ABSTRACT
Chinese electroacoustic music offers a platform for connecting contemporary practices to traditional art forms and aesthetics within a context defined by hybridity and interactions between the “East” and the “West.” Chinese composers have stressed the importance of retaining elements of this culture in dialogue with Western practices they commonly view as privileging abstract sonic experimentation. We select four works by Liu Jian (Daughter of King Pan), Xu Shuya (Taiyi II), Leng Censong (Wu Xing), and Zhang Xiaofu (Nuo Ri Lang) that illustrate a range of styles and techniques, both in terms of electronic sound production and references to traditional culture.
