All the terms used in these Basic Texts to designate the person discharging duties or functions are to be interpreted as implying that men and women are equally eligible to fill any post or seat associated with the discharge of these duties and functions.

This is a pre-copyedited version of an article accepted for publication in Asian music following peer review. The denitive publisher-authenticated version is available through the University of Texas Press.

Amateur performances of pop classics take place daily in various public spots in Wuhan, China. Audience members reward singers with cash tips; these practices are bound up in personal relationships established as the two parties socialise at and away from the events. Building on Goffmanian notions of frame shifting, I explore how performance, everyday, and ethical realms of experience intersect during these occasions. Boundaries between performance and everyday frames are indistinct in a physical sense and in how participants relate to each other. This in turn feeds into the integration of the performances in participants' ethical lives. Rather than a shifting between these three frames, I see mutual permeability as the basis for the sociality here.

No abstract

This article reports on perceptions of audiencing -the active roles of witnessing and validating involving physical expressivity -raised by a selection of foreign musicians in relation to their experiences of performing rock and related genres in China. It highlights the connections between embodied dimensions of face-to-face musical experiences and the lenses of national difference and sameness bound up in debates over the colonial implications of "intercultural" musical encounters.