Abstract The development of electroacoustic music in China over the past four decades has been shaped not only by the nation’s modernisation strategies but also by the interplay of historical contexts, temporal frameworks and cultural connotations. While certain achievements have been made in the current phase, the entrenched dualistic framework of ‘China versus the West’ and a lack of critical inquiry fundamentally constrain the potential for further advancement in China’s electroacoustic music. Positioning ‘Chineseness’ as a central strategy in electroacoustic music composition has proven effective in specific historical contexts. However, with the evolution of the times, this strategy requires re-examination and reassessment within contemporary contexts. This paper seeks to trace the developmental trajectory of electroacoustic music in China and analyse existing academic research to identify and unpack its deeper, underlying issues. By introducing a broader ecological perspective, the paper aims to transcend the rigid, dichotomous framework dominated by Chinese-Western dualism, deconstruct cultural essentialism and critically reassess the positioning of Chinese electroacoustic music within these constructs. Finally, it will explore the potential possibilities and responses of an ecological perspective in practice, based on a selection of compositional practices, including my own work Mixobloodify .
Bowen Wu (Thu,) studied this question.