Project MUSE®: Asian Music - Latest Articles
https://muse.jhu.edu/journal/281
Project MUSE®: Latest articles in Asian Music.daily12026-05-16T00:00:00-05:00text/htmlen-USVol. 36 (2005) through current issueLatest Articles: Asian MusicTWOProject MUSE®Asian Music1553-56300044-9202Latest articles in Asian Music. Feed provided by Project MUSE®In Memoriam: Martin F. Hatch
https://muse.jhu.edu/article/980014
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On behalf of the Society for Asian Music and its Board of Directors: We are saddened by the news that our friend and generous benefactor, Martin F. Hatch, passed away on August 23, 2025. Marty, as we knew him, was a dedicated member of the Society for Asian Music, serving in multiple capacities over many years: as coeditor of Asian Music (with Mark Slobin, 1984–87), then as editor (1988–96), as production editor (1996–2004), and, finally, as treasurer (1988–2007). He oversaw the business office while it was located at Cornell, where he was on the faculty. We are grateful to Marty not only for the countless hours he gave to this Society as editor and administrator but also for his generosity in endowing the Martin
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/281/image/coversmallIn Memoriam: Martin F. Hatch2026-01-13text/htmlen-USIn Memoriam: Martin F. Hatch2026-01-132026TWOProject MUSE®52832026-05-16T00:00:00-05:002026-01-13Between Sustainability and the “Classical”: Situating the Shadow-Play Wayang Sasak and Cultural Resilience in Lombok, Indonesia
https://muse.jhu.edu/article/980015
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Wayang Sasak (Sasak shadow play) is a traditional performing art that has experienced cycles of popularity and peaks of development over the past 250 years as particular dalang (puppeteers) arose to captivate audiences and then declined. Like other Indonesian islands, Lombok and its Sasak-majority population have endured periods of religious reformism and economic transformation that challenged the viability of traditional arts; they also uniquely withstood hundreds of years of Hindu Balinese occupation that impacted arts, politics, and overall culture and then 50 years of Dutch colonization, which upended the economy and social order, dismantled interreligious relationships, and further impoverished the island
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/281/image/coversmallBetween Sustainability and the “Classical”: Situating the Shadow-Play Wayang Sasak and Cultural Resilience in Lombok, Indonesia2026-01-13text/htmlen-USBetween Sustainability and the “Classical”: Situating the Shadow-Play Wayang Sasak and Cultural Resilience in Lombok, Indonesia2026-01-132026TWOProject MUSE®1188432026-05-16T00:00:00-05:002026-01-13Beyond Interculturality: A Case for Intraculturality Among Composers from Southeast Asia
https://muse.jhu.edu/article/980016
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In composition, efforts to combine the East and West began as early as the first half of the twentieth century, when composers such as Claude Debussy, Henry Cowell, Lou Harrison, and John Cage, among others, were interested in incorporating elements from Asia in their works, ranging from philosophical logic to musical quotation to instruments. After World War II, Asian composers like Chou Wen-Chung, Isang Yun, and Tōru Takemitsu began to search for musical inspiration from their heritage. Now, many composers, especially from the East Asian sphere, have become recognized among scholars and musicians predominantly in Western circles as continuing this practice that is today known more as intercultural composition
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/281/image/coversmallBeyond Interculturality: A Case for Intraculturality Among Composers from Southeast Asia2026-01-13text/htmlen-USBeyond Interculturality: A Case for Intraculturality Among Composers from Southeast Asia2026-01-132026TWOProject MUSE®1934352026-05-16T00:00:00-05:002026-01-13On Kenteki: Sonic Generosity in Myōan Shakuhachi
https://muse.jhu.edu/article/980017
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Rujing chanted a verse:
Both the bower and the bowed-to
Are empty and serene by nature—
The way flows freely between them.
How wondrous!
[…]
When bowing remains in the world, buddha dharma remains.
When bowing disappears, buddha dharma disappears.
