During the past fifty years, many Chinese and other Asian composers have
combined Western compositional techniques with their own musical
heri-tages in their works. The prevalence of non-Western elements in
con-temporary music complicates the idea of any one musical canon, since
the meaning of such compositions now lies not only in one particular
perfor-mance tradition but in diverse musical practices. This book
begins to examine the above by investigating three solo piano works that
synthesize various Chinese traditional practices and certain aspects of
Western art music. Chapter 1 provides a brief overview of how this
cultural-fusion phenomenon came about and questions the extent of
existing methodologies. The next three chapters present theoretical
analyses of specific compositions and are complemented by the author's
interviews with their composers. The final chapter offers insights on
the East-West musical interaction and beyond. This book is directed
towards composers, performers, scholars, and other musicians who are
interested in understanding compositions with an innovative blend of
cultural forces.