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General
Baranovitch, Nimrod. China’s New Voices: Popular Music, Ethinicity,
Gender, and Politics, 1978-1997. Berkeley: University of California Press,
2003. [MCLC Resource Center review by Barbara Mittler]
Bryant, Lei Ouyang. "Music, Memory, and Nostalgia: Collective Memories of Cultural Revolution Song in Contemporary China." The China Review 5, 2 (Fall 2005).
Chao, Mei-pa. "The Trend of Modern Chinese Music." T'ien Hsia Monthly 4 (March 1937): 269-86.
Davis, Sarah. Song and Silence: Ethnic Revival on China's Southwest Borders. NY: Columbia UP, 2005.
Gild, Gerlinde. "Early 20th Century 'Reforms' in Chinese Music. Dreams of Renewal Inspired by Japan and the West." Chime 12/13 (Spring/Autumn 1998):116-123.
Gronow, Pekka. "The Record Industry Comes to the Orient." Ethnomusicology 25 (1981): 251-84.
Hallis, Xiang Chen. Chinese Art Song from 1912 to 1949. Ph.D diss. Austin: University of Texas, 1995.
Hamm, Charles. "Music and Radio in the People's Republic of China." Asian Music 2 (Spring/Summer 1991): 1-42.
Hung, Chang-tai. "The Politics of Songs: Myths and Symbols in the Chinese Communist War Music, 1937-1949." Modern Asian Studies 30 (Oct. 1996): 901-929.
Jones, Andrew F. "The Gramophone in China." In Lydia Liu, ed., Tokens of Exchange: The Problem of Translation in Global Circulations. Durham: Duke UP, 1999, 214-38.
-----. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham: Duke UP, 2001.
Kagan, A. L.. "Music and the Hundred Flowers Movement." Musical Quarterly 49 (1963): 417-30.
Kraus, Richard Curt. Pianos and Politics in China: Middle-Class Ambitions and the Struggle over Western Music. New York: Oxford University Press, 1989.
Liang Maochun. Zhongguo dangdai yinyue (1949-1989). Beijing: Beijing
guangbo xueyuan, 1989.
Liang, Mingyue. Music of the Billion: An Introduction to Chinese Musical
Culture. New York: Heinrichshofen Edition C.F. Peters, 1985.
Liu, C. C., ed. Zhongguo xin yinyueshi lunji. 4 vols. HK: Centre of Asian
Studies, 1986-1992.
Melvin, Sheila and Jindong Cai: Rhapsody in Red: How Classical Music Became
Chinese. New York: Algora Pub., 2004.
Mittler, Barbara. "20th Century Chinese Compositions in The C.C. Liu Collection."
Chime 4 (Aut. 1991): 92-95.
-----. Dangerous Tunes: The Politics of Music in Hong Kong,
Taiwan, and the PRC since 1949. Wiesbaden: Harrassowitz, 1997.
Perris, Arnold. "Music as Propaganda: Art at the Command
of Doctrine in the People's Republic of China." Ethnomusicology
17, 1 (Jan. 1983): 1-25.
-----. Music as Propaganda: Art to Persuade and to Control.
Westport: Greenwood Press, 1985.
Samson, Valerie. "Music as Protest Strategy: The Example
of Tiananmen Square, 1989." Pacific Review of Ethnomusicology
6 (1991).
Steen, Andreas. Zwischen Unterhaltung und Revolution: Grammophone, Schallplatten und die Anfange der Musikindustrie in Shanghai. Weisbaden: Harrassowitz Verlag, 2006.
Stock, Jonathan P. J. Musical Creativity in Twentieth-Century
China: Abing, His Music, and its Changing Meanings. Rochester:
University of Rochester Press, 1996.
Unbreakable
Spirits: Women Breaking Down Barriers in China [AsiaSource
is featuring audio excerpts from Unbreakable Spirits, a
12-part, half hour radio series released by Artistic Circles and
Public Radio International. The series takes listeners to the
heart and soul of China's emerging women musical and performance
artists from Beijing, Liaoning Province, Hong Kong and Shanghai.
