Publications
2024 “Inter-Asia Sensibility: Vocality and Materiality in Tan Dun’s Tea: A Mirror of Soul.” In Contemporary Opera in Flux, ed. by Yayoi Uno Everett, 152-175. Ann Arbor, MI.: University of Michigan Press.
2024 “Cantonese Opera and Sino-Soundscapes in North America.” In Sinophone Studies Across Disciplines: A Reader, ed. by Howard Chiang and Shu-Mei Shih, 89-107. New York: Columbia University Press.
2024 “Calligraphy, Ink, and Literary Pulse in the Manuscript of Chou Wen-chung’s Echoes from the Gorge.” Exploration in Music 2: 16-29. “《谷應》手稿的墨跡及文脈.《音樂探索》 (reprint with correction of a 2023 essay)
2023 “Inter-Asia Studies and Global History of Music.” Formosan Journal of Music Research 35/2: 123-132. “亞際研究與全球音樂史.”载《臺灣音樂研究》
2023 “Archives, Objects, and the Global History of Music.” Journal of Music History Pedagogy 12/2: 107-117.
2023 “Calligraphy, Ink, and Literary Pulse in the Manuscript of Chou Wen-chung’s Echoes from the Gorge.” In Manuscript Studies of Chou Wen-chung’s Echoes from the Gorge, ed. by Lei Liang and Luo Qin, 68-86. Shanghai: Shanghai Conservatory of Music Press. “《谷應》手稿的墨跡及文脈.” 载 《周文中作品手稿：谷應》
2023 “Interdisciplinary and Intercultural Artistic Collaboration.” In Human Flourishing in Music, edited by Anna Harwell Celenza, 137-159. New York: Oxford University Press.
2023 “Serialism in East Asia.” In The Cambridge Companion to Serialism, ed. by Martin Iddon, 278-299. Cambridge University Press.
2023 “Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions.” Music Theory Spectrum 25/1: 151-155.
2022 “Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is “Chinatown, My Chinatown” Still Played?” American Music 40/4: 547-552.
2022 “Listening Practice and History: Sound, Erasure.” Symposium on The Race of Sound by Nina Sun Eidsheim, KALFOU: A Journal of Comparative and Relational Ethnic Studies 8/2: 307-317.
2022 “Anti-Asian Hate: It’s Time to Stop Playing ‘Chinatown, My Chinatown.’” Musicology Now, An online platform for sounds, words, and ideas from the American Musicological Society.
2022 “Transpacific Cantonese Opera, Audiences, and Cultural Circulation.” Critique in the Frontline, International Association of Theatre Critics (Hong Kong) 《跨洋的粵劇、觀眾和文化流動》 载《藝評筆陣》國際演藝評論家協會（香港分會）.
2022 “From a Yellowed Page of Lyrics: Reimagine Chinatown Opera Theater.” In Guangdong Art Vol. 1: 24–31.“從一張泛黃的曲紙說起:《跨洋的粵劇》重新想像唐人街戲院.” 載《廣東藝術》. (excerpt from the Chinese translation of Chinatown Opera Theater in North America)
2022 “Preface: Temporality and the Mode of Listening.” In Harrison Birtwistle’s Concept of Temporality by Zhang Huilin, Guangxi Normal University Press.“ 序言: 時間思維與聆聽方式.”載張曄林著《哈里森·伯特威斯爾時間思維》，廣西師範大學出版社
2021 “Li Xuefang meets Mei Lanfang: Cantonese Opera’s Significant Rise in Shanghai and Beyond.” Chinese Oral and Performing Literature CHINOPERL Journal 39/2 (2020): 151-181.
