1.
Cork Institute of Technology
Instituid Teicneolaiochta Corcaigh
An Exploration of how to Enhance the Composition of
Chinese Traditional Music with Modern Musical
Technologies
By Yunhe Li
R00077965
Submitted in partial fulfilment for MA in Music and Technology,
Cork School of Music.
Supervisor: Mr. Hugh McCarthy.
August 2013

2.
Table of Contents
An Exploration of how to Enhance the Composition of Chinese Traditional Music
with Modern Musical Technologies
........................................................................................................
Section 1
........................................................................................................................................................
1
Chapter 1 Introduction
...............................................................................................................................
1
Chapter
2
Domestic
and
International
Electronic
Music
Research
.....................................
2
2.1
International
Electronic
Music
Research
[1]
.........................................................................
2
2.2.
Research
of
China's
Domestic
Electronic
Music
Theory
.................................................
3
Chapter
3
Electronic
Music
and
its
Definition
..............................................................................
4
Chapter
4
Musical
Functions
and
Aesthetic
Features
of
Sound
Technology
in
the
Composition
of
Electroacoustic
Music
.............................................................................................
5
4.1.
Colourful
and
Changeful
Form
Constitutes
Sound
Illusion
...........................................
5
4.2. Computer Synthesis and Tone
........................................................................................................
8
4.3
Synthesis
and
the
Diversity
of
Human
Voice
.......................................................................
10
4.4
Recent
works
(1980s
and
1990s)
.............................................................................................
13
Section 2
......................................................................................................................................................
15
Chapter
5
Features
of
Contemporary
Chinese
Electronic
Music
Composition
.............
15
5.1 Innovative Electronic Music
.........................................................................................................
15
5.2 The Use of Sound Material
.............................................................................................................
16
5.2.1
The
Use
of
the
Synthesiser
in
Sound
Creation
.................................................................
16
5.2.2
The
Oscillator
as
used
in
Synthesis
......................................................................................
17
5.2.3
Sampling
Synthesis
for
Sound
Creation
.............................................................................
17
5.2.4 Real-time Sound Creation
..........................................................................................................
17
5.3
Analysis
of
the
Technical
Means
................................................................................................
17
5.3.2 Multiple Sound Space Design
....................................................................................................
18
5.3.3.
The
Embodiment
of
Traditional
Composition
...............................................................
18
Chapter
6.
Sound
Technology
Creation,
the
Aesthetic
Meaning
of
Music
Philosophy
..................................................................................................................................................
20
6.1
The
Creative
Concept
of
the
“Oriental
Context”
..................................................................
20
6.1.1 Analysis of “Nuo Ri Lang”
.........................................................................................................
20
6.1.2.
Symphonic
Perception
of
Electronic
Music
.....................................................................
21

3.
6.2
The
Creative
Conception
of
Sound
Expression
with
Music
Technologies
...............
22
6.2.1 The Structure of the Work
...........................................................................................................
22
6.2.1.1
Creative
Production
Platform
.............................................................................................
22
6.2.1.2 Digital Sound Technology
.......................................................................................................
23
6.2.1.2.1 Digital to Analog Conversion
..............................................................................................
23
6.2.1.2.2 Granular Synthesis
..................................................................................................................
23
6.2.1.2.3 Sound Delay
..............................................................................................................................
24
6.2.2
A
Wide
Range
of
Musical
Ideas
...............................................................................................
24
6.2.2.1
A
Wide
Range
of
Musical
Elements
...................................................................................
24
6.2.2.2
Application
of
Diverse
Musical
Elements
to
Create
Ideas
.......................................
25
6.2.2.2.1 Chinese poetry as Creative Background
..........................................................................
31
6.2.2.2.3 The Context of Chinese music, Culture-based
..............................................................
26
6.2.3 A Wide Range of New Sounds
..................................................................................................
27
6.2.3.1
Traditional
Musical
Instruments,
New
Sounds
...........................................................
27
6.2.3.2
The
Tone
of
Granular
Synthesis
.........................................................................................
28
6.2.3.3 Noise Tone
....................................................................................................................................
28
6.2.3.4 Filter Use
.......................................................................................................................................
28
6.2.4
Diversification
of
New
Audio
Form
......................................................................................
29
6.2.4.1
Breaking
the
Physical
Conditions
of
the
New
Audio
Form
.....................................
29
6.2.4.2
The
Extension
of
New
Sound
Form
..................................................................................
29
6.2.4.3
Subtle
New
Forms
of
Sound
Expression
.........................................................................
30
6.2.4.4
Sound
and
Lyrics
of
New
Forms
of
Non-­‐linear
Editing
............................................
30
Section 3
......................................................................................................................................................
31
Chapter
7
Comprehensive
Analysis
of
the
Embodiment
of
Sound
Science
and
Technology
in
the
Work
“The
Samsara
of
Seasons”
..................................................................
31
7.1.
Use
of
Sound
Materials
and
Structural
Layout
...................................................................
31
7.1.1 The Chinese Traditional Instrument ‘Guzheng-Zither’ [11]
...........................................
32
7.2
Sound
Elements
and
the
Audio
Technology
Approach
..................................................
33
7.3
Combination
of
Musical
Notes,
Technology,
Audio
and
Voice
......................................
34
7.4 Morphological Structure
..................................................................................................................
34
7.5
Reflect
the
Aesthetics
of
Chinese
Cultural
Elements
.......................................................
34
Chapter 8.
Conclusion
.............................................................................................................................
38
References
....................................................................................................................................................
40

4.
Bibliograhy…………………………………………………………………………………………………...48
Appendix
1
-­‐
The
Musical
Structure
of
"The
Samsara
of
Seasons"……………………50
Appendix
2
-­‐
The
24
Solar
Terms…………………………………………………………………...56
Appendix
3
-­‐
Supporting
files.
Video
contents
of
DVD.
Pictures……
……………...….59

5.
Abstract
This thesis explores how the latest technologies can be applied to unique Chinese
harmonic and rhythmical elements, and their usefulness in creating electronic music
with strong Chinese characteristics. A diverse range of sound effects and processes
are explored and the effects of these parameters are recorded and explained. The
author applies all of the skills and techniques learnt during the Music & Technology
course, including computer music composition, sound synthesis, and voice sampling.
The piece created for the thesis is entitled “The Samsara of Seasons”. It embraces the
“impressionistic style” of Chinese traditional musical aesthetics; it selects several
classic and unique Chinese musical instruments to perform the cyclic flow of the
natural seasons in an electro-acoustic form. The temporal and spatial changes
contained in the music are meant to project the meaning of the cycle of the seasons.
This piece is an integration of modern music technologies and traditional Chinese
music performance.

6.
Acknowledgments
I would like to thank all my lecturers particularly my supervisor, Hugh McCarthy,
technician David Slevin, members of staff in the Cork School of Music and my fellow
classmates, in particular Martin Luke Burns and Brian Leach. I am grateful to all the
help and support I received over the past year, without which I would not be able to
complete the dissertation and the Master of Arts course.
I would also like to thank my wife Xiangyun Deng, and my two children for their
encouragement and support during my time in Cork, Ireland.
Li Yunhe

7. 1
Section 1
Chapter 1 Introduction
As the 21st century enters its 13th
year we are more and more aware of the roles that
technology plays in all aspects of our life, not least within music and composition.
Like it or not, electronic music will remain ubiquitous. There are many diverse styles
of music from Chinese to European to American, and beyond. Each tradition and
aesthetic paradigm presents a unique musical heritage. The so-called
“Electroacoustic” form is a new type of music, which started in 1945. Thanks to the
progress in recording and computer technology we now have a new way of creating
and storing very complex musical ideas. Its production is a breakthrough, an
innovation of new musical aesthetics. This paper explores a particular Chinese
approach to music. The eastern context contains a rich musical vocabulary, and a
collection of contemporary electronic music works. The appearance and content of
different manifestations, whether through abstract or figurative form, is an expression
of the works penetration and diversification. China's electronic music; communicated
directly through a multiplicity of voices and sound effects, convey a creative concept
of music to the audience, gradually formed as a symbol of national consciousness.
This piece of research is an exploration of the application of electronic music as its
meets traditional oriental composition.

8. 2
Chapter 2 Domestic and International Electronic Music Research
2.1 International Electronic Music Research [1]
Electronic music originated in the West. Its history reaching back over 60 years to the
1948 French ‘concrete’ music. Through academic research in the field of electronic
music, western society has developed several decades of accumulation and formation
of a more rigorous academic system dedicated to this art. For example, institutions
such as The modern music of the French Pompidou Cultural Arts Center Audio
Research Institute (IRCAM) as well as a large number of foreign electronic music
research institutions, such as the French National Audiovisual Institute (INA-GRM),
Massachusetts Institute of Technology Media Lab (MIT), Laboratory of the
University of Plymouth Music Lab (UPF) and Yale University Music Technology
Research Center (CSMT) have played a great part in developing the art. In addition,
the electronic music from such places as the International Federation of Electronic
Music(ICEM), International Computer Music Association (ICMA), Electronic Music
Studies (EMS) and other international electronic music organisations show that
academic research has played an extremely important role in the arts development.
Annual Conferences, professional magazines, journals, networks, and other
professional platforms have made tremendous efforts to promote the formation of an
active and healthy academic research atmosphere.
According to the publications in the United States from 1977 to 2006 of Computer
Journals, as well as Europe's largest international electronic music festival, the
Bourges International Electronic Music Festival from 1966 to 2005 includes nearly a
thousand articles. Looking through the research areas of the developed western
countries, concepts that are covered are acoustics, psychoacoustics, music perception,
learning, the use of computers in composition, computer music performance models,
computer-based music analysis, development of electronic music history, interactive
performance systems, interactive signal processing, mathematics and digital signal
processing, the language of music, sound synthesis, auditory localisation and 3D
sound, databasing, musical instruments, sound in space and time, the process and
science of volume, as well as research on network music.

