| Robert Garfias |
Looking to the Future of World Music |
1-8 |
| | Reflections on "Srepegan" | |
|---|
| Judith Becker and Alton Becker |
A Reconsideration in the Form of a Dialogue |
9-16 |
| Marc Perlman |
Notes on "A Grammar of the Musical Genre Srepegan" |
17-29 |
| Judith Becker and Alton Becker |
A Grammar of the Musical Genre Srepegan |
30-73 |
| | Articles | |
|---|
| Slawomira Zeranska-Kominek, Beniamin Kostrubiec and Joanna Wierzejewska |
Universal Symbols in the Bukharan Shashmaqam |
74-93 |
| Anna Czekanowska |
Aspects of the Classical Music of Uighur People: Legend Versus Reality |
94-110 |
| Dale A. Olsen |
Japanese Music in Brazil |
111-131 |
| Ho Lu-Ting and Han Kuo-huang |
On Chinese Scales and National Modes |
132-154 |
| | Book Reviews | |
|---|
| S. A. K. Durga |
B. Chaitanya Deva. Music of India: A Scientific Study |
155-156 |
| Daniel Ferguson and Francesca Ferguson |
Zhongguo Yinyue Shiliao. Historical Materials on Chinese Music |
157-161 |
| | Record Review | |
|---|
| Hiromi Lorraine Sakata |
Collection du Centre National de la Recherche Scientifique and the Musée de l'Homme. Afghanistan: Chants des Pshai |
162-163 |
| | Addendum | |
|---|
|
Erratum: The Role of Amateur Participants in the Arts of No in Contemporary Japan |
164 |
