This article charts the development of ‘Inter-Asian’ popular music in contemporary music studies. Given the large number of universities that teach Asian pop music and ever-increasing number of Asian music scholars, inter-Asian popular music in contemporary music studies has largely been underrepresented. The lack of suitable concepts, vocabularies and theories that elucidate accurately Asian music, combined with the fact that studies of Asian popular music are minor voices in the global academic discourse, has resulted in the doubled exclusion of both Asian music and its scholarship. In practice, whenever Asian music has to be explained, it has to be artificially dovetailed with concepts of Western music. The result is that the application of these concepts to Asian music often reaffirms the robustness of these concepts instead of revealing the specificity of this music. The term ‘Inter-Asian’ was coined in response to the academic exclusion of popular music produced in the Asian region, and is based on the self-representation of scholars who acknowledge the geographical origin of Asian popular music and use the prefix ‘Inter’ as a political gesture to stress the uniqueness of such music and rectify its dislocation in Western concepts, vocabularies and frameworks of popular music. In the present context, ‘dislocation’ refers to the cultural disjunction caused by the application, borrowing and adaptation of Western music concepts to the popular music produced in the Asian region. Thus, Inter-Asian popular music (henceforth, Inter-Asian pop music) has often been ‘lost in translation’ owing to processes of decontextualisation and recontextualisation. The reason for the dislocation of Inter-Asian pop music is the historical lag in the development of humanities and social sciences in Asia. Arguing that this can be considered a form of colonisation, cultural studies scholars Kuan-Hsin Chen and Bent Hua Chua founded the Inter-Asian Cultural Studies Society and its journal in 2000. In 2007, the legacy was passed to the Inter-Asia Popular Music Studies Group, a popular music studies platform for more than 120 international scholars of popular music in Asia. Inter-Asia, as Chua (2015) explained, is a self-referencing concept that was constructed to counter the referencing of Asian cultural phenomena according to Western concepts, and to re-centre theoretical explanations of Asian

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在错位和重新定位的亚洲流行音乐研究之间：学术话语和可能性

本文描绘了当代音乐研究中“亚洲间”流行音乐的发展。鉴于教授亚洲流行音乐的大学数量众多，亚洲音乐学者的数量不断增加，当代音乐研究中的亚洲流行音乐在很大程度上被低估了。缺乏准确阐释亚洲音乐的合适概念、词汇和理论，再加上亚洲流行音乐研究在全球学术话语中只占次要地位，导致亚洲音乐及其学术双重排斥。实际上，每当需要解释亚洲音乐时，都必须人为地将其与西方音乐的概念相吻合。结果是，这些概念在亚洲音乐中的应用，往往重申了这些概念的稳健性，而不是揭示了这种音乐的特殊性。“Inter-Asian”一词是为了回应学术界对亚洲地区流行音乐的排斥而创造的，它基于承认亚洲流行音乐的地理起源并使用前缀“Inter”的学者的自我陈述作为一种政治姿态，强调此类音乐的独特性并纠正其在西方流行音乐概念、词汇和框架中的错位。在目前的语境下，“错位”是指西方音乐概念对亚洲地区流行音乐的应用、借鉴和改编所造成的文化脱节。因此，亚洲间流行音乐（从今以后，由于去语境化和重新语境化的过程，亚洲间流行音乐经常“迷失在翻译中”。亚洲间流行音乐错位的原因是亚洲人文社会科学发展的历史滞后。认为这可以被视为一种殖民形式，文化研究学者陈冠欣和本特华于 2000 年创立了亚洲文化研究协会及其期刊。 2007 年，遗产被传递给了亚洲流行音乐Studies Group，一个流行音乐研究平台，面向亚洲120多位国际流行音乐学者。正如 Chua (2015) 所解释的，Inter-Asia 是一个自我参照的概念，旨在对抗根据西方概念对亚洲文化现象的参照，