9. 3
2.2. Research of China's Domestic Electronic Music Theory
Academic research into electronic music within China began comparatively late, but
has been rapidly developing. Since the 1980s, nearly one hundred electronic music
composers and music theorists have written about electronic music, technology,
theory, aesthetics, and other related topics. Professor Zhang Xiaofu's "on the
electronic music concept defined", Huang Chen Yu-an’s "the electronic music space
thinking","electronic music development status quo Overview", "electronic music
aesthetic impact and its development trends, explore" "electronic corresponding
aesthetic of the historical development of music and people's needs", "silver in
electronic music and music creative path"[1] are important papers on the theoretical
study of electronic music as well as being the first of their kind within China.
According to statistics, in nearly two decades, Chinese electronic music composers
and theoretical researchers have published hundreds of articles, both internationally
and domestically. As well as publishing papers, Professor Zhang Xiaofu and
Professor Han Baoqiang have written the “New Media Art Theory” and “Sound
Course” textbook. In addition, in recent years, China's electronic music has demanded
a greater deal of international attention. The Beijing International Electronic Music
Festival is a platform for international cooperation and exchange for not only China's
electronic music, but also electronic music as a whole from Asia. The first Beijing
International Music Festival was held on October 28th, 2008 and each year since has
been defined as the Asian Electronic music day. Contained within the festival are
specialised seminars to discuss developments in electronic music within Asia. Many
domestic and foreign electronic musicians use the festival as a means to understand
the musical concepts and creative ideas that are rooted in Chinese history and culture.
The festival is representative of both electronic music creation within China and also
the theoretical study of national identity, and thus has aroused great attention in the
field of international electronic music.

10. 4
Chapter 3 Electronic Music and its Definition
Electronic music has become an important part of modern music culture within the
twentieth century. The "professionalisation" of modern electronic music is considered
as being reachable through using specific electronic equipment. Yet it must be
remembered that electronic equipments sound principles are different from the
traditional natural resonator system of acoustic musical instruments.
In the aspect of music conception, there is a lot of conceptual differences between
electronic music and traditional music, such as musical content, form, musical
material, musical vocabulary, organising principles of music, as well as musical
logical development and the forms of music creation and musical dissemination.
With the application of modern, high-tech software within musical production as well
as the large number of effective tools in the music industry, sound is not only equal to
a single pitch, which contains both note and rhythmic elements. Musicians have been
pursuing several concepts of diverse sound creation tools to create accurate
representations of sounds that initially reside only in a composers’ heart and in their
mental auditory perception. This concept is in direct opposition to the traditional
concepts of the pitch, melody and rhythm. Composers, with the use of creative
technology led to techniques that allowed composers to rearrange, decompose and
fuse sounds to obtain timbres with more defined electronic characteristics. A better
exploration of the techniques used will help explore the topics contained within this
thesis.

11. 5
Chapter 4 Musical Functions and Aesthetic Features of Sound
Technology in the Composition of Electroacoustic Music
The invention of musical instruments involved the use of science and technology.
When a particular technology is used, its features will have some influence on the
music. In the Renaissance and Baroque periods, the harpsichord and the nineteenth
century piano represented differences in the development of string technology. Bach
and Chopin's keyboard music reflected the limitations of the musical instruments of
their day. Along with the progress of science and technology, sound processing
became easy and efficient. Technology provides musicians with a more powerful
musical ability, such as in editing and sound design, as well as powerful synthesis
techniques. Digital technologies allow unprecedented levels of precision.
Science and technology has been given a more important function in musical
aesthetics within electronic computer music creation. This essay addresses "sound
change and design focus in the process of creation". It presents a few pieces of
musical works that represent electronic and computer music such as, “Mutation” by
American composer Jean-Claude Risset, “Turenas” by John Chowning, “Pacific
Fanfare” by Canadian composer Barry Truax, and “Nuo Ri Lang” by contemporary
Chinese composer Zhang XiaoFu. While discussing these works, an analysis of the
influence of science and technology in the computer music works will be highlighted.
Also, an exploration of the musical functions and aesthetic features of sound
technology within the compositions will be made.
4.1. Colourful and Changeful Form Constitutes Sound Illusion
Jean-Claude Risset (J-C Risset, 1938-) is a composer from the United States and was
most active in the 1960s. He believed strongly in the potential of computers to
transform music design and deformation. He believed that computers could compose
sound according to a composer of specific aesthetic concerns, something that
traditional instruments could not entirely do. Risset also researched psychoacoustics* ;
and his studies are reflected in his work, such as in “Mutation” (1969).
* Psychoacoustics, a science dealing with human sound and human's perception of music, is an
important basis on which composers create music and communicate with audience

12. 6
In “Mutation” (See Figure 4.1a & 4.1b), a piece of length of about 10 minutes, J-C
Risset used “MUSIC V”, a computer program created in the Bell Labs. In order to
produce a complex set and immense variety of sounds, he used the computer to
synthesise various overtones to create his ideal "living beings" which he felt were
close to natural sounds.
Figure 4.1 (a)
Figure 4.1 (b)
Figure 4.1: Waveform Mutation.
“Mutation” is an electronic music work that is full of colour and attitude. There are
two features. There is rich colour and attitude at the beginning and this is coupled
with auditory hallucinations created in the second part, to give a great sense of
attitude. In the beginning, the five short successive tones (0:00-0:02) (shown in Figure
4.2) are the application of sound technology. After certain treatment by the composer,
different tones appear later (shown in Figure 4.3)[6], for example, in 0:01-0:04,
elongated vertical chords appear at the same time. In position 0:04, the five synthetic
tones again appear together. But this time, different tones (similar to a bell sound
effect) are presented. When the five tones appear again, the composer uses additive
synthesis in a timely manner. The five tones appear in a vertical chord. When the five
tones appear the third time, the composer uses a short attack within the sounds’
envelope. This additive synthesis technique is used to produce a bell-like sound, that
is presented as being very similar to the natural sound of a bell being struck.

13. 7
Figure 4.2: Sound Image of “Mutation”. 0:00 to 0:02 [6]
Figure 4.3: “Mutation” at 0:00-0:09, three different tones and attitude [6]
The same five tones at the beginning of “Mutation” were handled in three distinct
ways. The composer cleverly linked the tune (in the first time), chords (in the second
time) and tone (the third time). At the end of this song, the composer used a
paradoxical sound that is shown by an endless glissando, which appeared at the time
to be very impressive indeed. It sounded like a series of sounds moving in a certain
direction. But in fact, these sounds never left their original range. The composer used
a theory, developed by Roger Shepard, a psychologist, to design sound effects that are
similar in theory to a computer program [6]. This effect appeared many times in the
later half of this song. This auditory illusion was very effective as a musical effect.
The ambiguous effect derived from the use of this human auditory hallucination can
be better understood through a more scientific method, known as an acoustic
sonogram (see Figure 4.4). We can clearly see that the ups and downs of the
continuous glissando, in fact, never leave their beginning range.

14. 8
The hearing of this illusion effect creates music that seems to be carried out in a
particular direction, namely an upwards glissando, promoting the music as a gradually
accumulated energy that finally reaches a climactic end. Through the unique approach
and implementation of computer sound technology, the composer creates a close link
to pitch and timbre in his music. The music delivers a kaleidoscope vision of form,
colour, and change through different tones, yet also a distinct vision of unity. Music
derived through computer sound technology is cleverly designed and the mental
sound principles that are applied successfully create a paradoxical nature within the
composition.
Figure 4.4: 6:33-7:39 Endless Glissando (paradoxical sound) [2]
4.2. Computer Synthesis and Tone
American composer John Chowning (1934-) was one of the first composers to use
computer synthesised sound within his compositions. He is known for his use of
frequency modulation synthesis, as well as his research in this area. He has
undoubtedly had a tremendous influence in the development of computer music.

