Asian Music

Winter/Spring 2024, 55:1

Articles

Painting with Sound: Performing Cultural Memory through Kazakh Sybyzghy Cassettes in Northern Xinjiang
by Xiaoshi Wei

“You Know Nothing Except How to Read Musical Notation!”: rethinking the Use of Notation in Jinghu Accompaniment
by Li huan

Reimagining the Past in the Construction of the Present: Visuality in Neo-traditional Guqin Performances in Twenty-First- Century China
by Ilsa Xiaoshan Yin

Performing Indigeneity through the Musical Piece “Miti Sunai” on Yonaguni Island, Okinawa
by Yuan-Yu Kuan

Book Reviews

Music and Recording in King Chulalongkorn’s Bangkok, by James Leonard Mitchell
reviewed by Philip Yampolsky

Renegade Rhymes: Rap, Music, Narrative, and Knowledge in Taiwan,  by Meredith Schweig
reviewed by Yuan-Yu Kuan

Media Review

Trio Getsuro: Music from Innisfree
reviewed by: Devon Osamu Tipp

Summer/Fall 2023, 54:2

Articles

The Pleasures of Parikan in Malang, East Java: An Analysis of Text and Music in Dance Ngremo Putri
by Christina Sunardi

Reclaiming the Legacy of Merdana, a Kebyar Master
by Ruby Ornstein

Engaging Ronggeng Community—Reviving Malay Social Dance and Music Practices in the Twenty-First Century: A Keynote Address
by Mohd Anis Md Nor

The Ethnographic Selfie—When the Lens Is on Your Own Culture: A Keynote Address
by Frederick Lau

Asian Music, the Asian Scholar, and Modern Asia: A Keynote Address
by Ricardo D. Trimillos

Book Reviews

Sound Communities in the Asia Pacific: Music, Media, and Technology, by Lonán Ó Briain and Min Yen Ong
reviewed by Edwin Jurriëns

Tokyo Listening: Sound and sense in a Contemporary City,  by Lorraine Plourde
reviewed by Eric Hung

Japan’s Musical Tradition: Hogaku from Prehistory to the Present, by Miyuki Yoshikami
reviewed by Marty Regan

Media Review

Marty Regan: Selected Works for Japanese Instruments, Vol. 4. Lost Mountains, Quiet Valleys
reviewed by: Devon Osamu Tipp

Winter/Spring 2023, 54:1

Articles

Remembering My Teachers—Bruno Nettl and Sabri Khan: Society for Asian Music 2022 Keynote Address
by Daniel M. Neuman

Neset Ertas and the Ontologies of Turkey’s Folk Music
by Dave Fossum

The Exceptional Fauziah Gambus: Negotiating Novelty, Piety, and Self-Promotion in an Androcentric Malaysian Musical Scene
by Joe Kinzer

Staging Noh Performance in Contemporary Opera: The Dance of the Shite in Toshio Hosokawa’s The Maiden from the Sea (2017)
by Paulo Brito

On the Threshold between Different Worlds: The Symbolic Role of Gongs in the Final Mortuary Ritual of the Jarai (Central Highlands of Vietnam)
by Vincenzo Della Ratta

Book Reviews

Gamelan Girls: Gender, Childhood, and Politics in Balinese Music Ensembles, by Sonja Lynn Downing
reviewed by Meghan Hynson

24 Bars to Kill: Hip Hop, Aspiration, and Japan’s Social Margins,  by Andrew B. Armstrong
reviewed by Nate Renner

Ambient Sufism: Ritual Niches and the Social Work of Musical Form, by Richard C. Jankowsky
reviewed by Rachel Colwell

Media Review

Japon: Le Gagaku/Japan: Gagaku
reviewed by: LeRon James Harrison

Summer/Fall 2022, 53:2

Articles

Rethinking the Viruttam in Karnatak Music: Music for Poetry
by Charulatha Mani

Status, Prejudice, and Hierarchical Differences in the Communities of the Urban Burmese Spirit Cult
by Lorenzo Chiarofonte

“Our Divine Ancestor Jesus Christ”: Performing Arts and Catholic Missiology in Bali
by Dustin D. Wiebe

Feeling Time in Indonesian Langgam Jawa
by Andrew McGraw

Book and Media Reviews

Saysay Himig: A Sourcebook on Philippine Music History, 1880–1921, edited by Arwin Q. Tan
Sasay Himig: An Anthology of Transcultural Filipino Music, 1880–1941, edited by Arwin Q. Tan
reviewed by Frederick J. Schenker

Book Reviews

Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka, by Garrett M. Field
reviewed by: Eshantha Peiris

Storytime in India: Wedding Songs, Victorian Tales, and the Ethnographic Experience,  by Helen Priscilla Myers and Umesh Chandra Pandey
reviewed by: Max Katz

