new challenge for modern Chinese composers has arisen; that is, to integrate borrowed Chinese
musical materials within a contemporary Western musical idiom and still develop a personal musical
language and style without a loss of national character. As a result, from 1976 onward, many new
compositions used extended borrowing techniques. This trend brought with it a new way of using
borrowing, one that suited the needs of the composers with regard to personal artistic purpose and
aesthetic. Thus, the history of Chinese musical borrowing began a new chapter. In addition, some
Mainland Chinese composers, such as Tan Dun and Chen Yi began their overseas study in the late 80s
and 90s, especially in the United States. Under this multi-cultural impact, their use of musical
quotation is somewhat different from other composers from Mainland China. To some extent, it is
very similar to the situation of Hong Kong Chinese composers. But this discussion will be another
topic that I want to share with my readers in the other article.
 Professor Liu Ching Chih stated that the ‘New’ Chinese music is new because this music has no direct relationship with the traditional Chinese Music. It is not inherited from the past and cannot be found in the history of Chinese music. The composers, who are mainly trained by European musical tradition, compose all these new music though there may be some traditional or national elements borrowed in the compositions.
 The composers and their works in this period are listed in the New Music in the Orient by Ryker Harrison in pages 189-198.
 Li, huanzhi, “People’s Republic of China” in Music in the Orient, p 205.
 The major compositions which have been arranged from traditional music are listed in the New Music in the Orient by Ryker Harrison for reference, pp. 205-208.
David Leung (theorydavid)