15. 9
John Chowning's computer music work, "Turenas" is approximately 10 minutes long
(as shown in Figure 4.5 & 4.6) and was completed in 1972. The title of the work
"Turenas" is a transformed word, taking into account the letters from the English
word "Nature". The composer wanted the music to present the themes of nature. It
was emphasised that the natural sound in space coupled with an electronic voice was
a representation of the beautiful sounds found in nature [6].
Figure 4.5 "Turenas" wave figure [2]
Figure 4.6: "Turenas" sound figure [2]

16. 10
In order to emphasise the natural movement of sound in space, John Chowning used
elements of acoustic theory; that humans are most likely to locate the position of short
powerful sounds with respect to their psychological perception. At 0:00 (shown in
figure 8), and 8:47, he is using panning technology to make the sound seem to move
between the speakers naturally, at 0:45-0:53, 0:58-1:04, 1:07, Chowning used many
electronic sounds, perceived in the speakers at different speeds, thereby producing
natural perception of sound, called the "Doppler effect" (shown in Figure 3.7).
Figure 4.7: 2:18-2:23 Doppler voice [2]
To emphasise the relationship between electronic sounds and musical instruments,
John Chowning used frequency modulation to simulate real musical instruments. At
2:22 and 3:32, the electronic sound has a very similar sound to a natural musical
instrument. At 3:27-4:01 the electronic sound is very similar to the flute. At 5:05, the
electronic voice is similar to clarinet. At 7:40-9:06, the electronic sound represents a
sound very similar to a brass instrument. The sounds also add a different
reverberation effect, sounding very much like a real instrument generated in different
spaces.
The computer sound technologies implemented, such as frequency modulation
synthesis, phase effects and the "Doppler effect" not only help John Chowning build a
natural sounding timbre in the space, but also makes the electronic voice feel a closer
representation of a real musical instrument.
4.3 Synthesis and the Diversity of Human Voice

17. 11
Attempting
to
synthesise a human voice produces the effect of a surreal "computer
voice chorus", like that found in Charles Dodge’s (1942) song “The Days are Ahead”
(1973).
American composer Charles Dodge (1942), was one of the few composers using
computer analysis and synthesis technology directly within his pre-recorded sound
compositions for music creation. He used a computer analysis and synthesis program
created by Bell Labs to create a series of ‘speech songs’ in 1973. This section will
explore the poem “The Days are Ahead” (as shown in Figure 4.8 & 4.9).
Figure 4.8 Waveform of Fourth Poem “The Days are Ahead” [2]
Figure 4.9 Spectral Analysis of Fourth Poem “The Days are Ahead” [2]
"The Days are Ahead" is about 2 minutes in length. Mark Strand read and recorded
the poem and the composer, Dodge, used computer synthesis technology to analyse
the poem, most notably linear anticipated encoding technology［7］.

18. 12
The song goes from a single sound to six parts each with a separate texture and
different density, most notable at 0:36 and 0:40. At the chorus, the composer used
tape technology in the 1950’s in his music. The tapes are combined and spliced［8］.
By using "Linear anticipated coding" [9] technology, sonic parameters can be
analysed. Data can be stored independently, and then the creator can synthesise and
deform the music based on the individual sonic elements. In other words, the
musician can change the sonic character of sounds according to his own ideas. He
may change or control the sound how he sees fit. At 0:12-0:26, the composer keeps
the same pitch, but replays it at different speeds. At 0:41-0:49, poem is matched with
a pitch contour curve, producing a kind of real world pitch change effect (see Figure
4.10).
Figure 4.10: 0:41-0:49, Pitch Contour Downwards [2]
Through the application of magnetic tape, the composer, Dodge, used different effects
to produce a synthesised chorus effect. This use of computer sound technology
created the effect of a surreal chorus sound that was created by computer technology.
The song in questions may be called one of the first masterpieces of music created
with the assistance of computer technology.

19. 13
4.4 Recent works (1980s and 1990s)
“Black is for Night” by French Canadian composer D. Lorrain, (1948-), was
composed in 1985. Lorrain used the sound technology technique called phase
vocoding. The techniques allows radical alterations to a sounds envelope and sustain
curves, without changing the pitch (see Figure 4.11). The composer used this
technology to maintain a sound wave, so that they seemed ‘stretched’, up to nearly
two minutes. This method takes sound beyond the real world, creating a form of
surreal expression.
Figure 4.11 “Black is for Night”, D.Lorrain [2]
Granular synthesis has been an important tool for Canadian composer Barry Truax
(1947-). Most of his works have implemented this technology. The composer delved
into his own research is this area, and is seen as being one of the forefathers of
granular synthesis, creating a digital signal processing system called "PODX", which
involves the extended use of particle synthesis (See Figure 4.12). The original sound
signal is processed by particle synthesis techniques and the song swings between the
virtual and authentic.

20. 14
Figure 4.12: Granular Synthesis Extension
Soundscape: sound and landscape combined. (Yu-Chung Tseng) [2]
Through the analysis of these representative works of Western composers we see that
most composers select source material according to their own aesthetic taste. There is
no doubt that electronic music originated in the West, mainly due to the level of
sophistication in the music technology, computer equipment and the development of
creative concepts. The establishment of a sound base of theoretical knowledge in
Western electronic music has, after nearly 30 years, spread to China. Western
electronic musicians’ professional use of sound technology coupled with the creative
techniques of electronic music have had a significant impact on the development of
China's electronic music. This will now be dealt with in the following section.

21. 15
Section 2
Chapter 5 Features of Contemporary Chinese Electronic Music
Composition
5.1 Innovative Electronic Music
Computer technology directly effects the methods of creating music. The combination
of traditional instrumental music and electronic computer music methods have
become the darling of a new era of music creation. It has been since the 1990’s that
China's electronic music environment has started, but its still lags 40 years behind the
Western electronic music scene. In the past two decades, with more young Chinese
young composers studying in Europe and the United States, there has been a wider
dissemination of Chinese Traditional Music throughout the world. Today, many
contemporary Chinese professionals as well as many Western composers explore
traditional oriental music with distinct Chinese characteristics.
Characteristics of the Study of Electronic Music Innovation
1) Innovative electronic music creation is produced through a computer platform
mainly used for the establishment of a re-creation of sound. There is a stark difference
when compared with the traditional composition methods, based on a notes and scales
system, but it is very important to learn from and integrate the essence of traditional
composition theory within any electronic music composition.
2) A summary of China's electronic music creation as they have featured in the
integration into France, Germany and the United States, as well as other electronic
music genres while learning to absorb today's world-class technology and creative
ideas.
3) The fusion of classical Chinese culture - the "hybrid" characteristics in the
implementation of modern Chinese and Western musical language, dubbed the
"Eastern Context"

22. 16
5.2 The Use of Sound Material
Pierre Schaefer, through his radio station in Paris, started the concept of innovation in
music composition, while deepening a deconstruction of traditional music. Since
ancient times, traditional music has been the main sound source, coupled with the
human voice. Electronic music creation broke through the traditional barriers and
modes of thinking of composing. Schaefer believed that all sound (including noise)
was material for music, greatly expanding the latitude of performance in modern
music. The sound of modern electronic music synthesisers and on-site sampling
meant that the palette of available sound to the composer was dramatically increased.
Zhang Xiaofu, a contemporary Chinese composer, pursued electronic music works
with the use of sampled sound material, the human voice, musical instruments,
soundscape material from nature, and electronic sound. However, his work is full of
personal characteristics. The palette that he used was implemented in such a way so
that the composer’s inner voice was able to come through. Xiaofu is a great example
of the modern Chinese composer.
5.2.1 The Use of the Synthesiser in Sound Creation
In 1984, in the Central Conservatory of Music in Beijing, China established its own
experimental electronic music group. The same year they held the first electronic
concert by Chinese composers. Although this concert contained only six electronic
synthesisers and two keyboards in the form of a live show, it acted as a prelude to the
formation and development of modern music in China. As one of the composers in
the field of electronic music creation, Professor Zhang Xiaofu was one of the first
proponents of electronic music in China. The birth of the electronic movement in
China saw such compositions as the score for the movie "Memories in the Rain”, in
1985. In 1987, Chen Yuanlin, another Chinese composer created the music for the
episodical TV series "Life and Death", with a combination of a 16-track analog tape
recorder, a synthesiser and other electronic equipment. Yuanlin used electronic sound
to compose film and television work, as found in the creation of "Yin" in 1988, which
combined a synthesiser and ethnic instruments to form a very personal and cultural
specific brand of electronic music.

23. 17
5.2.2 The Oscillator as used in Synthesis
The oscillator, whether digital or analog, generates a wave from a simple harmonic
oscillation. The sine wave is the most basic of all sound vibration waveforms from
which it is possible, through different techniques, to create a number of different
frequencies, amplitudes, and modulations. The combination of waves have the ability
to form a rich variety of complex waves. Specific synthesis technologies are additive
synthesis (AS), subtractive synthesis (SS), and frequency modulation (FM).
5.2.3 Sampling Synthesis for Sound Creation
The sampling synthesis method can create unique and rich timbres of sound. In
Chinese electronic music, composers works mostly with voice material, and they
sample this freely to create interesting sounds that have relationships with the natural
sounds of the voice. The voice is the most representative and most personality laden
"original material". Zhang Xiaofu’s, created in 1995 a piece entitled "Nuo Ri Lang"
which used "lama chanting" as the source material. In 2001, Xiaofu created "Yin", a
composition where all the sound material was derived from the traditional Chinese
flute wind instrument, with the sound then being processed by a computer audio
workstation.
5.2.4 Real-time Sound Creation
Real-time sound creation is a combination of the traditional music language and the
electronic music language. Zhang Xiaofu’s electronic music compositions are mostly
created through the real time playing of acoustic musical instruments and singing
voices, which embodies a unique musical style with the combination of traditional
form and modern music technologies.
In his work, "Heaven”, created in 1992, the
composer used the baritone voice combined with electronics. In "Mountain Ghost”, a
soprano voice was used. In 1996, the piece entitled "Spiritual Environment" used the
Chinese traditional string instrument, the Erhu (a two-stringed bowed instrument).
5.3 Analysis of the Technical Means
The original electronic music production techniques were all tape and analog effect
techniques. Composers were able to change the tape speed, splice up pieces of the
tape or even reverse the tape direction. The use of tape clips, tape loops and tape
duplication processing meant that the composers could use these techniques along

