In The Oxford Handbook of Music in China and the Chinese Diaspora, twenty-three scholars advance knowledge and understandings of Chinese music studies. Each contribution develops a theoretical model to illuminate new insights into a key musical genre or context.

This handbook is categorized into three parts. In Part One, authors explore the extensive, remarkable, and polyvocal historical legacies of Chinese music. Ranging from archaeological findings to the creation of music history, chapters address enduring historical practices and emerging cultural expressions. Part Two focuses on evolving practice across a spectrum of key instrumental and vocal genres. Each chapter provides a portrait of musical change, tying musical transformations to the social dimensions underpinning that change. Part Three responds to the role that prominent issues, including sexuality, humanism, the amateur, and ethnicity, play in the broad field of Chinese music studies. Scholars present systematic orientations for researchers in the third decade of the twenty-first century.

This volume incorporates extensive input from researchers based in China, Taiwan, and among Chinese communities across the world. Using a model of collaborative inquiry, The Oxford Handbook of Music in China and the Chinese Diaspora features diverse insider voices alongside authors positioned across the anglophone world.

Yu Hui is a Chinese musicologist with interests in Chinese music history, traditional music theory, guqin zither, and opera traditions. He is the first musicologist to receive the title of Changjiang Distinguished Professor of the Chinese Ministry of Education and is currently a Donglu Distinguished Professor at Yunnan University and a Chair Professor at Xiamen University.

Jonathan P.J. Stock is a British ethnomusicologist specializing in music in China and Taiwan. He is Professor of Music at University College Cork with interests in research ethics, ethnography, indigeneity, music education, music analysis, and the diverse global histories of ethnomusicology.

Acknowledgements
List of Figures
List of Contributors

1. Introduction: Frames of Reference for the Study of Music in China and Its Diaspora
Yu Hui and Jonathan P.J. Stock

PART I NEW DIRECTIONS IN HISTORY AND THEORY
2. Musical Archaeology and the Prehistory of Chinese Music
Yang Yuanzheng

3. Theorizing "Natural Sound": Ancient Chinese Music Theory and Its Contemporary Applications in the Study of Guqin Intonation
Yu Hui and Chen Yingshi

4. The Huxuan and Huteng Dances: Foreign Musical Dances in Chinese History
Zhao Weiping

5. Kunqu from Analytical Perspectives: A Focus on Feng Ru Song
Kar Lun Alan Lau

6. Why and How do Chinese Sing Shijing Songs?
Joseph S.C. Lam

7. Music History and Historiography in the Chinese Context
Hon-Lun Helan Yang

8. Chinese Music Modernities
Frederick Lau

PART II MUSIC GENRES AND PRACTICES IN EVOLVING CONTEXTS
9. Traditional Instruments and Heterophonic Practice
Alan R. Thrasher

10. Jiangnan Sizhu in the Greater Suzhou Area: Context, Repertoire, and Sustainability
Mercedes M. Dujunco

11. Social Change and the Maintenance of Music Tradition Among the Western Yugurs
Du Yaxiong

12. The Making of a Musical Community as a Manifestation of Nationalism: The Jinyu Qinshe Society in 1930s China
Yu Hui

13. A Multimodal and Interdisciplinary Approach to Luo Yusheng's Video Performance of "At Break Of Day"
Francesca R. Sborgi Lawson

14. The Emergence of Taiwanese New Xiqu: A Case Study on Chichiao Musical Theater
Hsieh Hsiao-Mei

15. Hybridity in the Modern Chinese Orchestral Music (Guoyue) of Taiwan
Ching-Yi Chen

16. Trends in the Globalization of Pipa Music
Ben Wu

PART III Cross-Cutting Issues in Contemporary Settings
17. Humanism in Red: A New Mainstream Narrative in the Pop Songs of 1980s' China
Lijuan Qian

18. Staging Race and Sexuality Across Borders: Marketing Pop Singer Coco Lee
Grace Wang

19. Re-Imagining China's Female Pianists: Yuja Wang and Zhu Xiao-Mei
Shzr Ee Tan

20. Liveness and Mediation in Chinese Art Music: From The Map to The Qingming Festival
Germán Gil-Curiel

21. The Professional and Amateur in Wuhan's Park Pop
Samuel Horlor

22. Minorities and the Mainstream: The Musical Place of the Non-Han Peoples in Modern China
Chuen-Fung Wong

23. "Kita Anak Malaysia" [We are the Children of Malaysia]: Performing Multicultural Chinese Identities
Tan Sooi Beng

24. Conclusions: New Directions in Chinese Music Research
Jonathan P.J. Stock

Index