Voices of Taiwanese Women: Three Contemporary Plays

other than in Thrasher’s own contributions, there is relatively little connection between one chapter and the others. A concluding chapter tying the various threads together would also have helped to give a greater sense of unity. However, the common theme linking all of these parts together is obvious, and taken collectively they make a significant contribution to our understanding of the ways in which these melodic building blocks of Chinese music have been reshaped, transformed, and combined into the rich variety of musical styles and repertories we enjoy today. Even for someone like myself who has a long-term involvement in Chinese musical performance practice and scholarship, this book offers many new discoveries, and it is a reminder of how many genres and pieces still remain to be explored and appreciated.