Harmony and Counterpoint: Ritual Music in Chinese Context

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Introduction Bell Yung, Evelyn S. Rawski, Rubie S. Watson
1. The nature of Chinese ritual sound Bell Yung
Part I . Behind the Scenes: Creating Legitimacy:
2. Ritual and musical politics in the court of Ming Shizong Joseph S. C. Lam
3. State sacrificial music and Korean identity Robert C. Provine
4. Musical assertion of status among the Naxi of Lijiang County, Yunnan Helen Rees
Part II . Musical Transformations: Rites of Passage:
5. Chinese bridal laments: the claims of a dutiful daughter Rubie S. Watson
6. Processional music in traditional Taiwanese funerals Ping-Hui Li
7. The creation of an Emperor in eighteenth-century China Evelyn S. Rawski
8. Sing to the spirits of the dead: a Daoist ritual of salvation Judith Magee Boltz
9. Ritual opera and the bonds of authority: transformation and transcendence Ellen R. Judd Notes Index.

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This volume of nine essays draws together leading scholars in anthropology, social history, musicology, and ethnomusicology to address the roles and functions of music in the Chinese ritual context. How does music, one of a constellation of essential performative elements in almost all rituals, empower an officiant, legitimate an officeholder, create a heightened state of awareness, convey a message, or produce a magical outcome, a transition, a transformation? After an introduction by the volume editors, Bell Yung proposes a theoretical framework for dealing with Chinese ritual sound. A group of three essays focuses on the music for rituals that create political and social legitimacy followed by a second group of essays considering the music associated with rites of passage. Two essays then deal with the music accompanying rituals of propitiation. In all these cases, music is seen to play a critical role, if not the core of the ritual.

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