Abstract
The focus of this paper is upon the Chinese concept of musical structure as a force of continuity in their instrumental ensemble repertoires. The repertoires examined are generally known as sizhu ('silk-bamboo'), of which there are many regional variants and related solo traditions along the eastern seaboard of China. These genres function in all areas as a variety of chamber music, a tradition to be enjoyed by performers and listeners in the intimate surroundings of the home, club, or teahouse. The instruments of performance include zithers (especially the zheng), lutes and fiddles (such as pipa and erhu), bamboo flutes (such as xiao), and other instruments of relatively low volume.
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