Jiangnan Sizhu Music Clubs in Shanghai

T hroughout much of China, regional instrumental ensemble traditions have evolved; among these are percussion ensembles, string ensembles, and a variety of ensembles combining heterogeneous instrument types. Chinese musicologists categorize those ensemble genres in which string and wind instruments predominate as sizhu musics.' These sizhu traditions can be (and usually are) differentiated according to instrumentation, repertory and musical style. However, less easily categorizable factors may also be highly significant in defining and distinguishing the various genres: these factors, which are both historical and contextual, include the relative longevity of a tradition and the age and extent of notation and written documentation; the hierarchy of instruments; the flexibility of instrumentation and ensemble size; the relationships between an instrumental ensemble tradition and Chinese opera, narrative song, religious music, and modern Chinese music in the same locale; the typical performance context(s), and the method of transmission. A single genre may also differ from one locale to another: it may be played under varying socio-economic systems (i.e. mainland China, Hong Kong, or Taiwan), may be either indigenous or transplanted (either to another cultural-linguistic region of China or to a nonChinese society), and may even differ from one town to another within its native locale. The performer's, listener's, or researcher's conception of a genre and the values embedded in it will inevitably be influenced by the geographic and social environment in which it is played, heard or studied. Few Western scholars have focused their research on instrumental ensemble music, although some primary data concerning instrumental ensemble traditions in Taiwan (Yeh 1985), Hong Kong (Witzleben 1983a), Honolulu (Smith 1975), and San Francisco (Riddle 1978) is available. In Chinese, while theoretical and historical materials are abundant, contextual data discussing actual performance practice is scarce.2 The nature of the instrumental ensemble in Chinese music remains relatively unexplored; given the potential variables indicated above, there is a need for highly contextualized studies which are both genreand locale-specific before any generalizations

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