24. 18
with analog filters, modulators, echoes and other electronic equipment such as voltage
control analog editing techniques, oscillators and FM synthesisers to create highly
interesting compositions. Nowadays, the advent of digital workstations brings
powerful processing technology, providing almost unlimited potential for
development.
5.3.1. A Multiple Production Technology
By the end of the 20th century, the electronic music studio consisted of both digital
and analog tools, to form a dual-platform mode of production. Analog technology,
coupled with computer audio softwares and digital platforms induce different ways of
both sound processing and synthesis. In addition, the use of classic sound distortion,
time-stretching, and reverse music production technologies personalise composer’s
musical thinking and imbue a sense of personal character. Within Zhang Xiaofu’s,
“Nuo Ri Lang”, there was extensive use of looping techniques, as the sound material
of repeated Lama chanting was short sampled in small cycles. The continuous
expansion of these loops created a grand cycle that expressed a music thinking
imbued with a high degree of unity between cultural ideas and technology.
5.3.2 Multiple Sound Space Design
Spatial effects are an important feature of electronic music. A performance through a
multi-channel speaker layout may often mean 4-channels, 5.1, or 8-channels of
discrete audio. Zhang Xiaofu’s "Snow Day Long", created in 1999 for the Beijing
Electronic Music Festival used such a multi-channel speaker configuration. The sound
field on the first floor of the auditorium had two sets of speakers. The second floor of
the auditorium had another two sets of speakers. A sound field was created that
constituted a three-dimensional sound space. The composer controlled the phase of
each channel, volume, reverb, and other parameters to form a "dynamic space". Zhang
Xiaofu believes that space is one of the biggest features within electronic music.
5.3.3. The Embodiment of Traditional Composition
Traditionally, the composer’s philosophy of electronic music production technology
is combined with traditional vocal writing and the instrumental writing experience. In
Zhang Xiaofu’s electronic music, there are many elements of traditional music.
Language features heavily, such as in "Yin", where the use of single material is

25. 19
constantly expanded through the voice of change and organisational form of the work.
In another example, the works entitled "North Sea Chant” presents, on behalf of the
composer, the audio materials of traditional Chinese culture.

26. 20
Section 3
Chapter 6. Sound Technology Creation, the Aesthetic Meaning of
Music Philosophy
Electronic music creation in China is hugely influenced by the Chinese nation's 5,000
years of historical and cultural history, its classical literature, and ancient philosophy.
In this section, the works of two Chinese composers Xiaofu Zhang and Yu-Chung
Tsang are discussed.
6.1 The Creative Concept of the “Oriental Context”
6.1.1 Analysis of “Nuo Ri Lang”
XiaoFu Zhang composed the piece of computer music “Nuo Ri Lang” in 1996. He
created the piece especially for an electronic music festival in Paris. Before the
festival he had two weeks of field recording work in Tibet. He was strongly attracted
to the Tibetan culture because, in his view, it was always shrouded in an atmosphere
of mystery. The field recordings gave Zhang both the musical elements for his piece,
as well as inspiration. In order to express the Tibetan culture, he tried to understand its
deeper level, beyond the surface level of life. This deeper level is the aesthetic realm.
He wanted to establish a connection between his music with what he saw within
Tibetan life. Zhang realised that Tibetan culture is embodied in the "circle". In a broad
sense, this means the cycle of birth and death. Zhang had spent years thinking about
how to represent Tibetan culture through his Art, but it was not until years later, after
he had studied electronic music in Paris, he knew there was a basic technology, the
loop method, which was able to reflect accurately the Tibetan concept of the "circle".
He thought that the loop could be used to express what he thought of the Tibetan
culture of the "circle". Zhang had found a form, and made a connection between the
culture, and the Art (See Figure 6.1)

27. 21
Figure 6.1：Waveform: Nuo Ri Lang
6.1.2. Symphonic Perception of Electronic Music
The orchestra symphony is a musical form that contains a multi-layered language. In
"Nuo Ri Lang", the symphonic concept is reflected through the concept of a loop.
Zhang used only two seconds of a Lama's chanting. At the same time, he used a few
small parts with which he processed pitch and frequency. In the middle of the piece
there is a vocal section by a Tibetan singer. The song is given certain treatments that
has the effect of seemingly concealing the original sound, like a fairy's voice, woven
together with a man's voice. This gives a very mysterious feeling to the audience.
Musical technology is very subtly and effectively creative in this form. This technique
expresses the essence of the Tibetan culture. The music brings people a perceived
Tibetan cultural space. It is not that one is specifically in Lhasa, in a particular temple,
or with a particular Lama, but they get the strong impression that they could be.
Using the loop technique, Zhang’s works is infused strongly with the concept of the
"circle". By using loop technique, he was able to realise the innovative ideas of
science and technology. The Loop technique gradually reduces the main body of the
music’s function, evolving it into the secondary function of background status. The
composer used looping techniques to bring the piece alive, interleaved
and
interspersed
with
music material from many sources throughout the whole.
Figure 6.2: The "Lama chanting" motivation materials
In the first part, the "Lama chanting" is short (only 2 seconds in duration) (Figure 6.2).
After the application of the looping technique, changes in the pitch, duration,

28. 22
amplitude, intensity, and so on, the figurative
and sound of the "chanting" moves
from a concrete to a very abstract meaning.
6.2 The Creative Conception of Sound Expression with Music Technologies
Taiwanese composer Yu-Chung Tseng had an electronic music piece in 1998, entitled
"Drinking Alone by Moonlight". My analysis of his work is based on sound spectrum
analysis.
6.2.1 The Structure of the Work
In Tseng’s piece there is a close relation between the paragraphs of musical material
and musical patterns. Although the main paragraphs of the material can be clearly
defined, some paragraphs are difficult to distinguish. In my view the division of
paragraphs is based on the emergence of the clarinet to identify the beginning of each
new paragraph.
6.2.1.1 Creative Production Platform
The creation of electronic music is based on technological sciences and realised
through technology-based tools that rest on a scientific platform. Due to the
advancement of science and technology, digital technology has seized a dominant
position in the electronic music studio. Analog technology is still widely used, but
electronic music has been gradually moving towards a new era of "digital",
"computer" music. "Drinking Alone by Moonlight" is the work of this period. The
composer took into account mixed analog and digital techniques so that the
performance of a dual-platform simulation (man-machine dialogue) could maximise
the musical characteristics. The advantages of having the two different platforms is
that they complement each other because of their diversity.
This electroacoustic music work was the composers first use of a digital multi-track
recorder (Tascam DAT). He used the TASCAM digital multi-track machine and a
microphone to record the clarinet. The composer directly recorded onto tape, editing
according to his needs. The composer used both mac and pc platforms with software
tools such as as Metasynthe, SoundHack, Sound Edit, Soundforge, and GRM Tools.
Audiomulch was also used for sound editing and deformation (lengthen, shorten, cut,
reversed, sound synthesis, sound shift and so on). A saxophonist was recorded in

29. 23
addition to the clarinet. The composer used the clarinet sound material with Digital
Signal Processing (DSP) technology for the formation of a synthetic sound engine.
This DSP tool can control the harmony, tone and sound position.
6.2.1.2 Digital Sound Technology
Sound synthesis technology gives music great diversity. I have analysed some of the
techniques used by the composer as follows:
6.2.1.2.1 Digital to Analog Conversion
Computers can be used in many different ways in the digital platform to generate and
process sound. Computers must process sound in a digital format. An analog-to-
digital converter, referred to as the A/D converter, is used to get the recording of the
clarinet into the computer. Then digital synthesis, deformation and other means are
implemented using the computer, to process the sound of the clarinet. When the
desired sound is achieved, a digital-to-analog converter, referred to as a D/A
converter is used to output the audio, so it can be heard.
6.2.1.2.2 Granular Synthesis
The author of ‘The Theory of Sound Deformation and Technologies with Acousmatic
Music Composition’ said: “granular synthesis uses technology to change very short
sounds, such as particles of sound, into complex, larger sounds”.[] It was both a
conceptual and technical achievement. Complex and rich textures can be achieved
using the Audiomulch software and sound particle effects. The long sound of the
clarinet is cut into dynamic, point-like, grains of sound. This is superimposed onto a
solo clarinet, so giving a new impact to the sound. This technique is used in the
second movement at 6’12 as shown in Figure 6.3 and 6.4:
Figure 6.3 “Drinking Alone by Moonlight” waveform at 6’12” before granular
synthesis. [2]

30. 24
Figure 6.4 Waveform diagram 6’12” of the sound granular effects after treatment [2]
6.2.1.2.3 Sound Delay
Audio delay can be also be called "Waveset Stretching”, a term first offered by the
British composer Trevor Wishart (1921) as a method of processing a sound. In this
piece, “Drinking Alone by Moonlight”, the composer has used the delay or echo
effect quite extensively. An infinite collection of sound is extended to create a very
long echo, such as the works first movement (at 3’53) where the use of such
technology is shown in Figure 6.5 and 6.6 below.
Figure 6.5 at 3'53 the original sound wave [2]
Figure 6.6: Delay Effect processed at 3'53 the sound wave [2]
6.2.2 A Wide Range of Musical Ideas
6.2.2.1 A Wide Range of Musical Elements
Society, Culture, Art, Life, etc are all emphasised in today's society. The international
"pluralistic" nature of cultures mean clashes have been subject to the attention of
various countries and regions. Various countries have a massive variety of cultural
content. In the East, more and more artists try to integrate into Western culture.
The famous Chinese composer Zhang Xiaofu plays an active part in the creation of
both Eastern and Western cultures with the fusion of Chinese and Western culture in

