverage of musical, cultural, and historical dimensions of the tradition.

Rees, Helen. 2000. Echoes of History: Naxi Music in Modern China. Oxford University Press.

Musical history of Lijiang County in China’s southern Yunnan Province, focusing on Dongjing music, a repertoire borrowed from China’s Han ethnic majority by the indigenous Naxi inhabitants.

Stock, Jonathon P. J. 1996. Musical Creativity in Twentieth Century China: Abing, His Music, and Its Changing Meanings. University of Rochester Press.

This book weaves together a historical case study of one important Chinese folk musician (Abing), the emergence and development of Chinese national music in the twentieth century, and the musical and intellectual cultures of Chinese national conservatories and music academies during the modern era. Includes a compact disk of illustrative examples.

Witzleben, J. Lawrence. 1995. “Silk and Bamboo” Music in Shanghai: The Jiangnan Sizhu Instrumental Ensemble Tradition. Kent State University Press.

A comprehensive study of a southern Chinese musical genre with information on performance practice, aesthetics, and musical communities.