Gender in Chinese Music

Village ritualists, international classical pianists, pop idols, and professional mourners -- whether they perform in temples, on concert stages, or in TV shows, Chinese musicians continually express and negotiate their gendered identity in relation to those around them. Gender in Chinese Music draw [...]
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Village ritualists, international classical pianists, pop idols, and professional mourners -- whether they perform in temples, on concert stages, or in TV shows, Chinese musicians continually express and negotiate their gendered identity in relation to those around them. Gender in Chinese Music draws together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how music is implicated in changing notions of masculinity, femininity, and genders "in between" in Chinese culture. Individual chapters cover music cultures relating to diverse practitioners across space and time, from courting couples in China's heartlands to ethnic minority singers from the borderlands, and from Ming-period courtesans to contemporary karaoke hostesses. The book also features interviews with musicians, music industry workers, and fans talking about gender. With its wide-ranging subject matter and interdisciplinary approach, Gender in Chinese Music will be the major resource for researchers and students interested in this important subject.Rachel Harris is a senior lecturer in ethnomusicology at SOAS, University of London, and author of several books on the music of Chinese Central Asia. Rowan Pease is a senior teaching fellow at SOAS, University of London, and editorial manager of The China Quarterly. Shzr Ee Tan is a lecturer in music at Royal Holloway, University of London, an active musician in the UK and Singapore, and author of Beyond "Innocence": Amis Aboriginal Song in Taiwan as an Ecosystem.