The Music of Malaysia: The Classical, Folk, and Syncretic Traditions, second edition,  by Patricia Matusky and Tan Sooi Beng
reviewed by: Raja Iskandar Bin Raja Halid

Vamping the Stage: Female Voices of Asian Modernities,  edited by Andrew N Weintraub and Bart Barendregt
reviewed by: Maho A. Ishiguro

Media Review

Japanese Traditional Music: Songs of People at Work and Play, edited and translated by Naoko Terauchi
reviewed by: Justin R. Hunter

Winter/Spring 2022, 53:1

Articles

Affective Hermeneutics: Love, Mugham, and Post-Soviet Azerbaijani Subjectivities
by Polina Dessiatnitchenko

Burmese Buddhist Monks, the Seventh Precept, and Cognitive Dissonance
by Heather MacLachlan

Sonic Benefit: Buddhist Ontologies of Chant and the Supramundane in Bengaluru
by Tom Peterson

Poetic Text and Melodic Text: Text-Setting in Two Song Traditions of Timor
by Philip Yampolsky

Book Reviews

Resonances of Chindon-ya, Sounding Space and Sociality in Contemporary Japan, by Marié Abe
reviewed by: Bruno Deschenes

Tamil Folk Music as Dalit Liberation Theology, by Zoe Sherinian
reviewed by: Victoria M. Dalzell

Media Review

Shamisen Works by Colleen Christina Schmuckal,  performed by Tetsuya Nozawa
reviewed by: Marty Regan

Summer/Fall 2021, 52:2

Special Issue: Transregional Politics of Throat-Singing as Cultural Heritage in Inner and Central Asia.

Grounding Heritage

Cradle of Drone-Overtone and Timbre-Centered Music: Cultural Landscapes of the Indigenous Peoples of the Altai Mountain Range and Its Neighboring Areas
by Carole Pegg

Propriety, Property, and Heritage in the Performance of Mongol Khöömii
by Andrew Colwell

Gifts of the Sygytchy-Sons: Tethering Melodies to Land, Kin, and Life Engery at the Khöömei Ovaa, Tyva Republic
by Robert O. Beahrs

Transregional Responses

Khöömii, World Lists, and the Question of Representation
by Johanni Curtet

Khöömii, Chooryn Duu, and Dissonant Heritage in Inner Mongolia, China
by Charlotte D’Evelyn

(Re)Claiming a Vocal Vernacular: Revival and Modernization in Kömei in Contemporary Kazakh Music
by Saida Daukeyeva

Afterword

Khöömei and Heritage: An Afterword
by Theodore Levin

Khöömei—Ambassador to the World: An Afterword
by Valentina Süzükei, translated by Sean Quirk

Winter/Spring 2021, 52:1

Articles

Coptic Chant and Maqam: The Modal Heritage of a Liturgical Tradition
by Nicholas Ragheb

The Classical Khayal and Marathi Popular Music: Unpacking Music Genres and Categories in Maharashtra, India
by Aditi Deo

Emergence of an Ecumene: Transnational Encounters in South Indian Carnatic Music
by Rajeswari Ranganathan

Tuning “American Gamelan”: Transforming Javanese Gamelan Tunings in North America
by Jay M. Arms

Book Reviews

Melancholic Modalities: Affect, Islam, and Turkish Classical Musicians by Denise Gill
Makamsiz: Individualization of Traditional Music on the Eve of Kemalist Turkey by Martin Greve
reviewed by Dave Fossum

Dynamic Korea and Rhythmic Form by Katherine In-Young Lee
reviewed by: Donna Lee Kwon

Media Review

Flot Suspendu (Suspended Flow) by Véronique Piron
reviewed by: Garrett Groesbeck

Asian Music welcomes articles on all aspects of the performing arts of Asia. The journal is refereed; all articles receive consideration by at least two readers. Contributors of essays will receive 2 copies of the issue in which their essay appears. Subscriptions to the journal are available in print and electronic formats.  Online access is available through Project Muse and JSTOR (archive).

Preferred length is 10,000–12,000 words. Manuscripts in Word format (at least Word 97 or newer) should be made to conform to Asian Music style and should be submitted electronically in two files—an original version and a masked version for reviewing purposes. If the article is accepted for publication, the editors will request a revised file in Word and in pdf. We can duplicate nearly any diacritical.

Submit articles to Ricardo Trimillos (Editor) [asmusic@hawaii.edu].

Book and Media Reviews

Submit review copies of print publications to Randal Baier (Book Review Editor) [rbaier@emich.edu], 319 Ann Arbor St., Manchester MI 48158 USA.

Submit review copies of sound-recordings and videos to Anne Prescott (Media Review Editor) [muprescott@hotmail.com], 4 Maine Ave., Easthampton, MA, 01027 USA.