Through interviews and music, meet the first all-female rock band,
the first woman conductor, and a female Buddhist monk. Though
years of research and travel, Ann Feldman, Executive Director
of Artistic Circles, produced Unbreakable Spirits as an
overview of Chinese women's cultural creativity in classical,
traditional and contemporary music, in religious practice and
cultural ceremony]
Wang Yuhe. Zhongguo jinxiandai yinyue shigang (A brief
history of Chinese early modern and modern music). Beijing: Renmin
yinyue, 1984.
-----. Zhongguo xiandai yinyue shigang (A brief history
of Chinese modern music). Beijing: Huawen, 1991.
Wong, Isabel K. F. "From Reaction to Synthesis: Chinese Musicology in
the Twentieth Century." In Bruno Nettl and Philip Bohlman, eds., Comparative
Musicology and Anthropology of Music: Essays on the History of Ethnomusicology.
Chicago: University of Chicago Press, 1991.
Xu Changhui. Taiwan yinyue shi chugao (Draft history of Taiwan music).
Taibei: Quan yinyue pu, 1991.
-----. "Operas by Qu Xiaosong and Guo Wenjing." Chime 8 (Spring 1995): 158-161.
-----. "Tan Dun - A 'Comet Came Thundering.'" Chime 8 (Spring 1995): 162-164.
-----. "New Chinese Operas by Qu Xiaosong, Tan Dun and
Guo Wenjing." Chime 11/12 (Spring/Autumn 1997): 111-122.
Mittler, Barbara. "Chinese Music in the 1980s: The Aesthetics
of Eclecticism." In In Noth, Jochen, et.al., eds. China
Avant-garde: Counter-currents in Art and Culture. HK, New
York: Oxford University Press, 1994, 80-88.
-----. "Sprachlose Propaganda--Politik und musikalische Avantgarde in Hong Kong, Taiwan und der Volksrepublik China." In Yaogun Yinyue: Jugend-, Subkultur und Rockmusik in China. Politische und gesellschaftliche Hintergründe eines neuen Phänomens (T. Heberer Hrsg.). Münster: LIT, 1994, 33-46.
-----. "Chinese New Music as a Politicized Language: Orthodox Melodies and Dangerous Tunes." Indiana East Asian Working Paper Series 10 (1996): 1-22.
-----. "Mirrors and Double Mirrors--The Politics of Identity
in New Music from Hong Kong and Taiwan." CHIME 9 (1996):
4-44.
Ryker, Harrison, ed. New Music in the Orient: Essays on Composition
in Asia since World War II. Buren, The Netherlands: F. Kunf,
1990.
Putten, Bas van. "Tan Dun's Marco Polo, a multi-cultural journey,." Chime 9 (Aut. 1996): 57-62.
Saunders, Glen. "A Chinese Composer's views on Greek Drama and Buddhism. Qu Xiaosong's Opera The Death of Oedipus." Chime 9 (Aut. 1996): 46-56.
Tan Dun official website
Tan Dun's works
(Schirmer.com)
Wu Fei's Music [composer/performer/improvisor/vocalist from Beijing who plays the guzheng]
Barme, Geremie. In the Red: Essays on Contemporary Chinese Culture.
NY: CUP, 1996.
-----. "Revolutionary Opera Arias Sung to a New Disco Beat." Far
Eastern Economic Review 130, 130 (Dec. 26, 1987): 36-38.
Beijing Bubbles [website for a 2005 documentary, by Susanne Messmer and George Lindt, on the Beijing rock scene]
Benson, Carlton. "Consumers Are Also Soldiers: Subversive Songs from Nanjing Road during the New Life Movement." Sherman Cochran, ed., Inventing Nanjing Road: Commerical Culture in Shanghai, 1900-1945. Ithaca, NY: East Asia Program, Cornell University, 1999, 91-132.
Blake, Fred. "Love Songs and the Great Leap: The Role of Youth Culture
in the Revolutionary Phase of China's Economic Development." American
Ethnologist 6, 1 (1979): 41-54.
Brace, Timothy. "Popular Music in Contemporary Beijing: Modernism and Cultural
Identity." Asian Music 22, 2 (Spring/Summer 1991): 43-63.
-----. Modernization and Music in Contemporary China: Crisis, Identity, and the Politics of Style. Ph.d. diss. Austin: University of Texas, 1992.
-----and Paul Friedlander. "Rock and Roll on the New Long March: Popular Music, Cultural Identity, and Political Opposition in the People's Republic of China." In Reebee Garofalo, ed, Rockin' the Boat: Mass Music and Mass Movements. Boston: South End Press, 1992, 115-28.
