From the Editor

This is an issue that exemplifies the variety of performances, covering all the major geographic areas and including modern, traditional, and modern-traditional work; we even have two contrasting views of a recent Suzuki production in Taiwan. I thank the assembled authors for their work and patience. With the help of Marlene Pitkow and Rachel Cooper at the Asia Society, I was able to discuss the work of Beate Gordon, one of the founding mothers of Asian performance production in America. I thank the Yale Institute of Sacred Music and UCSC Arts Division, which supported me during the editing of this volume.