Peer-Review Process

Articles submitted to Asian Music are initially reviewed by the editor(s), who determine whether the manuscript will be sent to outside reviewers. If chosen for review, the manuscript is then evaluated in a double-blind process by at least two and usually three outside reviewers, including members of the journal’s Editorial Advisory Board and/or other experts in relevant fields as selected by the editors. This peer-review process is designed to ensure that Asian Music publishes only original, accurate, and timely articles that contribute new knowledge, insights, or valuable perspectives to our discipline.

Evaluation

Reviewers play a vital role in ensuring the quality of papers published in the journal.

Questions addressed by reviewers include:

• Is the topic within the scope of the journal?
• Is the topic significant or sufficiently interesting to warrant publication?
• Is the scholarship adequately documented and is relevant literature reviewed?
• Are the research aims and any methodological choices made by author clear and justified?
• Is the article well organized and clearly written?

Reviewers make one of three recommendations: acceptance, conditional acceptance with revision, rejection. Reviewers are asked to include comments explaining the recommendation to provide authors with suitable feedback to improve the article. Our aim is to create a constructive process that benefits the journal and the authors while respecting the time and efforts of all volunteer reviewers.

Review Timetable

We understand that the timeliness of decisions and publication is a major concern of authors. The typical manuscript is reviewed by one of the editors and sent out to reviewers within a couple of weeks after submission. Reviewers typically have six weeks to prepare their review (a second round of reviews may be solicited if the initial reviewers disagree). Then a couple of weeks are typically required to reconcile reviewer comments (and identify any significant copyediting issues for papers that were accepted or accepted with slight revisions). Thus, it is quite possible that an author could hear back in less than three months from the time of submission. However, the realities of the peer-review process sometimes extend our timeline. You will receive a response as expeditiously as possible. If you are seeking publication for a tenure packet, please allow for ample review time and let us know this is a consideration. Authors receive the reviewers’ comments and are often asked to revise the manuscript in line with the reviewers’ and/or editor’s suggestions. If the revised article is accepted for publication, the editor then determines the journal issue in which it will appear. Authors can help speed the process by ensuring they follow the submission requirements and, if accepted, addressing the reviewers comments and any copy-editing requirements in a timely fashion.

Self-Archiving and Institutional Repository Policy 
(click above to link to the policy page and permission forms)

Allegations of Misconduct

The Editorial office of Asian Music follows (currently in the process of applying for COPE acceptance) the guidelines of the Committee on Publication Ethics (COPE) regarding allegations of potential research or publication misconduct. When a credible allegation is made the editorial staff will gather relevant documentation and then give the author(s) an opportunity to respond. The editors may request additional information from the author(s) to help verify the originality and/or the veracity of the work. The editorial staff may also seek advice from relevant experts, including Advisory Board members and The University of Texas Press.

The editorial office will reject submitted work in instances where plagiarized content is found in a manuscript. Any material found to include plagiarized content or fraudulent results post-publication will be retracted, and upon investigation, an expression of concern may be issued.

Readers, reviewers, and editors can contact the editors about any suspicions of plagiarism by sending email to the editorial staff.

Complaints Process

The final decision on a submitted manuscript is made by the editor(s). This decision is communicated to the corresponding author via email. The decision can be one of the following: accept, conditional acceptance after major revisions, reject and encourage resubmission, and reject. If the author(s) find something in the review materials or in the editors’ decision letter that is unclear or inconsistent, they may contact the editorial office for clarification.

An appeal process has been established to allow authors an opportunity to appeal the editor’s decision only when the latter is affected by factual or procedural errors. Perceived fairness of the decision does not constitute grounds for appeal. Authors appealing the editor’s decision should submit a letter of appeal to the editorial office within 30 days of receiving the decision email. The letter of appeal should describe the errors and provide a detailed demonstration that those errors were material to the editor’s decision.

The author’s appeal is allowed to override earlier decisions by the editors only when new information germane to the original review decision is presented. The author’s protest alone is not sufficient to affect the editors’ decision.

Conflicts of Interest

A conflict of interest occurs when an existing relationship (personal, financial, contractual, political, professional, religious, or otherwise) is perceived to impact the objectivity in presenting, reviewing, or publishing a piece of work. The Committee on Publication Ethics (COPE) states in its Guidelines on Good Publication Practice (2003) that “Conflicts of interest arise when authors, reviewers, or editors have interests that are not fully apparent and that may influence their judgments on what is published. They have been described as those which, when revealed later, would make a reasonable reader feel misled or deceived.”

Conflicts involving reviewers
Reviewers are expected to exclude themselves from evaluating manuscripts in which they have conflicts of interest. All information obtained in the reviewing process should be treated as confidential and not used for personal advantage.

