《亚欧音乐研究》英文期刊丨2025年冬季刊（第16期）

01

Abstract

In August 2008, I undertook a 36-hour oralhistorywith renowned Shanghai-based bamboo flute master Dai Shuhong (b.1937), with whom I had studied since 1987. His almost photographic memory and skills as a raconteur opened up for me not only the story of a remarkable life lived at a time of rapid musical transformation in socialist China’s most cosmopolitan city, but also an unprecedentedly granular view-from-the-ground of how major aesthetic, social, pedagogical and policy changes came about, and what it was like as an individual musician to witness, experience, and contribute to them.

My path to writing a biographical monograph based on our oral history took a detour when a filmmaker colleague, inspired by the oral history, proposed a documentary on Dai’s life. We filmed for two weeks in September 2016, and the film, Playing the Flute in Shanghai: The Musical Life of Dai Shuhong, was completed in 2019. This article describes how the originally unanticipated film project transformed the inprogress monograph, in particular how photovoice techniques,emphasis on the visual, and creative ways of capturing interviews and conversations created new types of firsthand materials and fresh ways of conceptualizing the entire book project.

keywords:China,Chinese music history, flute playing, Dai Shuhong, biographical methods

02

Abstract

In the performance of the guqin, the vibrato technique executed by the left hand is a vital component of its playing system. This research utilizes performance footage and corresponding scores of six Guqin pieces by the renowned guqin player Yu Shaoze (喻绍泽, 1903–1988) as its data set, with the performer's physical actions serving as the central observational perspective. The holistic embodied practice of Yu Shaoze’s vibrato techniques is investigated by combining the observation and description of Yu Shaoze’s bodily movements with a comparative analysis of the differences between the score and the actual performance. Furthermore, this research attempts to analyze the formation of the performer's vibrato techniques through the correspondence between “concept and behavior,” aiming to reveal the diversity of individual performers in vibrato practice and to provide a valuable reference case for future studies.

keywords:guqin,guqin performance, vibrato technique, Yu Shaoze

03

Abstract

This study aims to systematically sort out the existing research results on the development of the guzheng in the Chinese societyofMalaysia and respond to the current problem of insufficient theoretical integration in the construction of ethnic identity and the inheritance of music culture in this field. As a traditional musical instrument with both historical and cultural symbolism, the guzheng is not only a carrier of artistic practice in the multi-ethnic society of Malaysia but also increasingly a medium for the expression of ethnic identity and cultural negotiation. Therefore, clarifying the dissemination path, educational mechanism, and social function of the guzheng in Malaysia is of great significance for understanding how overseas Chinese music can be continued and recreated in the local context.

This study employed a systematic-informed integration methodology (Toronto&Remington, 2020), which combines the transparency of systematic with the thematic inductionofanintegration. Eight representative studies were selected from the literature between 2000 and 2024 for analysis. The research content mainly revolves around four aspects: historical development, teaching practice, cultural identity, and intergenerational inheritance and interaction. The results show that the guzheng in Malaysia has gradually transformed from the early family inheritance to institutionalized teaching in schools and communities and has strengthened identity recognition and intergenerational cultural continuity in the Chinese community. However, most of the current related research focuses on the Chinese community and is mostly qualitative analysis, lacking in-depth discussion on the participation of other ethnic groups, the process of learner identity change, and localized teaching content.

This study not only outlines the overall knowledge landscape of guzheng research in Malaysia but also clearly points out that in the future, teaching experiments, questionnaires, and ethnic comparative studies can be used to promote the sustainable development of guzheng in any Southeast Asian society and expand the theoretical discussion space of ethnomusicology on culturality, cross-cultural communication, and formal educational practice.

keywords:Malaysianguzheng, cultural identity, Chinese community, intergenerational inheritance, music transmission

04

Abstract

This study aims to analyze the use of music in the 2024 Indonesian presidential election. Although the election was completed on February 15, 2024, the use of music as a campaign tool took place massively. This study tries to observe how music can influence public opinion to determine the direction of choice and how the public responds to the use of music in politics, in which musicians are seen as tending to be politically affiliated with orsupportcertain candidates. Thus, a survey method was used to obtain these data. Through the approach of political involvement theory and supported by interviews, it can be seen how musicians have strategies for creating political songs. The results showed that some musicians chose to hide their names so that there would be no backlash among their fans, while others felt afraid that theircandidatewould lose and affect their careers. This study provides a comprehensive picture of the condition of music in Indonesia that is in contact with the politics of the 2024 presidential election and becomes a kind of roadmap for the use of music in the world of politics in the future.