Chong, Woei Lien, "Young China's Voice of the 1980s: Rock Star Cui Jian." CHIME 4 (Autumn 1991): 4-22; rpt. from China Information 6, 1 (Summer 1991): 55-74.
Chow, Rey. "Listening otherwise, music miniaturized: a different type of question about revolution." In Simon During, ed., The Cultural Studies Reader. London/NY: Routledge, 1993, 382-99. Also in Chow, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies. Bloomington: Indiana UP, 1993, 144-64.
Chow Yiu Fai & Jeroen de Kloet. "Sounds from the margin: Beijing rock scene faces an uncertain future." Chime 11/12 (Spring/Autumn 1997): 123-128.
Clark, Matthew Corbin. “Birth of a Beijing Music Scene.” China in the Red website (Feb. 13, 2003) [a good overview of the Beijing and Shanghai rock scenes, with videos of rock performances]
de Kloet, Jeroen. "'Let Him Fucking See the Green Smoke Beneath My Groin': The Mythology of Chinese Rock." In Xudong Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 239-74.
-----. "Audiences in Wonderland: The Reception of Rock Music in China." In: T. Mitchell and P. Doyle, eds., Changing Sounds - New Directions and Configurations in Popular Music. Sydney: University of Technology, 2000: 130-44.
-----. "Living in Confusion, Remembering Clearly - Chinese Rock." In: Mitsui, T., ed., Popular Music: Intercultural Interpretations. Kanazawa University & Hoyu Printing: Kanazawa, 1998: 38-51; also published in: Crawdaddy no. 18 (1997): 1-4.
-----. "Commercial Fantasies: China's Music Industry." In: S. H. Donald, M. Keane and Y. Hong, eds., Media Futures in China, Consumption, Content and Crisis. London and Surrey: Routledge / Curzon Press, 2002: 93-104.
-----. "Marx or Market: Chinese Rock and the Sound of Fury." In Jenny Kwok Wah Lau, ed., Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Philadelphia: Temple UP, 2003, 28-52.
-----. "Authenticating Geographies and Temporalities: Representations of Chinese Rock." Visual Anthropology (2005)
-----. "Popular Music and Youth in Urban China: The Dakou Generation." The China Quarterly 183 (Sept. 2005): 609-626.
-----. "Sonic Sturdiness: The Globalization of 'Chinese' Rock and Pop." Critical Studies in Media Communication 22, 4 (Nov. 2005).
-----. with A. Steen, "Popular Music in Shanghai." In J. Shepherd, D. Horn and D. Laing, The Encyclopedia of Popular Music of the World. London: Continuum International, 2005.
Dujunco, Mercedes M. "Hybridity and Disjuncture in Mainland Chinese Popular Music." In Timothy Craig and Richard King, eds., Global Goes Local: Popular Culture in Asia. Vancouver, BC: University of British Columbia Press, 2002, 25-39.
Efird, Robert. "Rock in a Hard Place: Music and the Market in Nineties
Beijing." In Nancy Chen, et al, eds., China Urban: Ethnographies of
Contemporary Culture. Durham: Duke UP, 2001.
"The Evolution
of Chinese Rock." ChinaToday.com.cn. [good chronological list of moments
in Chinese rock history]
Friedlander, Paul. "China's 'Newer Value' Pop: Rock-and-Roll and Technology
on the New Long March." Asian Music 22, 2 (Spring/Summer 1991):
67-79.
-----. "Rocking the Yangtze: Impressions of Chinese Popular Music and Technology."
Popular Music and Society 14, 1 (Spring 1990): 63-73.
Groenewegen, Jeroen. Tongue:
Making Sense of Beijing Underground Rock, 1997-2004. MA Thesis. Leiden
University, 2005.
Hamm, Charles. "Music and Radio in the People's Republic of China."
Asian Music 22, 2 (Spring/Summer 1991): 1-41.
Harris, Rachel. "Cassettes, Bazaars, and Saving the Nation: The Uyghur Music Industry in Xinjiang, China." In Timothy Craig and Richard King, eds., Global Goes Local: Popular Culture in Asia. Vancouver, BC: University of British Columbia Press, 2002, 265-82.
-----. "Reggae on the Silk Road: The Globalization of Uyghur Pop."
