Keith Howard is Professor Emeritus and Leverhulme Emeritus Fellow at SOAS, University of London. He has written or edited 22 books, 170 academic articles, and 195 book/music reviews, and founded and managed the SOASIS CD and DVD series as well as OpenAir Radio.Catherine Ingram is Lecturer at the Sydney Conservatorium of Music, University of Sydney. Her forthcoming monograph is on Kam big song, and she recently commenced an ARC Discovery Project on musical resilience.

• Catherine Ingram and Keith Howard Introduction: Reflections on the significance of place for East Asian musical traditionsChina1 Catherine Ingram The Shifting Strength of Place in Contemporary Big Song Singing from Southwestern China 2 Anne E. McLarenFrom the Heart of the Lake Booms a Mountain Song: Sense of Place in the Song-Cycles of Coastal China3 Min Yen ONGBringing the Past to Life: Creating and Contesting Place in Kunqu Singing Practices4 Lu LIUBeijing in the Contemporary Pipa WorldTibet5 Gerald RocheThe Alphabetical Order of Things: The Language of Place and the Place of Language in Tibetan SongTaiwan6 Yang Ming TEOH Lingering Across the Ocean, Rooted on the Island: Indigenous Music and the Notions of Mountain and Sea as Taiwanese IdentifiersKorea7 Keith HowardThe Constructed Soundscapes of Place in Korea, South and North8 Hee-sun KIMPlace as Brand: The Role of Place in the Construction of Contemporary Traditional Music in South Korea9 Hilary Finchum-SungThe Sonic Habitus of Silk and Wood: Kugak’s Twenty-First-Century Terrain10 Roald MaliangkayNot a Habitus for the Have-Nots: The Walker Hill Shows, 1962–2012 Japan11 Naoko TERAUCHI Gagaku and the Kasuga Wakamiya Onmatsuri Festival of Nara: From the Sound of Authority to the Sound of Local Identity12 Hugh de Ferranti Biwa’s Place in Modern Times13 Kiku DayPlace and Locality in Fuke-Style Shakuhachi: The Case of Nezasa-ha Kinpūryū

Keith Howard is Professor Emeritus and Leverhulme Emeritus Fellow at SOAS, University of London. He has written or edited 22 books, 170 academic articles, and 195 book/music reviews, and founded and managed the SOASIS CD and DVD series as well as OpenAir Radio.Catherine Ingram is Lecturer at the Sydney Conservatorium of Music, University of Sydney. Her forthcoming monograph is on Kam big song, and she recently commenced an ARC Discovery Project on musical resilience.

• Catherine Ingram and Keith Howard Introduction: Reflections on the significance of place for East Asian musical traditionsChina1 Catherine Ingram The Shifting Strength of Place in Contemporary Big Song Singing from Southwestern China 2 Anne E. McLarenFrom the Heart of the Lake Booms a Mountain Song: Sense of Place in the Song-Cycles of Coastal China3 Min Yen ONGBringing the Past to Life: Creating and Contesting Place in Kunqu Singing Practices4 Lu LIUBeijing in the Contemporary Pipa WorldTibet5 Gerald RocheThe Alphabetical Order of Things: The Language of Place and the Place of Language in Tibetan SongTaiwan6 Yang Ming TEOH Lingering Across the Ocean, Rooted on the Island: Indigenous Music and the Notions of Mountain and Sea as Taiwanese IdentifiersKorea7 Keith HowardThe Constructed Soundscapes of Place in Korea, South and North8 Hee-sun KIMPlace as Brand: The Role of Place in the Construction of Contemporary Traditional Music in South Korea9 Hilary Finchum-SungThe Sonic Habitus of Silk and Wood: Kugak’s Twenty-First-Century Terrain10 Roald MaliangkayNot a Habitus for the Have-Nots: The Walker Hill Shows, 1962–2012 Japan11 Naoko TERAUCHI Gagaku and the Kasuga Wakamiya Onmatsuri Festival of Nara: From the Sound of Authority to the Sound of Local Identity12 Hugh de Ferranti Biwa’s Place in Modern Times13 Kiku DayPlace and Locality in Fuke-Style Shakuhachi: The Case of Nezasa-ha Kinpūryū

Keith Howard is Professor Emeritus and Leverhulme Emeritus Fellow at SOAS, University of London. He has written or edited 22 books, 170 academic articles, and 195 book/music reviews, and founded and managed the SOASIS CD and DVD series as well as OpenAir Radio.Catherine Ingram is Lecturer at the Sydney Conservatorium of Music, University of Sydney. Her forthcoming monograph is on Kam big song, and she recently commenced an ARC Discovery Project on musical resilience.

• Catherine Ingram and Keith Howard Introduction: Reflections on the significance of place for East Asian musical traditionsChina1 Catherine Ingram The Shifting Strength of Place in Contemporary Big Song Singing from Southwestern China 2 Anne E. McLarenFrom the Heart of the Lake Booms a Mountain Song: Sense of Place in the Song-Cycles of Coastal China3 Min Yen ONGBringing the Past to Life: Creating and Contesting Place in Kunqu Singing Practices4 Lu LIUBeijing in the Contemporary Pipa WorldTibet5 Gerald RocheThe Alphabetical Order of Things: The Language of Place and the Place of Language in Tibetan SongTaiwan6 Yang Ming TEOH Lingering Across the Ocean, Rooted on the Island: Indigenous Music and the Notions of Mountain and Sea as Taiwanese IdentifiersKorea7 Keith HowardThe Constructed Soundscapes of Place in Korea, South and North8 Hee-sun KIMPlace as Brand: The Role of Place in the Construction of Contemporary Traditional Music in South Korea9 Hilary Finchum-SungThe Sonic Habitus of Silk and Wood: Kugak’s Twenty-First-Century Terrain10 Roald MaliangkayNot a Habitus for the Have-Nots: The Walker Hill Shows, 1962–2012 Japan11 Naoko TERAUCHI Gagaku and the Kasuga Wakamiya Onmatsuri Festival of Nara: From the Sound of Authority to the Sound of Local Identity12 Hugh de Ferranti Biwa’s Place in Modern Times13 Kiku DayPlace and Locality in Fuke-Style Shakuhachi: The Case of Nezasa-ha Kinpūryū