31. 25
his Art. Zhang Xiaofu creates electronic music. His music creates a philosophical
mood, with the pursuit of high quality and fine audio production, as well as a superb
instrument playing skills.
The analysis of Yu-Chung Tseng’s electronic music "Drinking Alone by Moonlight"
shows a diversity of styles. The composer uses oriental music elements with Western
compositional techniques to reflect a wide range of geographical musical elements.
6.2.2.2 Application of Diverse Musical Elements to Create Ideas
6.2.2.2.1 Chinese poetry as Creative Background
"Drinking Alone by Moonlight" is based on a poem by Li Bai, a Tang dynasty poet.
The composer follows the poems lyrical expression to outline the dominant mood of
the work. The traditional acoustic instrument, Clarinet, symbolically represents the
drinking poet. The music is a symbol of the dance when the shadow of moonlit
flowers under an atmosphere of creation. The clarinets tone is from the woodwind
family of musical instruments. It can be lonely and melancholy. The clarinet sound set
against the electronic music carries a representation of the loneliness of the poet.
6.2.2.2.2 Technology-based Sound Characteristics
In many parts of the piece, the composer uses technical means to imitate oriental
musical instruments. For example, in the first movement (at 1'08), the composer uses
the clarinet breath sound to imitate the Japanese instrument “shakuhachi”, as shown in
Figure 6.7 in the score for the
piece
Figure 6.7 The first movement clarinet [17]

32. 26
The "Shakuhachi" originated in China in the Southern Song Dynasty. It has
widespread use throughout Japan as an musical instrument.
Another example is in the second movement. The Western musical instrument, the
clarinet, plays out a different vibrato and there is a sudden change of intensity. The
composers use the clarinet in rapid vibrato mode (at 4'45) as shown in Figure 6.8.
The clarinets intensity undergoes a mutation (at 5'38) is shown in Figure 6.9, both of
which mimic the special sound of Chinese Guqin :
Figure 6.8, the second movement of Clarinet fast vibrato to imitate the Chinese Guqin
[17]
Figure 6.9. The second movement clarinet suddenly changes so as to imitate the
Chinese traditional instrument, the Guqin [17]
6.2.2.2.3 The Context of Chinese music, Culture-based
The composer uses musical syntax to make the work obtain an oriental flavour. He
uses the Western musical instrument, clarinet (at 3'29) as a oriental "mono
decorative" or referred to as an "embroidery sound” as shown in Figure 6.10.

33. 27
Figure 6.10, The first movement clarinet playing the embroidery sound [17]
-------------------------------------------------- ---
[6] Yu Zhong intended for decorative tone figurations.
Another example is in the second movement (approx. 5'48) shown in Figure 6.11, the
monophonic decorative clarinet quavers represent the decorative sound:
Figure 6.11, Second movement Clarinet plays the embroidery sound. [17]
The piece cited the essence of a regional music culture. The music is not only
representative of the appearance of Western music, but also the mood of oriental
music.
6.2.3 A Wide Range of New Sounds
Within this piece, the composer constantly looks for new methods and techniques to
present sound that traditional instruments cannot give. The combination of sound
colour and space creates unique sound characteristics. The following shows a few
examples.
6.2.3.1 Traditional Musical Instruments, New Sounds
The blowing noise (at 4'45) shown in Figure 6.12, is where the composer uses his
mouth to cover the mouthpiece and blow hard. He played like that to make the
clarinet beat out a crisp "da da" button noise.

34. 28
Figure 6.12: Blowing Noise [17]
6.2.3.2 The Tone of Granular Synthesis
The composer played the clarinet into the ‘Audiomulch’ interface to change the tone
of the original vibrato into a granular sound. It is at 6'13 that the granular sound
processing begins, as shown in Figure 6.13.
Figure 6.13: The Granular Section [17]
6.2.3.3 Noise Tone
At the beginning of the piece, the composer broke the traditional clarinet tone and
played the sound of the breath at its original frequency. The tone of the original
clarinet is changed into the abstract background, representing the sound of the wind.
6.2.3.4 Filter Use
At 3'46 and 3'53, as shown in Figure 6.14, the composer used a high-pass filter on the
clarinet tone to produce a new sound, which shows a clarinet can play out a special
tone when used in conjunction with electronic music techniques. The new sounds
have shown how a diverse sound can give the work itself more vitality and freshness.

35. 29
Figure 6.14. Use of High Pass Filter [17]
6.2.4 Diversification of New Audio Form
Through the development of the original sound, a single sound material is developed
into a variety of diverse new sound patterns, modulated by different effects. This can
be named “sound diversification".
6.2.4.1 Breaking the Physical Conditions of the New Audio Form
In the first movement of the work, at 3'46 and 3'53 shown in Figure 6.15, the
composer used clarinet overtones to produce a climax. Through the physical nature of
binding, the composer made high pitch overtone sounds to create surreal new sonic
patterns.
Fig 6.15 Clarinet Overtones [17]
6.2.4.2 The Extension of New Sound Form
When the work needs a breakthrough to resolve this long tone, technology infused
media is necessary. The composers used the “Sound Hack” phase encoding software
(Phase Vocoder). The composer, took the original audio material, extending its length.
For example, in the first movement from 2'55 to 3'07 as shown in Figure 6.15, the
composer used this functionality to change the original form of sound into a
monosyllabic stretched sound.

36. 30
6.2.4.3 Subtle New Forms of Sound Expression
At the end of the second movement (approx. at 5'37) shown in Figure 6.16, the voice
expression varies. The composer uses software technologies to create subtle changes
of expression, not only within the subtle intensity of ultra-frequent changes, but also
the inner transformation of the sound.
Figure 6.16 Transformation of the Sound [17]
6.2.4.4 Sound and Lyrics of New Forms of Non-linear Editing
Non-linear editing techniques are widely used in various fields. In the second
movement at 6'42 (Figure 6.17), non-linear editing techniques change the original
interpretation and respiratory rhythm of the original audio. These new forms change
the sound from concrete sounds and words into abstract meaning.
Fig. 6.17 Non-Linear Processing Effects [17]
Through the above analysis of the work, it is seen that technology development and
application provided the possibility of a breakthrough in compositional meanings. It
has also provided an example of Chinese composers expressing a wide range of
creative ideas with Chinese characteristics.

37. 31
Section 3
Chapter 7 Comprehensive Analysis of the Embodiment of Sound Science and
Technology in the Work “The Samsara of Seasons”
This research makes use of creative electronic music technologies to compose a piece
of electronic music that is steeped in Chinese characteristics. It will investigate how
the latest technologies can be applied to unique Chinese harmonic and rhythmical
elements. This will hopefully enhance both my knowledge of composition, quality of
composition, and live performance skills within a style of music which has remained
virtually unchanged for thousands of years. A diversity of sound effects and
processing will be explored and the effect of these parameters on the listening
audience will also be recorded and explained. The author will exploit particular skills
and techniques learnt in this Music & Technology course, including computer music
composition, sound synthesis, logic pro 9, composition and voice sampling. The suite
of pieces created for this research is called “The Samsara of Seasons”. It embraces the
“impressionistic-style” of Chinese traditional musical aesthetics by selecting several
classic and unique Chinese musical instruments. The goal will be to perform the
cyclical flow of the natural seasons, in the form of electronic music. The temporal and
spatial changes contained in the music are meant to project the meaning of the cycle
of life. This piece is going to be a challenging integration of modern music
technologies and traditional Chinese music performance.
7.1. Use of Sound Materials and Structural Layout
The use of sound materials, as well as the structural layout within the first and third
sections were selected as being ideal for voicing one of the oldest Chinese traditional
musical instruments, the Guzhen-Zither as well as the Xiao as a solo instrument. Both
of these instruments are used as the main sound sources within the composition.

38. 32
7.1.1 The Chinese Traditional Instrument ‘Guzheng-Zither’ [10]
The
Guzhen is one of the most representative and ancient Chinese stringed instrument.
The Guzhen-Zither derives from China’s “Qin Dynasty”. With more than 2,000 years
of history, the wooden instrument is constructed to use 23 strings, its timbre of sound
is elegant and graceful; pure and bright in the high range. The player of the instrument
is able to play on each string with multiple overtones, producing a rich musical
expression. In order to optimise the unique music qualities of each acoustic
instrument, the structure and layout of the piece is arranged with respect to two
important factors:
(1) The composer must first consider the requirements of the sound in the musical
structure, and create a number of new sounds through a granular reverb effect (See the
Video 01). For example: at the beginning of the music track, the use of overtones as a
basic sound element, included the following: D4-E4-A4-A5. The musical tone of
pitch is: re, mi, la, la, one active higher. Most of the sounds and melodies of the
Guzheng performances are recordings that were done directly into the Logic Pro
audio production platform. The combination of all the different sound recordings
played a key expressive function, as well as being relevant to the performing methods
and playing skills that were implemented. A variety of playing techniques were used,
with examples being: tone, dual-tone, chords, tone of melody, block tones, plucked,
arpeggio, glissando, etc.
At the beginning of a song (0'1-1'00 minutes) (See the Video 01) the main focus for
the sound is 4 monophonic notes D,E,A,A to symbolise the formation of the 4 seasons,
spring, summer, autumn and winter. The seasons are of great significance in
traditional Chinese culture. These four notes indicate the fundamental sound element
of the whole piece, and they are continually processed through a series of sound
effects such as filters，pitch shifters，denoiser’s, etc See also. The effected sound of
the Guzheng will represent a number of natural elements such as a “tornado’, through
the quickening of the speed (audio beginning at 10:50) (See the Figure 7.1). There are
also a number of other transformations of the sound of the Guzheng and flute, most