2020 “Inside Chinese Theatre: Cantonese Opera in Canada.” Intersections 38/1-2 (2018)
2020 “The Concept of Shi: Chinese Aesthetics and Chen Yi’s Happy Rain on a Spring Night,” Music Theory Online 26/ 3
2020 “Kalligraphie und Tinte in der zeitgenössischen chinesischen Musik: Der Fall Wen Deqing.” Musik & Ästhetik 93 (2020): 5-26. https://www.musikundaesthetik.de/article/mu_2020_01_0005-0026_0005_01
2020 “On Division of Intellectual Labor.” Intégral: The Journal of Applied Musical Thought 33/1 https://www.esm.rochester.edu/integral/33-2019/rao/
2020 “Asian Americans in Opera: Historical and Contemporary Perspectives,” Oxford Encyclopedia of Asian American Literature https://oxfordre.com/literature/page/asian-american/the-oxford-encyclopedia-of-asian-american-and-pacific-islander-literature-and-culture
2019 “Inner Liason and Dialogue in Asia: Chou Wen-chung and Korean Gayageum,” (亞洲內部連結與對話：周文中與伽倻琴) The Art of Music: Journal of the Shanghai Conservatory of Music 音樂藝術156: 31-42. [in Chinese]
2018 “Introduction: Overview of Western Contemporary Music.” (緒論：西方當代音樂創作現狀總述) In Analysis of Western Contemporary Music—Trends of Structure and Ideas 西方當代音樂創作研究—結構思維與當代走向, edited by Chen Hongduo 陳鴻鐸, Shanghai: Shanghai Music Publisher 上海音樂出版社.
2017 “Soundscape in Chinese Ink Painting of Landscape.” (水墨山水的音景) In Collected Essays of Lei Liang 借音樂提問：梁雷音樂文論與作品評析, edited by Ban Lixue, 241-254. Shanghai: Shanghai Conservatory of Music Press. [in Chinese]
2017 “Soundscape in Chinese Ink Painting of Landscape.” (水墨山水的音景) The Art of Music: Journal of the Shanghai Conservatory of Music 音樂藝術 149: 76-82. [in Chinese, abridged version]
2017 “Chinese Opera Percussions from Model Opera to Tan Dun.” In China and the West: Music, Representation, and Reception, edited by Helan Yang and Michael Saffle, 163-185. Ann Arbor: University of Michigan Press.
2016 “Design of Pitch Structural in Lu Yen’s Woodwind Quintet: A perspective from the sketches.” (從《木管五重奏》手稿看盧炎的音高構思) In Alexander Tcherepnin and Chinese Musical Culture 齊爾品與中國音樂文化, edited by Qian Renping, 209-244. Shanghai: Shanghai Conservatory of Music Press. [in Chinese]
2016 “The Transformative Power of Rhythm and Gesture: Transnational Inflection in Chen Yi’s Symphony No. 2.” In Analytical Essays on Music by Women Composers: Concert Music, 1960-2000, edited by Laurel Parsons and Brenda Ravenscroft, 127-152. New York: Oxford University Press. [Winner of the Outstanding Multi-Author Collection, Society for Music Theory]
2016 “The Sense of Opening: String Quartet No. 1.” Elliott Carter Studies Online 1. http://studies.elliottcarter.org/volume01/
2016 “Transnationalism and Everyday Practice: Chinatown Theatres of North America in the 1920s.” Ethnomusicology Forum 26/1: 107-130.
2016 “Introduction: Emergent Sino-Soundscapes: Musical Pasts, Transnationalism and Identities.” Co-authored with Sooi Beng Tan. Ethnomusicology Forum 26/1: 1-10.
2016 “Sonic Imaginary After Cultural Revolution.” In Listening to China’s Cultural Revolution Music, Politics, and Cultural Continuities, edited by Paul Clark, Laikwan Pang, and Tsan-huang Tsai, 213-238. London: Palgrave.
2015 “Sketch Studies and Lu Yen’s Harmony.” (手稿解讀與盧炎的和聲) National Central University Journal of Humanities中央人文學報60: 1-52. [in Chinese]
2015 “From Chinatown Opera to The First Emperor: Racial Imagination, the Trope of ‘Chinese opera,’ and New Hybridity.” In Opera in a Multicultural World: Coloniality, Culture, Performance, edited by Mary Ingraham, Joseph K. So and Roy Moodley, 50-67. New York: Routledge.
2015 “Cultural Boundary and National Border: Recent Works of Tan Dun, Chen Yi, and Bright Sheng.” Translated by Myojung Bae. In Contemporary Music in East Asia, edited by Hee Sook Oh, 283-309. Seoul: Seoul National University Press. [In Korean]
2014 “Cantonese Opera in Turn-of-the Century Canada: Local History and Transnational Circulation.” 19th Century Music Review 11/2: 291-310.