keywords:lyrics,political choices, presidential elections, propaganda, copyright, musical expression

05

Abstract

This chapter delves into an in-depth study of the various sets of chings (ching) within the cultural life of the Xơđăng people, who have long (since the beginning of the last century) resided on the eastern slopes of the majestic TrườngSơn mountain range in the northwestern part of QuảngNgãiprovince. The discussion will go about the following: the three-piece ching set (including regular ching and khung ching); the four-piece can ching set; the six-piece năngchingset; the seven-piece ching set; the h’lênh ching set (with configurations of 8, 9, 10, 12–15 pieces); and a number of Xơđăngchingcompositions (that are later dated). Through this, the chapter will address organological issues, scientific parameters concerning the shape and size of each ching set; the naming conventions of each ching in the sets; as well as the function, performance environment, and repertoire of ching in the life of the Xơđăngcommunity.

keywords:organology, Xơđăng chings,Xơđăngmusicalinstruments, Cadong folk music, Cadong musical instruments

06

Abstract

In the eyes of the ancient world, the aulos was probably the most symbolically charged aerophone. Thus, it is known that the ancient Mediterranean and Near East inhabitants took it with them wherever they travelled. This shows the high value that this musical instrument had, especially as an object that served to express culture. While it was known as the aulos in ancient Greece, the Romans called it the tibia or fistula, which is decisive proof of its cultural diffusion in the ancient world. This aerophoneconsistedof two diverging cylindrical tubes with a single or double reed mouthpiece. Both its design and manufacture illustrate cultural values and musical practices. Apart from being used for entertainment, religious contexts, expeditions, and battles, the aulos was also an item of trade presented as a gift to rulers. By analysing archaeological, written, iconographic, and ethnographic sources, this contribution presents scenarios where the aulos played a role, highlighting its relevance for the societiesasmentioned earlier.

keywords:aulos,spiritual, gender, technology, trade

07

Abstract

This paper examines the cultural transformationandvocaladaptationof the European waltz genre in Kazakh music. Although the waltz originated as a social dance in 18th-century Europe, its evolution in the Kazakh context illustrates a dynamic intercultural process shaped by national aesthetics, folklore traditions, andthespecificsofvocal music. In the study, we consider the appearance of the waltz in Kazakh music in the 1930s and 1950s and examine how composers such as Latif Khamidi, Nurgisa Tlendiev, and Shamshi Kaldayakov adapted this form topopvocal music. The analysis demonstrates how the waltz transformed from a dance form into a poetic and emotional vocal genre reflecting the national worldview and musical identity. Special attention is paid to the legacy of Shamshi Kaldayakov, who is often called the ‘King of the Kazakh waltz’, whose melodies made this genre truly popular. It is clearly shown that the pop waltz in Kazakh music is not just a genre phenomenon but also a form of cultural dialogue between tradition and modernity, and between the national spirit and a universal musical language.

keywords:Kazakhwaltz, vocal genre, cultural adaptation, East-West dialogue, popular music

08

Abstract

Dangdut music, a cultural hybrid of Indonesia, has evolved over half a century from its origins in poor communities as a resistance to the influx of Western rock music. Combining Malay rhythmelementsofIndian,Arabic, and Western music, dangdut has now grown into a global popular culture. This study explores (1) the origins and development of dangdut music in Indonesia and globally; (2) the role of media in the Indonesian dangdut music industry; and (3) the characteristics of dangdut as a hybrid of local and global values. Using a qualitative approach and ethnographic methods, the researcher conducted participatory observation within dangdut communities, com- plemented by interviews, literature reviews, and analysis of online media. The findings reveal that dangdut’s dy- namic evolution is impacted by social, economic, political, cultural, and religious aspects. The significant roles of mass and digital media, the dangdut community, the recording industry, and government support have been crucial in sustaining its existence and global reach.

keywords:DangdutMusic, cultural hybridity, mass and digital media, intercultural, popular culture

