Preface
In the late 1980s Pico Iyer (1988) commented on the ubiquity of popular music in Asia. He bases his view on his experiences in the Philippines and assumes that the rest of Asia similarly shares a deep and abiding affinity with popular music. Norman Lewis commented on this in the 1950s according to Iyer. So this is a long-standing phenomenon and the question arises why then has it taken so long for popular music in Asia to become a respectable object of academic study? Various responses can be constructed to answer such a simple question, which range from the commercial nature of the medium to its ephemeral status. None of these answers is adequate. Popular music in Asia has been ignored by academics because it does ...
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