Conflicts involving authors
The journal requires all prospective authors to disclose any potential conflicts of interest that are directly related to the work submitted for publication and that could impact the objectivity and/or integrity of a publication. Authors must identify and disclose any conflict of interest at the time of submission. If there is no conflict of interest, please state “The author(s) declare no conflict of interest.” For works authored by several scholars, the corresponding author shall review this policy with contributing authors to disclose all conflicts of interest collectively.

If a study was sponsored/funded in its entity or in some part (the design, data collection, analysis, interpretation, manuscript preparation, etc.), the role of the sponsor/funder should be stated as well. If no funding has been received, the author(s) should state “The author(s) declare no financial support for the research reported in this article.”

Failure to disclose conflicts of interest may result in a rejection of a submitted work. If a conflict of interest is discovered after the work has been published, the editor will communicate the incident to the readers by publishing a notice. Anyone who suspects an undisclosed conflict of interest in the work that has been published or is under consideration by the journal should contact the editorial staff.

Conflicts involving editors
Submissions authored by the current editors of the journal will be handled by a guest editor who will oversee the review process and the final decision on the manuscript in question.

Authorship Criteria

The list of authors should accurately reflect who contributed to the work presented. All individuals listed as authors should meet the following qualifying criteria:

1. contributed substantially to conceptualization, design, data collection, analysis, and/or interpretation of the findings AND
2. contributed to drafting or revising of the manuscript AND
3. approved the final version of the manuscript for publication AND
4. agreed to accept responsibility for all aspects of the work including its accuracy and integrity.

Contributions for those who do not meet the authorship criteria should be attributed in the Acknowledgement section. It is expected that authors include a general acknowledgement where their work has received substantial intellectual and technical help, including in the writing and editing of the manuscript.

Order and disambiguation of names
Any change to the list of authors or its ordering is expected to be agreed upon by all persons involved, including those whose names have been removed from the list. Any changes in authorship should be communicated in the letter to the editor. The editorial office encourages authors to take measures and remove potential ambiguity around personal names by using appropriate tools (e.g., ORCID) that provide unique digital identifiers.

The corresponding author
The corresponding author is expected to act on behalf of all co-authors and communicate with the editorial office during the review process. It is the corresponding author’s responsibility to ensure that all co-authors have seen and approve of the final version of the manuscript and have agreed to its publication.

Submit questions to Ricardo Trimillos (Editor) [asmusic@hawaii.edu].

The copy and organization of this section were developed using COPE standards, and Information & Culture Journal at University of Texas Press.

For information about the Society of Asian Music please use the link below.

In order to join the Society, subscribe to the journal.

https://asianmusic.info/

Sales from subscriptions to Asian Music,  supports the Society of Asian Music and the production costs of the journal.

The Editorial Advisory Board consisting of experts in the several areas of the study of Asian music shall be appointed by the Society for Asian Music Board Members, upon the recommendation of the Journal Editor.

Terms of the Editorial Advisory Board: 5 years (with the possibility of renewal).

East Asia:

Lei Ouyang, Skidmore College

Andrew Killick, University of Sheffield

Southeast Asia:

Gavin Douglas, University of North Carolina, Greensboro

Tan Sooi Beng, Universiti Sains Malaysia

South Asia:

Stephen Slawek, University of Texas at Austin

West Asia:

Michael Frishkopf, University of Alberta

Scott Marcus, University of California, Santa Barbara

Central Asia:

Stephen Blum, City University of New York

Peter Marsh, California State University, East Bay

Asian America:

Christi-Anne Castro, University of Michigan

Deborah Wong, University of California, Riverside

Asian Music is indexed and/or abstracted in the AHCI, Current Contents, IBR (International Bibliography of Book Reviews), IBZ (International Bibliography of Periodical Literature), IIMP, MAG, MLA, The Music Index, Musici, and RILM.

Published Semiannually

Advertising Rates
Full Page: $300.00
Half Page Horizontal: $250.00
Agency Commission: 15%

Mechanical Requirements
Full Page: 4.5 x 7.5 in.
Half Page: 4.5 x 3.75 in.
Trim Size: 6 x 9 in.
Halftones: 300 dpi

Deadlines

Acceptance Policy

All advertisements are limited to material of scholarly interest to our readers.  If any advertisement is inappropriate, we reserve the right to decline it.

Terms

• All copy is subject to editorial approval.
• Publisher’s liability for error will not exceed cost of space reserved.
• If requested, all artwork will be returned to advertiser.
• Invoices and tear sheets will be issued shortly after journal publication.
• We prefer to have ads as Portable Document Format (PDF) files.

These files can be e-mailed directly to cfarmer@utpress.utexas.edu