09

Abstract

Music is believed to have originated during the Vedic period. It has been preserved as a tradition since ancient times through performances. Based on various authentic pieces of evidence in music, it is reasonable to say that performance developed alongside music. Two main genres, North Indian classical music and South Indian classical music, were already prevalent in ancient times. Over time, different singing styles emerged within Indian classical music, which have been continuously promoted through performances. Since the Vedic period, artists have been sharing music on stage. Musical performances have taken the form of stage traditions since ancient times, allowing artists to easily convey their thoughts and emotions to the audience through their art. In this tradition, a specially elevated stage was arranged for artists to present their art to the audience. Currently, the Internet is mainly used to showcase music and singing performances more effectively and easily to a global audience. Musicians can now connect with their listeners moreeffortlesslyanddelivera richer emotional experience. Using various online platforms, such as television, social media, and YouTube, has made it easier to communicate the beauty, uniqueness, and significance of different singing styles to music lovers around the world. As internet use continues to grow, it is likely to increase public interest in music and facilitate global promotion. Consequently, in the future, authentic music will deeply resonate with listeners through singing performances. Therefore, this research topic can provide new insights and perspectives for future studies, aiming to make singing performances more natural and accessible. Therefore, this research topic will be useful in offering new insights and perspectives for new researchers. It aims to make singing performances more natural, simple, and well-organized. With the use of the internet, artists can easily convey their artistic expression and creativity to listeners and society.

keywords:Hindustaniclassical music, Indian classical music, Internet, presentation, singing, social media

10

Abstract

The frescoesofSigiriya, depicting the ethereal “Maidens of the Clouds,” represent a pinnacle of Sri Lanka's artistic and cultural heritage. As integral components of the Sigiriya World Heritage Site, these fifth-century wall paintings demand not only technical conservation but robust legal safeguarding within the framework of cultural heritage management. This chapter critically examines the adequacy of existing legal mechanisms in Sri Lanka—particularly the Antiquities Ordinance, relevant provisions of the Central Cultural Fund Act, and UNESCO's World Heritage guidelines—as they pertain to the protection of the cultural heritage of Sigiriya. Through a doctrinal analysis of statutory instruments and comparative insights from international conservation standards, the study identifies significant gaps in both the substantive and procedural aspects of current legal protections. Issues such as vulnerability to environmental damage, insufficient emergency-response regulation, and the lack of site-specific conservation protocols highlight the urgent need for a more integrated and enforceable legal framework. The chapter argues for a redefinition of Sigiriya's legal status within the broader category of cultural heritage and proposes targeted legislative and administrative reforms to ensuretheirsustained preservation. In doing so, it contributes to the evolving discourse on heritage law in Sri Lanka and the global conversation on legal instruments for the management of culturally significant sites, which are symbolic in terms of law regulations within the entire UNESCO’s World Heritage System, including Intangible Cultural Heritage (ICH).

keywords:Sigiriya,cultural heritage, legal protection, conservation policy, cultural heritage law

01

Abstract

The telescope clarinet that can be found in some places of Northern Laos is a very rare musical instrument and nearly not played anymore. But the musical instrument was still available at the beginning of this century. This short paper will describe the construction and the former use of it in the communities of that area. In result, some difficulties in musical understanding of the area’s musical heritage can be explained and discussed. Another point is the embedding of the musical instrument into the entire communal context. Research questions are mainly whether the hierarchies found through observation are pretended or real.

keywords:Laocultures, reed instruments,telescope clarinets,Khmu people, contextual embedding

02

Abstract

This short review essay focuses on the recently published collection Instrumental Lives: Musical Instrument Material Culture, and Social Networks in East and Southeast Asia, edited by Helen Rees and published by the University of Illinois Press. The essay engages with the volume’s core themes, particularly its reimagining of musical instruments as dynamic, culturally embedded entities shaped by human-nonhuman interactions. Bridging ethnomusicology, anthropology, and museum studies, the anthologyadvocatesinterdisciplinary engagement with instruments’ lifespans, agency, and socio-political embeddedness.

keywords:Bookreview, musical instruments, editing, multi-focus research, organology

keywords:Laocultures, reed instruments,telescope clarinets,Khmu people, contextual embedding