—Zen master Dōgen (Tanahashi and Levitt 2013, 17–18)
The sun shone down in late October 2022 as around thirty people, including me, arrive at Itchōken, a shakuhachi (end-blown bamboo flute) place of learning (keikoba; fig. 1). Itchōken is based at Saikōji, a Rinzai Zen temple in Hakata, Fukuoka, in the southwest of Japan. As the site of transmission of “dharma bamboo” (hotchiku) shakuhachi, it was designated as an intangible cultural asset of Fukuoka prefecture in 2018
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/281/image/coversmallOn Kenteki: Sonic Generosity in Myōan Shakuhachi2026-01-13text/htmlen-USOn Kenteki: Sonic Generosity in Myōan Shakuhachi2026-01-132026TWOProject MUSE®1864382026-05-16T00:00:00-05:002026-01-13Vietnamese Aspirational Values, Morality, and Virtues Evident in the Continuing Tradition of Chèo Folk Opera
https://muse.jhu.edu/article/980018
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Historical Vietnamese values, morality, and virtues are evident in traditional chèo folk opera. Using a novel team approach, we blend collaborative ethnomusicological applied fieldwork into an international-school music curriculum. An advisory team of two senior Vietnamese musicologists provide stewardship throughout the study. We designed a collaborative mixed-methods approach in keeping with broader efforts in Anglophone ethnomusicology to recenter knowledge in communities of practice and thus decolonize the very terms for research. We feature the perspectives of two professional chèo musicians as interlocutors as they participate in interviews, workshops, performances, repatriation of recordings, and a talking
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/281/image/coversmallVietnamese Aspirational Values, Morality, and Virtues Evident in the Continuing Tradition of Chèo Folk Opera2026-01-13text/htmlen-USVietnamese Aspirational Values, Morality, and Virtues Evident in the Continuing Tradition of Chèo Folk Opera2026-01-132026TWOProject MUSE®1525702026-05-16T00:00:00-05:002026-01-13From the Editor
https://muse.jhu.edu/article/980019
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Each issue of Asian Music reflects the rich variety of Asian musics and presents a diversity of perspectives for their study that animate our field in ways that are rigorous, enriching, and respectful. The specific focus on Asia, while limiting geocultural purview, creates opportunity and allows latitude for a more critical consideration of the historical, the phenomenological, and the speculative. Among the benefits of the “deep dive” are potential moments of insight, contestation, and critical rethinking. Hopefully the five pieces—the four major articles together with the review essay—provide such moments for the reader.Apprehending 57(1) as a coherent unit is informative for the commentary for each article that
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/281/image/coversmallFrom the Editor2026-01-13text/htmlen-USFrom the Editor2026-01-132026TWOProject MUSE®106742026-05-16T00:00:00-05:002026-01-13Ways of Voice: Vocal Striving and Moral Contestation in North India and Beyond by Matthew Rahaim; and: Musical Resilience: Performing Patronage in the Indian Thar Desert by Shalini R. Ayyagari (review)
https://muse.jhu.edu/article/980020
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Matthew Rahaim’s Way of Voice and Shalini Ayyagari’s Musical Resilience explore different aspects of North Indian music and musicians. Rahaim focuses on diverse Indian vocal traditions, whereas Ayyagari examines the Manganiyar community, a group of low-caste, hereditary musicians in the Thar Desert. Despite their differing subjects, these two books complement each other, each deepening the reader’s understanding of Indian music genres and musicians. This review essay, while addressing these works individually, draws connections between them, highlighting how music arts in North India shape and are shaped by dominant traditions in the region and beyond.Matthew Rahaim’s Ways of Voice, engaging with various voice
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/281/image/coversmallWays of Voice: Vocal Striving and Moral Contestation in North India and Beyond by Matthew Rahaim; and: Musical Resilience: Performing Patronage in the Indian Thar Desert by Shalini R. Ayyagari (review)2026-01-13text/htmlen-USWays of Voice: Vocal Striving and Moral Contestation in North India and Beyond by Matthew Rahaim; and: Musical Resilience: Performing Patronage in the Indian Thar Desert by Shalini R. Ayyagari (review)2026-01-132026TWOProject MUSE®223962026-05-16T00:00:00-05:002026-01-13