ABSTRACT
This chapter investigates some of the binding factors found in Chinese electroacoustic music production. Following a ‘bird’s eye’ history of electroacoustic music in China, these binding factors were discovered looking at works coming from China’s top conservatories, in particular the Central Conservatory of Music in Beijing, where the pioneer composer, Zhang Xiaofu, has played an immensely important role. Looking at works of his and three younger ‘generations’ of his student composers, three paths proved to be common to many works: (1) sampling, (2) the use of Chinese instruments and/or musical approaches and (3) inspiration from Chinese culture (e.g., Buddhism, Taoism, poetry, painting, philosophy) employed either separately or in combination. Works made outside of the conservatories, in alternative and ‘underground’ production and performance scenes, are also discussed. Although very different in approach and character, these often involve the same three paths. This illustrates the role and value of including cultural elements in sound-based creativity, connecting sonic work with its audience.