The China Quarterly 183 (Sept. 2005): 627-643
Herberer, Thomas, ed., Yaogun Yinyue: Jugend-Subkultur und Rockmusik in China.
Politische und gesellschaftliche Hintergrunde eines neuen Phenomens. Munster:
LIT, 1994.
Hirschfeld, Gerhard and Jesko Sander. BAP övver China. Vorwärts Reportagen. ??
Huot, Claire. "Rock Music from Mao to Nirvana: The West is the Best." In Huot, China's New Cultural Scene: A Handbook of Changes. Durham: Duke University Press, 2000, 154-81.
Jaivin, Linda. "Beijing Bastards - The New Revolution."
Chime 8 (Spring 1995): 99-103.
Jones, Andrew F. Like a Knife: Ideology and Genre in Contemporary
Chinese Popular Music. Ithaca: Cornell East Asia Institute,
1992.
-----. "The Politics of Popular Music in Post-Tiananmen China."
In Jeffrey N. Wasserstrom and Elizabeth J. Perry. eds., Popular
Protest and Political Culture in Modern China. Boulder: Westview
Press, 1994, 148-65.
-----. "Beijing Bastards." SPIN Magazine 8, 7 (1992).
-----. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham: Duke UP, 2001.
Kilroy, Charlotte. "Beijing Boogie." Beijing Scene 2, 19 (Aug. 1996): 4-6.
Lee, Gregory. "The 'East is Red' Goes Pop: Commodification, Hybridity and Nationalism in Chinese Popular Song and Its Television Performance." Popular Music 14 (1995): 95-110.
-----. "Chineseness
and MTV: Construction of the 'Ethnic' Imaginary and the Recuperation
of National Symbolic Space by the Official Ideology."
In Mario Vieira de Carvalho, ed., Music and Lifeworld: Otherness
and Transgression in the Culture of the Twentieth Century
(in memoriam Fernando Lopes Graça). Lisbon: Fundaçao
D. Luis I.
Liang, Heping and Ulrike Stobbe. "Cui Jian and the Birth
of Chinese Rock Music." In In Noth, Jochen, et.al., eds.
China Avant-garde: Counter-currents in Art and Culture.
HK, New York: Oxford University Press, 1994, 89-92.
Lin, Sylvia Li-chun. "Toward a New Identity: Nativism and Popular Music in Taiwan." China Information 17, 2 (2003): 83-107.
Micic, Peter. "'A Bit of This and a Bit of That': Notes on Pop/Rock Genres in the Eighties in China." Chime 8 (Spring 1995): 76-95.
-----. "Pop 'n' Rock Loan Words and Neologisms in the PRC." Chime 14/15 (1999/2000):103-123.
Mitsui, Toro and Shuhei Hosokawa, eds, Karaoke Around the World: Global Technology, Local Singing. London and New York: Routledge, 2001.
Pan, Keyin. "Red China Blues Woman." Beijing Scene 5, 2.
Rea, Dennis. "A Western Musician's View of China's Pop and Rock Scene." Chime 6 (Spring1993): 34-55.
-----. "'Balls under the Red Flag': Cui Jian Makes His U.S. Debut in Seattle." Chime 8 (Spring 1995): 96-98.
Shi, Anbin. "Rock-and-Roll on the Road of a Post-Socialist 'Long March': A 'Chinese Bob Dylan' and His Quest for a New Socio-Cultural Identity." In Shi, A Comparative Approach to Redefining Chinese-ness in the Era of Globalization. Lewiston, NY: Mellen Press, 2003, 79-128.
Smith, Joanne. "Barren Chickens, Stray Dogs, Fake Immortals and Thieves:
Coloniser and Collaborater in Popular Uyghur Song and the Quest for National
Identity." In Ian Biddle and Vanessa Knights, eds., Music, National
Identity and the Politics of Location: Between the Global and the Local.
Aldershot: Ashgate, 2004.
Steen, Andreas. "Die Entwicklung der Popmusik in der VR China: Von Zhou
Xuan bis Cui Jian." In Thomas Herberer, ed., Yaogun Yinyue: Jugend-Subkultur
und Rockmusik in China. Politische und gesellschaftliche Hintergr¸nde
eines neuen Phenomens (Munster: LIT, 1994), 47-68.
