This is the sixth volume in a series of books devoted to the history, documentation and analysis of music in Asia. Four essays are dedicated to documents from the past: fifth-century Korean tomb paintings; tenth-century Chinese scores for lute; eighth-century Japanese documents; early Chinese sutras on the perception of sound. The remainder concern contemporary documents: the notations of the Japanese end-blown flute (shakuhachi) and lute (biwa) and their relationship to performance; acoustical analysis of contemporary shakuhachi. The focus on musical documents, whether ancient or modern, provides a unifying thread which renders this volume unique in the ethnomusicological literature on East Asian music.

This is the sixth volume in a series of books devoted to the history, documentation and analysis of music in Asia. Four essays are dedicated to documents from the past: fifth-century Korean tomb paintings; tenth-century Chinese scores for lute; eighth-century Japanese documents; early Chinese sutras on the perception of sound. The remainder concern contemporary documents: the notations of the Japanese end-blown flute (shakuhachi) and lute (biwa) and their relationship to performance; acoustical analysis of contemporary shakuhachi. The focus on musical documents, whether ancient or modern, provides a unifying thread which renders this volume unique in the ethnomusicological literature on East Asian music.

This is the sixth volume in a series of books devoted to the history, documentation and analysis of music in Asia. Four essays are dedicated to documents from the past: fifth-century Korean tomb paintings; tenth-century Chinese scores for lute; eighth-century Japanese documents; early Chinese sutras on the perception of sound. The remainder concern contemporary documents: the notations of the Japanese end-blown flute (shakuhachi) and lute (biwa) and their relationship to performance; acoustical analysis of contemporary shakuhachi. The focus on musical documents, whether ancient or modern, provides a unifying thread which renders this volume unique in the ethnomusicological literature on East Asian music.