39. 33
notably through Granular Synthesis, Micro-phasing Techniques and a Vocal
Transformer.
Figure 7.1: Guzheng frequence of speed changed, audio beginning at 10:50
7.2 Sound Elements and the Audio Technology Approach
Within the piece the Guzheng’s unique sound is used to imitate a bird’s pitch, with a
delay effect used to create subtle echo variations that sound similar to a chorus of
birds. This sound setting is meant to outline the sonic scenery of spring. After this
section, the same sound elements are used, but with a reverse audio processing
technique, coupled with some Granular Synthesis techniques to form a phrase of
diversified voices of differing lengths. On one hand, this section is supposed to
imitate the existing sounds of nature. On the other hand, it is to deliver imaginary
sounds that may be found in nature. Within the first section (00:20-02:07) (See the
Video 01) there is depicted in the sonic scenery, insects nibbling and the movement of
flowers and grass. This is to demonstrate a lively and dynamic landscape.
After this section, there is the depiction of the steady growth of plants (02:07- ) (See
the Video 03). To obtain this a spatial illusory effect is created by processing the
Guzheng’s tone with a delay effect. The Guzheng’s sound material is processed
through delay effects to imitate alternately rendered illusory subtle spatial effects (See
Video 04). New sounds are formed after processing the Guzheng (3:56-4:04),
deforming into rapid flows of sounds to symbolise plants growing out of the soil. At
5:29 the music is seen to represent the air, birds and other life forms as well as the
flow of liquid, so as to describe the change of nature and the beauty of Spring. Within

40. 34
the next section (5: 29 - 6:14) new sounds elements were created with the basic
Guzheng audio material and post processing techniques. The tornado (accelerating the
change of frequency) is then brought into play in the sonic landscape (audio
beginning at 10:50).
7.3 Combination of Musical Notes, Technology, Audio and Voice
The notes of the acoustic music instrument are the basic musical element in the piece.
These notes, combined with a variety of other conventional sound effects processing
allowed me to improve and enhance the auditory experience. Music creators can use
particle tone synthesis, create noise effects, filter effects, etc. These techniques allow
a single sound element to be differentiated and restructured, resulting in music with a
more modern feel. An example of this can be found in the second part of the music,
when the Zither plays for an extended time, shifting and overlapping with the Cello
pizzicato section.
7.4 Morphological Structure
Through the use of a variety of different voices and sound sources a multi-layered
sound can be formed. There are several ways,
1) Use midi performance control technology to enter the original synthesiser preset
sounds and select traditional musical instruments like string instruments. For example,
(audio beginning at 10:50)((See Video 03).
2) Supplement the original performance recording with a variety of mixing techniques;
collage and splice; tied and overlap. Its main function in the work is to build the
background of the main sound. To create a sound form with multi-layered and
different voices is the goal of any electronic music artist. Seeking to create a
multidimensional sonic space effect is a goal of electronic music composers.
7.5 Reflect the Aesthetics of Chinese Cultural Elements
7.5.1 Create music composition with Chinese characteristics
Within the development of music nowadays, the combination of Chinese elements
and music technology can create both a sonic and artistic conception which traditional

41. 35
music alone cannot express. It can convey directly to the listener a musical concept
containing a diversified set of sounds and creativity. Through the analysis of works of
both famous Chinese and foreign electronic musicians it’s not hard to see the
importance of music technology, regardless of the type or genre of the music, whether
it be specific folk songs or traditional tone poems, drama, story or even spoken word
pieces.
The creation of the "The Samsara of Seasons"[11] was influenced in various degrees
by traditional Chinese culture, namely Confucianism [12]. In traditional Chinese
philosophy, the pursuit of unity, and the interdependence of people with nature [13],
as well as the harmony of the “four season cycle" are extremely important concepts.
According to Chinese text the 24 solar terms change with the seasons in the year in
rotation. [14] (See Appendix 2)
(1) The first solar term, "Spring", is after the Chinese Lunar New Year. This is in
February each year, a very important day. From that day, snow and ice begin to melt,
warm east wind replaces the cold northerly winds. The flowers and trees begin to
bloom. The whole earth gradually regains consciousness, beginning to wake from its
winter slumber and turns vigorous with vitality.
(2) The tenth solar term, the "Summer Solstice" which is in May each year, all living
things radiate: vegetation and plants are more lush, flowers bloom, the fruits are ripe,
wheat is plentiful. The frogs do not call, and we can only hear the cicadas sound
everywhere. The sun is directly on the Tropic of Cancer for that period, the days will
be the long and the night will be short.
(3) The 16th solar term is called the “Autumnal Equinox", on this day, the sun is
directly above the equator. At this point, the sunlight gradually weakens, the rivers
begin to turn dry, vegetation turns brown, birds start building nests, and things start
wilting.
(4) The 19th solar term is the "Beginning of Winter’’, October is the head of this solar
term. Winter has the meaning of the end; to terminate all activities. All living things

42. 36
start to go into “hiding’’. At this point, along the Chinese Yellow River; the
vegetation dies, the river freezes over, and the animals hibernate.
………………………………………………..
[11] http://en.wikipedia.org/wiki/Saṃsāra_(Buddhism)
[12] http://www.chinaculture.org/gb/en_aboutchina/2003-09/24/content_23084.htm
[13] http://www.chinaculture.org/created/2005-10/18/content_74584.htm
[14] https://en.wikipedia.org/wiki/Solar_term#List_of_solar_terms
In traditional Chinese culture, there’s a close relation between Chinese martial arts
and the solar terms. Since ancient times, the martial arts are also known as “Chinese
Kung Fu’’, it is seen as a way of healthy maintenance.
“Taichi” [15], also known as “QiGong” [16] is a form of Chinese martial art that is
most important among all. People need to grasp the laws of change in the four seasons
in order to adapt to the changes in nature. Every life in nature is influenced and
effected by the humidity of spring, heat in summer, the cool of autumn, and the
coldness of winter. Humans are an integral part of nature; people reach mutual
coordination of both body and mind with nature, through practicing “Tai Chi’’ or “Qi
Gong’’.
In the piece of music, the sound material from the “Guzheng”; audio frequency;
cutoff; sound effects throughout the production platform; control and adjusting the
audio’s speed, velocity and loudness; the arrangement of sound shapes and rhythm are
used to depict the sight and performance of “Tai Chi’’ (audio beginning at 15:16 to
end in part 4)(See
Figure
7.2)
Figure
7.2: “Tai Chi’’ audio beginning at 15:16 to end in part 4

43. 37
7.5.2 Characteristics of the Music
To present an “impressionistic-style”[4] concept; a style often found in traditional
Chinese painting which is characterised by a vivid, expressive bold outline. The
composer selects several classic and unique Chinese musical instruments to performs
the cyclic flow of the natural seasons in the form of electronic music. The temporal
and spatial changes contained in the music are meant to project the meaning of the
cycle of life. This piece is a challenging integration of modern music technologies and
traditional Chinese music performance.
The “Samsara of Seasons” is just an abstract philosophical concept. Nature is seen as
veining, the presence of life in all things, and the continuity of the process gives it a
poetic meaning. The autumnal equinox and the start of winter are closely related and
the structure of the music represents this by using the same musical instruments and a
similar melody for these sections. The background sound posture and the
representation however have undergone changes to describe different scenarios in
autumn and winter. This highlights the creativity of applying electronic sounds to the
work.

44. 38
Chapter 8.
Conclusion
This research includes three parts that explain how my electronic music project was
carried out.
Section One (chapters 1 to 4) mainly introduce the context of this research, covering
areas such as the analysis of early electronic music, the relationship between music
technology and composition, aesthetic conceptions and general influences posed by
electronic music in modern times.
Section Two (chapters 5 to 6) presents a detailed analysis of two representative pieces
of music made by Chinese musicians, including how they edit the audio, leverage the
aesthetic value and how the technologies are absorbed into their work.
Section Three (chapter 7) is a discussion of the 20 minute electronic music made with
Chinese traditional instruments, making use of various technologies to enhance the
performance of these original instruments. The use of technologies enriches the
contents and context of this piece of music and forms a unique electroacoustic
soundscape. This experiment will become a very useful reference for Chinese style
electronic music creation in the future.
The purpose of this research is to explore the possibility of enhancing performances
of Chinese traditional instruments such as the Guzheng (Chinese Zither) and Xiao
(Chinese Flute）by using modern music technologies. The piece, entitled “The
Samsara of Seasons” is representative of such a project. This thesis presents a
detailed discussion of how all the elements of this experiment are brought together,
covering areas such as choosing acoustic instruments, recording, effect utilisation,
composition techniques, sound processing, construction of soundscape and the
aesthetic conception of electronic music.
Specifically this research stresses ways of sampling sources of Chinese traditional
music instruments and how to use them as basic materials to process and construct a
diverse and creative electroacoustic soundscape. It is hoped that the piece immerses

45. 39
the audience in a post-modern surrounding of tonal and atonal noises, with both real
elements and those of the imagination; the impressionistic and surreal.