-----. Der Lange Marsch Des Rock n' Roll--Pop und Rockmusik in Der Volksrepublik China. Hamburg: LIT Verlag, 1996.
-----. "Buddhism and Rock Music - A new music style?" Chime 12/13 (Spring/Autumn 1998): 151-164.
-----. "Tradition, Politics, and Meaning in 20th Century China's Popular Music--Zhou Xuan: 'When Will the Gentleman Come Back Again?'" Chime 14/15 (1999/2000): 124-153.
-----. "Sound, Protest and Business: Modern Sky Co. and the New Ideology of Chinese Rock."
-----. Zwischen Unterhaltung und Revolution: Grammophone, Schallplatten und die Anfange der Musikindustrie in Shanghai. Weisbaden: Harrassowitz Verlag, 2006.
Tao, Ran. "Chaos and Collusion: Contemporary Chinese Rock." China Today 6 (June 2000).
Tong, Wei. "Rock 'n' Roll China." Nexus: China in Focus (Summer 1990): 14-21.
Tuohy, Sue. "Metropolitan Sounds: Music in Chinese Films of the 1930s." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 200-21.
Wang, Shuo. "Cui Jian: Power to the Memory." 2000 Prince Claus Awards. The Hague: Prince Claus Fund, 2000, 54.
Witzleben, Larry. "Cantopop and Mandapop in Pre-Postcolonial Hong Kong: Identity Negotiation n the Performances of Anita Mui Yim-Fong." Popular Music 18, 2 (May1999).
Wong, Isabel K. F. "The Incantation of Shanghai: Singing a City into Existence." In Timothy Craig and Richard King, eds., Global Goes Local: Popular Culture in Asia. Vancouver, BC: University of British Columbia Press, 2002, 246-64.
Yan, Jun. Beijing xinsheng (Beijing's new voice). Changsha: Hunan wenyi chubanshe, 1999.
Yang, Fang-Chih. "Working Class Girls and Popular Music in Taiwan." Jump Cut 40 (1996).
Yeh, Yueh-yu. "A Life of Its Own: Musical Discourses in Wong Kar-Wai's Films." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999).
Zheng, Su. "Female Heroes and Moonish Lovers: Women's Paradoxical Identities in Modern Chinese Songs." Journal of Women's History 8, 4 (Winter, 1996).
Jones, Andrew F. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham: Duke UP, 2001.
Rea, Dennis. "The LAND Tour and the Rise of Jazz in China." dennisrea.com.
Baranovitch, Nimrod. "Between Alterity and Identity: New Voices of Minority People in China." Modern China 27, 3 (2001): 359-401.
Benson, Carlton. "The Manipulation of 'Tanci' in Radio Shanghai during the 1930s." Republican China 20, no. 2 (April 1995): 117-146.
Chu, Leonard L. "Sabers and Swords for the Chinese Children: Revolutionary Children's Folk Songs." In Godwin Chu, ed., Popular Media in China: Shaping New Cultural Patterns. Honolulu: University Press of Hawaii, 1978, 16-50.
Harris, Rachel. Music, Identity and Persuasion: Ethnic Minority Music in Xinjiang, China. Ph.D. Dissertation. London University, 1998.
-----. "Wang Luobin: 'Folksong King of the Northwest' or Song Thief?: Copyright, Representation and Chinese 'Folksongs." In Kevin Latham and Stuart Thompson, eds., Consuming China: Approaches to Cultural Change in Contemporary China. Richmond: Curzon Press, 2001.
-----."Music of the Uyghurs." Encyclopedia of the Turks, vol. 6. Istanbul: Yeni Turkiye, 2002, 542-49.
-----. "Wang Luobin, Folk Song King of the Northwest or Song Thief?: Copyright, Representation, and Chinese Folk Songs." Modern China 31, 3 (2005): 381-408. [abstract]
Jones, Stephen. Folk Music of China: Living Instrumental Traditions. Oxford: Clarendon, 1995.
Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford University Press, 2000.
Schimmelpenninck, Antoinet. Chinese Folk Songs and Folk Singers: Shan'ge Traditions in Southern Jiangsu. Leiden: CHIME Foundation, 1997.
Stock, Jonathan. Abing, His Life and His Music.
-----. Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings. Rochester, NY: University of Rochester Press,1996.