2014 “Allegro Scorrevole in Carter’s First String Quartet: Crawford and the Ultra-Modern Inheritance,” Music Theory Spectrum 36/2: 181-202.
2014 “Cultural Boundary and National Border: Recent Works of Tan Dun, Chen Yi, and Bright Sheng.” In Contemporary Music in East Asia, edited by Hee Sook Oh, 211-240. Seoul, Seoul National University Press.
2014 “From Jiu Jiang Kou to Kandinsky: Contemporary Chinese Composers in Germany, France and United States.”(從九江口到康丁斯基：德國、法國和美國的華籍作曲家) In New Music in China 2011 , edited by Qian Renping, 265-280. Shanghai: Shanghai Conservatory of Music Press. [in Chinese]
2013 “Cathay Club”; “Music from China”; “Wu Man.” In New Grove Dictionary of American Music, 2nd Edition, edited by Charles Garrett, vols. 1-4, New York: Oxford University Press.
2013 “Asian-American Music: Chinese-American.” In New Grove Dictionary of American Music, 2nd Edition, edited by Charles Garrett, vol. 1, 221-24. New York: Oxford University Press.
2013 “Musical theater—Ethnic traditions, Asian, Chinatown theater.” In New Grove Dictionary of American Music, 2nd Edition, edited by Charles Garrett, vol. 5, 634-36. New York: Oxford University Press.
2012 “Recent Works of Chou Wen Chung, Zhou Long, Bright Sheng, Chen Yi, and Lei Liang.” (海外華人作曲家音樂創作、首演及重要活動述評) In New Music in China 2010, edited by Qian Renping, 257-273. Shanghai: Shanghai Conservatory of Music Press. [in Chinese]
2011 “The Public Face of Chinatown: Actresses, Actors, Playwrights, and Audiences of Chinatown Theaters in San Francisco of the 1920s.” Journal of the Society for American Music 5/2: 235-270.
2010 “Works of Tan Dun, Chen Qigang, Zhou Long, Bright Sheng, Chen Yi, and Lei Liang.” (海外華人作曲家音樂創作、演出及出版述評) In New Music in China 2009 zhonggu, edited by Qian Renping, 153-173. Shanghai: Shanghai Conservatory of Music Press. [in Chinese]
2010 “Chinese Opera Theaters.” Encyclopedia of Asian American Folklore and Folklife, edited by Jonathan H.X. Lee and Kathleen M. Nadeau, 241-6. Santa Barbara, CA: Greenwood Press.
2009 “The Color of Music Heritage: Chinese America in American Ultra-Modern Music.” Journal of Asian American Studies 12/1: 83-119.
2009 “The Tradition of Luogu Dianzi (Percussion Classics) and Its Signification in Contemporary Music.” (鑼鼓點子及其在當代音樂中的意義) In China and the West: the Birth of New Music, edited by Lei Liang and Edward Green, 21-39. Shanghai: Shanghai Conservatory of Music Press. [Translation and expansion of 2007 version]
2008 “Returning to New York: Manhattan’s Chinese Opera Theaters and the Golden Age of Cantonese Opera in North America.” (重返紐約！從1920年代曼哈頓戲院看美洲的粵劇黃金時期) In Collected Essays from Symposium on Cantonese Opera: Historical Development Over the Last Two Hundred Years Vol. 1, edited by Chow Sze Sum and Cheng Ling Yan, 261-294. Hong Kong: Chinese University of Hong Kong, Cantonese Opera Research Programme. [in Chinese]
2007 “The Tradition of Luogu Dianzi (Percussion Classics) and Its Signification in Contemporary Music.” Contemporary Music Review 5/6: 511-527.
2007 “Ruth Crawford’s Imprint on Contemporary Composition.” In Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music, edited by Ellie Hisama and Ray Allen, 110-147. Rochester: University of Rochester Press.[Winner of the Irwin Lowens Article Award, Society for American Music]
2005 “Cowell’s Sliding Tone and American Ultra-Modernist Tradition.” American Music 23/3: 281-323.
