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Grasping Intangible Heritage and Reimagining Inner Mongolia: Folk-Artist Albums and a New Logic for Musical Representation in China
13 references·2 citing·36 second hop
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References

  • 1996The Field of Cultural Production: Essays on Art and Literature4,672 cited
  • 1994Representing Nationality in China: Refiguring Majority/Minority Identities515 cited
  • 2000Minority Rules: The Miao and the Feminine in China’s Cultural Politics425 cited
  • 2004Encyclopedia of Mongolia and the Mongol Empire257 cited
  • 2001Other Chinas: the Yao and the politics of national belonging234 cited
  • 2010Music and cultural rights73 cited
  • 2012Music as Intangible Cultural Heritage: Policy, Ideology, and Practice in the Preservation of East Asian Traditions69 cited
  • 2016Environmental Crisis, Culture Loss, and a New Musical Aesthetic: China’s “Original Ecology Folksongs” In Theory and Practice49 cited
  • 2003Reading between the Lines: Reflections on the Massive "Anthology of Folk Music of the Chinese Peoples"44 cited
  • 1989Folk Songs of the Han Chinese: Characteristics and Classifications23 cited
  • 1994Academic Ignorance or Political Taboo? Some Issues in China's Study of Its Folk Song Culture23 cited
  • 2009Lives in Chinese music13 cited
  • 2014Driving Change, Sparking Debate: Chi Bulag and theMorin Huurin Inner Mongolia, China7 cited

Cited by

  • 2024Historical Development of Education and Learning in the Transmission of Miao Nationality Music in Yunnan Province, China

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3 cited
  • 2025Geographical Resonance: A Narrative Review on the Geographical Influence in Northern and Southern Chinese Folk Songs2 cited