46. 40
References
1.1 In Chinese
[1] Zhang Xiaofu "1948-2008, 60 years of electronic music history" 2008 published
Beijing, Publishing, Central Conservatory Music.
张小夫，《现代电子音乐概论》2007 年出版
[2] Zhang Xiaofu, Introduction of modern electronic music, book / 2007 Publishing,
Central Conservatory Music Bejing.
张小夫，《1948-2008，电子音乐 60 年史纲》2008 年出版
[3] Hang baoqiang, Sound course - Introduction to Modern Music Acoustics, 2003
published Chinese music.
韩宝强《音的历程－现代音乐声学导论》2003 年出版
[4] Yu-Chung Tseng, A Research on the Musical Function and Esthetical Role of
Sound Technology in the Composition.
曾毓忠，“聲音科技的音樂功能與美學角色初探” http://yc-tseng.blogspot.ie
[5] Zhang Xiaofu, New Media Art Theory，2008 published,
Beijing Central Conservatory Music
张小夫，新媒体艺术论
1.2 In English
[6] C.Dodge & T. A. Jerse Computer Music: synthese, composition and performance.
New York: Schimer books, 1985, pp. 97-98.
[7] M.Matheews and J.Perce. Current Directions in Computer music, Cambridge:
MIT Press,1991, pages 399-400.
[8] Since the 1970s, computer music tape technology was still limited and
inconvenience.
[9] M. H. Hayes, Statistical Digital Signal Processing and Modeling. J. Wiley & Sons,
Inc., New York, 1996.
[10] Guzheng-Zither, Chinese Harp, http://en.wikipedia.org/wiki/Guzheng
[11] Samsara, http://en.wikipedia.org/wiki/Saṃsāra_(Buddhism)
[12] Confucianism
http://www.chinaculture.org/gb/en_aboutchina/2003-09/24/content_23084.htm
[13] Harmony of Man with Nature,
http://www.chinaculture.org/created/2005-10/18/content_74584.htm

47. 41
[14] https://en.wikipedia.org/wiki/Solar_term#List_of_solar_terms
[15] TaiChi, http://www.chinaculture.org/2012-08/10/content_448293.htm
http://en.wikipedia.org/wiki/T%27ai_chi_ch%27uan
[16] Qigong, http://en.wikipedia.org/wiki/Qigong
[17] Yu-Chung Tseng, score for “Drinking Alone By Moonlight”, sent to me by the
composer via email.

48. 42
Bibliography
2.1 In Chinese
Yu-Chung Tseng, From Figurative Music to Figurative Computer Music, ROC
Computer Music Society journal, Bulletin No. 1, 2004
曾毓忠，從具象音樂到具象電腦音樂，中華民國電腦音樂學會會刊，季刊 1
號，2004
Dong Rui，Diversification electronic music 多元化电子音乐
Department of music school of chuzhou chuzhou 239000
Wu Dian, Some thoughts in Music - Music Creation by Computer, Journal of
Computer Music, Republic China, 2002, pp13-21
Miller Puckette. The Music and Technology of Electronic Music, Chinese translation
in 2011, Post & Telecom Press Beijing, China.
Hang baoqiang, Sound course - Introduction to Modern Music Acoustics, 2003
published Chinese music.
Lei Liang, Edward Green: “China and the West-the Birth of a New Music”,
Contemporary Music Review. The journal was published in2007, Chinese translation
in 2009, issued by the Shanghai Conservatory of Music Press.
2.2 In English
Katz, Shira Lee and Howard Gardner. “Musical materials or metaphorical models? A
psychological investigation of what inspires composers.” In Musical Imaginations:
Multidisciplinary Perspectives on Creativity, Performance, and Perception. David
Hargreaves, Dorothy Miell, Raymond MacDoanld, eds. Oxford University Press,
2011. 119
S.Emmerson, The Language of Electroacoustic Music, New York: Hardword
Academic Publisher, 1986.
E. R. Miranda, Computer Sound Design ,Bodmin:MPB Books Ltd.,2002.
P.Manning, Electronic and Computer Music, Clarendon Press, 1989.
M.Mathews and J. Pierce, Current Directions in Computer Music, Combridge, MIT
Press, 1991.
S. Pellman, The Introduction to The Creation of Electroacoustic Music, Wadsworth
Publishing Company, 1994.

49. 43
O. Powers, Interactions Between Composers and Technology in the first Decades of
Electronic Music, 1997.
C.Roads,The Computer Music Tutorial, The MIT Press, 1996.
Bijan Zelli, Musique Acousmatique and Imaginary Spaces, June 2011
http://cec.sonus.ca/econtact/13_3/zelli_acousmatique.html
“Some Vital Experiences and an Artistic Statement.” Beijing: Renmin Yinyue
[People’s Music], vol.585 (2012 no.1): 10-11. Read the Chinese article here; for
English translation, click here.
“Colliding Resonances: ‘The Music of Xiaoyong Chen’. Edward Green, ed. Lei Liang,
co-editor. China and the West: the Birth of a New Music. Contemporary Music
Review, vol. 26, nos. 5 & 6, 2007: 529-545.
http://www.lei-liang.com/page17/assets/LiangMusicOfChenXiaoyong.pdf [accessed on 4th
August 2012].
T. Holmes. Electronic and Experimental Music: Pioneers in Technology and
Composition (5th ed. London: Routledge, 2002), 138-139.
[13] C.Dodge & T. A. Jerse Computer Music: synthese, composition and performance.
New York: Schimer books,1985,pp.97-98.

50. 44
Appendix 1
1
An exploration in composition of Chinese characteristic
electronic music using contemporary music technologies.

51. 45
2
A B C D E F G A
Structure and
Function
Time(s) Tempo Instrument
Sound and
its
Deformatio
n
Effects
And
Approach
The
atmospher
e of and
Expression
The
description
Special notes
and
Musical
material
The shape of
Sound and
The form of a
part
Introduction 00:01- Adagio
Rubato
Guzheng
zither
Motivation
Sound
Reversion
The
performan
ce of
nature of
Tranquil
Moods
The
Motivation
pitch
retrograde
material after
inversion
Prototype
mono and
the overlap
of
deformation
00:20-02:07 Guzheng
zither
Depicting
of various
life
activities
The
Motivational
material
prototyp
G,A,D,D
Overlapping
02:07-
02:10-
Changed
guzheng
granular
sound to a
linear form
Depicting
the scene
in the
plant
world and
the plants
steadily
with
grown
moment
attitude
Important
sound clips
for sound
changing and
derivative of
new sound
material
elements
Single tone
with the
combinatio
n of
multi-layer
ed sound
02:16 adding new
sound clip
gradually
Consists of
points,
surfaces, lines
and space
multi-layered
sound
mentality
03:43-3:55
Part1
Beginning of
spring
3:56
4:04
Guzheng
zither
delayed,
Produced the
multiple
Guzheng
imitated
birdsong

52. 46
3
Presented
paragraph
sounds
alternately to
imitate
rendered
illusory subtle
spatial effects.
and
derived
processed
new sound
effects
4:39-5:28 Guzheng
material
deformate
d to the
rapid flow
of the
figurations
and the
symbolic
plant with
rows of
out of the
soil,
5:29-
6:14-
Guzheng
I
Diffusion
of the gas
of plants,
birds and
other life
forms that
humans
cannot see.
Depicting
of
a variety
of liquid
flow,
nature
sound
changes
portrayal
and the
depicting
of
beautiful
spring and
the paean
of life,
The
intertwined
multiple
voices, shifted
changes of
duplication

53. 47
4
6:50-7:18 Guzheng
deformation
7:19- Guzheng
[II]
Sub-themes
Granular
synth, The
accelerated
sound rate
with the
decompositio
n voice is the
form of
granular
Transition
connection
8:07-8:17
8:17-8:20
Part 2
Summer
Solstice
Expansion
Paragraph
8:20-8:40 Granular
synthesis ,
noise gate,
filter
The
potential
crisis in
nature
The
synthesized
electronic
sound through
the audio
processing
and sampling
A different
tone District
tone
composed of
multi-level
audio
8:40-9:01
9:01-9:40 Herald the
advent of
the
potential
crisis
9:40-
10:17
The
potential
crisis in
nature and
the
inherent
conflict of
sound
Transition Buffering 10:17
10:50

54. 48
5
10:50-
11:20
The
symbol of
human
cries with
various
substances
and
decompose
d changes
to depict
the
destroyed
lives
cruelty
in nature
11:20-
11:23
Part3
Autumnal
Equinox
Introduction
to the theme
11:23-
13:08
The cry to
the earth,
the
atmospher
e of
sadness,
helplessne
ss of
mankind,
Musical instruments
have tone
temperament and
combined with
atonal differential
law emphasized
humane sound
Multiple
part
sympho
nisation
13:08-
13:50
Cello
classical
instruments
13:50-
14:20
String
orchestra
14:20-
14:31-
14
Part4
Winter
Solstice
15:20- Panning,
reverb sound,
speed control
and change
the speed of
sound audio
rate velocity,
loudness
Religious
customs of
etiquette,
such as
pray for
rains and
life-saving
.The rate
of
The Unique rhythm
of the sound
elements in Taiji
Homoge
nous
sound of
different
lengths
which is
from a
different
orientati

55. 49
6
“The samara of season” is just an abstract philosophical concept. The nature has been
seen as mentioning a pass context, the presence of life of all things is the continuity of
the process, there is a poetic function let us imagine inside may be so. Therefore, in
my piece is not deliberate on this is divided into four, the performance of four the
different integrity cycle, specifically the "autumnal equinox" and "winter solstice" as
a whole, "Winter Solstice" is a continuation of the autumnal equinox, although using
the same instrument, the melody is similar, but the background sound stereo posture,
the presentation have undergone a change, depicted naturally different scenarios are
applied to creative works to highlight the electronic sound, the only special
instructions.
posture in
Tai Chi,
the
coordinati
on
between
the
performan
ce of the
human
body
physiology
and the
nature
on
change,
outlined
oblong,
square,
and
other
sound
graphics
.
Topic
reproductio
n
16:33
17:19 Hope of
the
peaceful
days
Live recording
material
End End 18:18-
19:27
Life is too
short. It is
like a burst
of wind
"reincarnat
ion" fate "
things will
go to
waste
things
The face of the
material which has
been through the
whole song,
showing with the
changes in the
different process,
demonstrating its
music features

