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Lau, Frederick. “When a Great Nation Emerges: Chinese Music in the World.” Locating East Asia in Western Art Music, edited by Yayoi Uno Everett Frederick Lau, Wesleyan, 2004, pp. 265–82.
Young, Samson. “Reconsidering cultural politics in the analysis of contemporary Chinese music: The case of Ghost Opera.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 605-18.
Program notes for Lei Liang, A Thousand Mountains, A Million Streams.
Bright Sheng, The Stream Flows, for viola (1990)
Ge Gan-Ru, Fu, String Quartet No. 1 (1983)
Chen Yi, The Ancient Chinese Beauty, for recorders and string orchestra (2007)
Lei Liang, A Thousand Mountains, A Million Streams, (2017)
Leo Brouwer, "El Harpa del Guerrero" El Decameron Negroas pdf and Word doc, score, due January 30
China General
Green, Edward. “China and the West—The Birth of a New Music.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 493-99.
China and the West: Music, Representation, and Reception. Edited by Michael Saffle Hon-Lun Yang, University of Michigan Press, 2017.
Jones, Andrew F. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. (Duke University Press, 2001).
Kuo-Huang, Han and Judith Gray. “The Modern Chinese Orchestra.” Asian Music, vol. 11/1, 1979, pp. 1-43.
Liu, Jingzhi., Liu, C.A Critical History of New Music in China. (Chinese University Press, 2010).
Rao, Nancy Yunwha. “Hearing Pentatonicism Through Serialism: Integrating Different Traditions in Chinese Contemporary Music.” Perspectives of New Music, vol. 40/2, 2002, pp. 190-231.
Tsui, Yingfai. “The Modern Chinese Folk Orchestra: A Brief History.” Musical Performance, vol. 2/2, 1998, pp. 19-32.
Wen-chung, Chou. “Whither Chinese composers?” Contemporary Music Review, vol. 26/5-6, 2007, pp. 501-10.
Yang, Hon-Lun and Michael Saffle. China and the West: Music Representation and Reception.(Ann Arbor, University of Michigan Press 2017).
Utz, Christian. Musical Composition in the Context of Globalization: New Perspectives on Music History in the 20th and 21st Century. (Belefeld: transcript Verlag, 2021).
Composers
Polycultural Synthesis in the Music of Chou Wen-Chung. Edited by Mary I. and Mark A. Radice Arlin (Oxon: Routledge, 2016)
Bain, Jennifer. “Introduction: The Music of Chen Yi.” Music Theory Online, vol. 26/3, 2020.
Chang, Peter. “Bright Sheng’s music: An expression of cross-cultural experience—illustrated through the motivic, contrapuntal and tonal treatment of the Chinese folk song The Stream Flows.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 619-33.
Chang, Peter M. Chou Wen-Chung: The Life and Work of a Contemporary Chinese-Born American Composer. Scarecrow Press, 2006.
Everett, Yayoi Uno. “Calligraphy and musical gestures in the late works of Chou Wen-chung.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 569-84.
Green, Edward. “The impact of Buddhist thought on the music of Zhou Long: A consideration of Dhyana.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 547-67.
Kielian-Gilbert, "Marianne. “Experiencing Chen Yi’s Music: Local and Cosmopolitan Reciprocities in Ning for Pipa, Violin and Cello (2002).” Music Theory Online, vol. 26/3, 2020,
Lai, Eric. The Music of Chou Wen-Chung. Ashgate, 2009.
Lau, Frederick. “Context, agency and Chineseness: The music of Law Wing Fai.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 585-603.
Liang, Lei. “Colliding resonances: The music of Xiaoyong Chen.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 529-45.
Miller, Leta. “Beneath the hybrid surface: Baban as a tool for self-definition in the music of Chen Yi.” American Music, vol. 37/3, 2019, pp. 330-27.
Rao, Nancy Yunhwa. “The tradition of luogu dianzi (percussion classics) and Its signification in contemporary music.” Contemporary Music Review, vol. 26/5-6, 2007, pp. 511-27.
Rao, Nancy Yunhwa. “The Concept of Shi: Chinese Aesthetics and Happy Rain on a Spring Night (2004).” Music Theory Online, vol. 26/3, 2020,
Roeder, John. “Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban (1999).” Music Theory Online, vol. 26/3, 2020,
Yi, Chen. “Compositional Process and Technique in Happy Rain on a Spring Night (2004).” Music Theory Online, vol. 26/3, 2020.