2004 “Henry Cowell and His Chinese Music Heritage: Theory of Sliding Tone and His Orchestral Work of 1953-1965.” In Locating East Asia in Western Art Music, edited by Yayoi Everett and Frederick Lau, 119-145, 241-246. Wesleyan, Conn.: Wesleyan University Press.
2002 “Hearing Pentatonicism Through Serialism: Integrating Different Traditions in Contemporary Chinese Music.” Perspectives of New Music 40/2: 190-232.
2002 “Songs of the Exclusion Era: New York’s Cantonese Opera Theaters in the 1920s.” American Music 20/4: 399-444.
2002 “Chromatic Space and the Poetics in Lu Yen’s Ling Chung Gao Lo.” (從音組及調性的角度探討盧炎「林中高樓」的意境) Journal of Musical Arts: 31-50. [in Chinese]
2002 “A Comparison of Trichordal Relations in Milton Babbitt’s String Quartet No. 2 and Elliott Carter’s A Symphony for Three Orchestras.” Ewha Music Journal 6: 127-172.
2001 “American Compositional Theory in the 1930s: Scale and Exoticism in ‘The Nature of Melody’ by Henry Cowell.” Musical Quarterly 85/4: 595-640.
2001 “The Scope, Angle, and Theoretical Basis of the Discourse on the History of Chinese New Music.” In Essays on Critical History of New Music in China, edited by Ching-chih Liu and Li Ming. Hong Kong: Hong Kong University. [In Chinese]
2000 “Racial Essence and Historical Invisibility: Chinese Opera in New York, 1930.” Cambridge Opera Journal 12/2: 135-62.
2000 “The Role of Language in Music Integration in Chen Qigang’s Poème Lyrique II.” Journal of Music in China 2/2: 270-91.
2000 “Imaginary Space in the Pentatonic Twelve-tone World: Luo Zhong Rong’s Qin-Yun.” In Papers and Proceeding of the Sixth Seminar on History of New Music in China: Its Form, Craftsmanship, Aesthetics, edited by Ching-chih Liu and Li Ming, 263-87. Hong Kong: Hong Kong University, Centre of Asian Studies. [In Chinese]
1997 “Partnership in Modern Music: Charles Seeger and Ruth Crawford, 1929-1931.” American Music 15/3: 352-380.
REVIEWS
2022 Review of Andrew F. Jones: Circuit Listening: Chinese Popular Music in the Global 1960s. Notes: Journal of the Music Library Association 78/4: 546–549.
2017 Review essay of Grace Wang: Soundtracks of Asian America: Navigating Race through Musical Performance; Tamara Roberts: Resounding Afro Asia: Interracial Music and the Performance of Unity. Journal of the Society for American Music 11/3: 370-76.
2017 Review of Arthur Dong: Forbidden City, USA: Chinese American Nightclubs, 1936-1970. Notes: Journal of the Music Library Association 73/4: 741-44.
2015 Review of Joel Sachs: Henry Cowell: A Man Made of Music. Journal of the Society for American Music 9/3: 363–366.
2011 Review of Su Zheng: Claiming Diaspora: Music, Transnationalism, and Cultural Politics in Asian/Chinese America. American Music 29/3: 386-88.
1997 Review of Barbara Mittler: Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People’s Republic of China since 1949. CHIME: Journal of the European Foundation for Chinese Music Research 12/13: 57-60.
LINER NOTES and PROGRAM NOTE
2020 Liner notes for the audio recording Shih-Hui Chen: Silvergrass & Other Orchestral Works, New World Records NW80807 [English and Chinese]
2017 “Cantonese Opera in 1920s Vancouver.” In Vancouver Opera Program Book for Puccini’s Turandot, Vancouver Opera, Vancouver, October. [English and Chinese]
2017 Liner notes for the audio recording Crossings: Contemporary Music for Chinese Instruments, Albany Records 1674. [English and Chinese]
2004 “Zhou Long and Chinese Classic Poetry.” Liner notes for Zhou Long: The Book of Songs, Cala Records 77009, pages 2-11.