Tuohy, Sue. "The Social Life of Genre: The Dynamics of Folksong in China." Asian Music 30, 2 (1999): 39-86.
Traditional Songs and Stories of the Hua Miao of Southwest China (Steve Rake)
Wang Luobin, the Official Website
Witzleben, Laurence. 'Silk and Bamboo' Music in Shanghai: The Jiangnan Sizhu Instrumental Ensemble Tradition. Kent, Ohio: The Kent State University Press, 1995.
Yang Mu. "Academic Ignorance or Political Taboo? Some Issues in China's Study of its Folksong Culture." Ethnomusicology 38, 2 (1994):303-20.
Revolutionary
Bryant, Lei Ouyang. "Music, Memory, and Nostalgia: Collective Memories of Cultural Revolution Song in Contemporary China." The China Review 5, 2 (Fall 2005).
Cheng, Philip H. "A Comparative Value Analysis: Traditional versus Revolutionary Opera." In Godwin Chu, ed., Popular Media in China: Shaping New Cultural Patterns. Honolulu: University Press of Hawaii, 1978.
Chi, Robert. "'The March of the Volunteers': From Movie Theme Song to National Anthem." In Ching Kwan Lee and Guobin Yang, eds., Re-envisioning the Chinese Revolution: The Politics and Poetics of Collective Memories in Reform China. Washington, DC: Woodrow Wilson Center Press, 2007, 217-44.
Chu, Godwin and Philip H. Cheng. "Revolutionary Opera: An Instrument for Cultural Change." In Godwin Chu, ed., Popular Media in China: Shaping New Cultural Patterns. Honolulu: University Press of Hawaii, 1978, 73-103.
Chu, Leonard L. "Sabers and Swords for the Chinese Children: Revolutionary Children's Folk Songs." In Godwin Chu, ed., Popular Media in China: Shaping New Cultural Patterns. Honolulu: University Press of Hawaii, 1978, 16-50.
Hung, Chang-Tai. "The Politics of Songs: Myths and Symbols in the Chinese Communist War Music, 1937-1949." Modern Asian Studies 30, 4 (Oct. 1996): 901-29.
Krauss, Richard. "The East is Red." In Kraus, Pianos and Politics in China: Middle Class Ambitions and the Struggle Over Western Music. NY: Oxford UP, 1989, 119-20.
Mittler, Barbara. "Cultural Revolution Model Works and the Politics of Modernization in China: An Analysis of Taking Tiger Mountain by Strategy." The World of Music. Special Issue, Traditional Music and Composition 2 (2003): 53-81.
Perris, Arnold. "Music as Propaganda: Art at the Command of Doctrine in the People's Republic of China." Ethnomusicology 17, 1 (1983): 1-28.
Wagner, Vivian. "Songs of the Red Guards: Keywords Set to Music." Paper #9 in the Indiana East Asian Working Paper Series on Language and Politics in Modern China. Ed. Jeff Wasserstrom and Sue Tuohy. Bloomington: East Asian Studies Center, Indiana University, 1996.
Wong, Isabelle F.K. "Geming Gequ: Songs for the Education of the Masses." In McDougall, ed., Popular Chinese Literature and Performing Arts. Berkeley: UCP, 1984, 112-43.
-----. Players and Publics in the Re-creation of Peking Opera, 1870-1937. Berkeley: University of California Press, 2007. [press blurb]
Guy, Nancy. Peking Opera and Politics in Taiwan. Urbana: University of Illinois Press, 2005. [press blurb]
Mittler, Barbara. "Mit Geschick den Tigerberg erobern--Zur Interpretation einer multiplen Quelle." In Lesarten eines globalen Prozesses. Quellen und Interpretationen zur Geschichte der europäischen Expansion, Festschrift für Dietmar Rothermund, (Andreas Eckert Hrsg.). Münster: LIT (Parerga), 1998, 35-51.
Wichmann, Elizabeth. Listening to Theatre: The Aural Dimensions
of Beijing Opera. Honolulu: University of Hawaii Press, 1991.
Yung, Bell. "Model Opera as Model: From Shajiabang to Sagabong."
In McDougall, ed. Popular Chinese Literature and Performing
Arts in the People's Republic of China, 1949-1979. Berkeley:
UCP, 1984, 144-64.
-----. Cantonese Opera: Performance as Creative Process. Cambridge: Cambridge
University Press, 1989.