56. 50
Appendix 2
14/08/2013 19:47Solar term - Wikipedia, the free encyclopedia
Page 1 of 4https://en.wikipedia.org/wiki/Solar_term#List_of_solar_terms
(Twenty-four) solar terms
Chinese name
Traditional Chinese
Simplified Chinese
Transcriptions
Mandarin
- Hanyu Pinyin (èrshísì) jiéqì
- Wade–Giles (erh-shih-hsi) chieh-chi
Min
- Hokkien POJ (jī-si ̍p-sù) cheh-khùi
Cantonese (Yue)
- Jyutping (ji6 sap6 sei3) zit3 hei3
Vietnamese name
Vietnamese tiết khí
Korean name
Hangul
Hanja
Transcriptions
- Revised
Romanization
(isipsa) jeolgi
- McCune-
Reischauer
(isipsa) jǒlki
Japanese name
Kanji (二十四)節気
Hiragana (にじゅうし)せっき
Transcriptions
- Revised Hepburn (nijūshi) sekki
- Kunrei-shiki (nizyûsi) sekki
Contents
1 List of solar terms
2 Regional note
3 See also
4 External links
Solar term
From Wikipedia, the free encyclopedia
A solar term is any of 24 points in traditional East Asian
lunisolar calendars that matches a particular astronomical
event or signifies some natural phenomenon. The points
are spaced 15° apart along the ecliptic and are used by
lunisolar calendars to stay synchronized with the seasons,
which is crucial for agrarian societies. The solar terms are
also used to calculate intercalary months in East Asian
calendars; which month is repeated depends on the
position of the sun at the time.
Solar terms originated in China, then spread to Korea,
Vietnam, and Japan. This is exhibited by the fact that
traditional Chinese, Hanja, and Kanji characters for most
of the solar terms are identical.
Because the Sun's speed along the ecliptic varies
depending on the Earth-Sun distance, the number of days
that it takes the Sun to travel between each pair of solar
terms varies slightly throughout the year. Each solar term
is divided into three pentads (候 hou), so there are 72
pentads in a year. Each pentad consists of five, rarely six,
days, and are mostly named after biological or botanical
phenomena corresponding to the pentad.
List of solar terms
Longi-
tude
Usual
translation
Chinese
name ¹
Japanese
name
Korean
name ²
Vietnamese
name
Date ³ Remark

57. 51
14/08/2013 19:47Solar term - Wikipedia, the free encyclopedia
Page 2 of 4https://en.wikipedia.org/wiki/Solar_term#List_of_solar_terms
315°
start of
spring
立春
lìchūn
立春
risshun
(立春)
ipchun Lập xuân Feb 4
330° rain water
雨水
yǔshuǐ
雨水
usui
(雨水)
usu
Vũ thủy Feb 19 more rain than snow
345°
awakening
of insects
驚蟄 (
)
jīngzhé
啓蟄
keichitsu
(驚蟄)
gyeongchip
Kinh trập Mar 6
lit. awakening of
hibernating insects.
See the note at
Chinese
calendar#Solar term.
0°
vernal
equinox
春分
chūnfēn
春分
shunbun
(春分)
chunbun
Xuân phân Mar 21
lit. spring division (or
center)
15°
clear and
bright
清明
qīngmíng
清明
seimei
(清明)
cheongmyeong
Thanh minh Apr 5 time for tending graves
30° grain rain
穀雨 (谷
雨)
gǔyǔ
穀雨
kokuu
(穀雨)
gogu
Cốc vũ Apr 20
lit. grain rain: rain
helps grain grow
45°
start of
summer
立夏
lìxià
立夏
rikka
(立夏)
ipha
Lập hạ May 6
60° grain full
小滿 (小
)
xiǎomǎn
小満
shōman
(小滿)
soman
Tiểu mãn May 21 grains are plump
75° grain in ear
種 (
)
mángzhòng
種
bōshu
( 種)
mangjong
Mang
chủng
Jun 6
lit. awns (beard of
grain) grow
90°
summer
solstice
夏至
xiàzhì
夏至
geshi
(夏至)
haji
Hạ chí Jun 21
lit. summer extreme
(of sun's height)
105° minor heat
小暑
xiǎoshǔ
小暑
shōsho
(小暑)
soseo
Tiểu thử Jul 7
120° major heat
大暑
dàshǔ
大暑
taisho
(大暑)
daeseo
Đại thử Jul 23
135°
start of
autumn
立秋
lìqiū
立秋
risshū
(立秋)
ipchu
Lập thu Aug 8
150°
limit of
heat
處暑 (
暑)
chǔshǔ
処暑
shosho
(處暑)
cheoseo
Xử thử Aug 23 lit. dwell in heat
165° white dew
白露
báilù
白露
hakuro
(白露)
baekro
Bạch lộ Sep 8
condensed moisture
makes dew white
autumnal 秋分 秋分 (秋分) lit. autumn division (or

58. 52
14/08/2013 19:47Solar term - Wikipedia, the free encyclopedia
Page 3 of 4https://en.wikipedia.org/wiki/Solar_term#List_of_solar_terms
180° equinox qiūfēn shūbun chubun Thu phân Sep 23 center)
195° cold dew
寒露
hánlù
寒露
kanro
(寒露)
hanlo
Hàn lộ Oct 8
210°
frost
descent
霜降
shuāngjiàng
霜降
sōkō
(霜降)
sanggang
Sương
giáng
Oct 23
appearance of frost
and descent of
temperature
225°
start of
winter
立冬
lìdōng
立冬
rittō
(立冬)
ipdong
Lập đông Nov 7
240° minor snow
小雪
xiǎoxuě
小雪
shōsetsu
(小雪)
soseol
Tiểu tuyết Nov 22
255° major snow
大雪
dàxuě
大雪
taisetsu
(大雪)
daeseol
Đại tuyết Dec 7
270°
winter
solstice
冬至
dōngzhì
冬至
tōji
(冬至)
dongji
Đông chí Dec 22
lit. winter extreme (of
sun's height)
285° minor cold
小寒
xiǎohán
小寒
shōkan
(小寒)
sohan
Tiểu hàn Jan 6
300° major cold
大寒
dàhán
大寒
daikan
(大寒)
daehan
Đại hàn Jan 20
1. Simplified Chinese characters are shown in parentheses if they differ from the Traditional Chinese
characters.
2. Hanja is indicated in parentheses.
3. Date can vary within a ±1 day range.
The "Song of Solar Terms" (Chinese: ; pinyin: jiéqìgē) is used to ease the memorization of jiéqì:
Chinese Pinyin
chūn yǔ jīng chūn qīng gǔ tiān,
xià mǎn máng xià shǔ xiāng lián,
qiū chù lù qiū hán shuāng jiàng,
dōng xuě xuě dōng xiǎo dà hán.
měi yuè liǎng jié bù biàn gēng,
zùi duō xiāng chā yī liǎng tiān
shàng bàn nián lái liù, niàn yī
xià bàn nián shì bā, niàn sān
Regional note
In Japan, the term Setsubun (節分) originally referred to the eves of Risshun (立春, 315°, the beginning of

59. 53
Appendix 3
Supporting files
Videos: See accompanying DVD
01 Modulation & Oscillator for Guzheng-Zither at the Beginning to 1'15
02 Denoiser for Guzheng-Zither at 1：05
03 Video of Whole of Work
04 Spectral Gate Effector
05 AUPitch at 1'03
06 Delay Desiger for Guzheng Solo at 1'02
07 Denoiser for Guzhen 01
08 guzhen with Denoiser
09 guzhen with Denoiser longer part
10 Vocal Tranformer for Dizi-Xiao Chinese Flute

60. 54
Pictures:
Figure
A1.
Music
track
Figure
A2.
Delay
Designer
for
Guzheng
Solo
01

61. 55
Figure
A3.
Delay
Designer
for
Guzheng
Solo
02.
Figure
A4.
Denoiser
for
Guzheng-­‐Zither
at
9'00

62. 56
Figure
A5.
Denoiser
for
Guzheng-­‐Zither
at
9'40
Figure
A6.
Echo
for
Guzheng-­‐Zither

63. 57
Figure
A7.
Guzheng
sound
changed
by
Pd
01
at
10'50.
Figure
A8.
Guzheng
sound
changed
by
Pd
02
at
11'02

64. 58
Figure
A9
Guzheng
sound
changed
by
Pd
03
Figure
A10.
Guzheng-­‐Zither
at
10'50
Figure
A11.
Tai
Chi
Dance
Track
at
15'15

65. 59
Figure
A12.
TaiChi
Dance
Track
at
15'15
Figure
A13.
TrackOscillator
for
Guzheng-­‐Zither

66. 60
Figure
14.
Vocal
Transformer
for
Dizi-­‐Xiao
at
12'20
Figure
A
15.
Vocal
Transformer
for
Guzheng-­‐Zither.

67. 61
Figure
A
16.
Master
output
effectors
Figure
A
17:
Master
output
through
Match
EQ

68. 62
Figure
A18:
Master
outtput
through
Surround
Compressor

69. 63
Figure
A19:
Master
output
through
MultiMeter