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The not-so-bygone worlds of music and colonialism in the twentieth century have yielded a wealth of scholarly ‘paper knowledge’ in the twenty-first of which to build off new archival-musicological work. This article takes a particular archiving direction by turning to paper itself – and pivots the postcolonial pen around the texts and textures of re-engaging colonial history in postcolonial music scholarship. I explore these writing stakes through my adopted narrative of ‘the post/colonial music archive’, as shaped by paper and paper’s sounding elements of tone and voice. Crisscrossing between the colonial moment and the postcolonial pen, I straddle this developing narrative of the archive, and the registers and inflections of extant source narration for what they can jointly vocalize about the music making of the Municipal Brass Band in 1930s treaty port Shanghai, and the Sino-British Club in postwar colonial Hong Kong – two ostensible musical worlds of ‘Britain in China’ in the twentieth century, here thrown into disarray by the post/colonial archive’s own inchoate, counter-tales. Ultimately, in this process, postcolonial music scholarship gains further traction and meaning as a multi-articulating inquiry – and a turn of mind that does not let colonial history and its persistent challenges for writing go askew.

Penning the stakes: paper and the post/colonial music archive in Shanghai and Hong Kong