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T (music that is neither fish nor fowl), as embodied in the early symphonic works by Ding Shande or Xian Xinghai. 22 He hopes that his work will lead to a revision of the "evaluation chart" for Chinese composers. This chart, assembled in Mainland China, has misled many foreign musicologists into believing that only the works of Nie Er and Xian Xinghai represent New Music in China. 23 The treasures of The C. C. Liu Collection contain all the necessary materials to continue this process of revision.

Liu observed similar listening preferences in Taiwanese audiences. A short history of N e w Music from three Chinese regions: T h e question of Chinese flavour W h e n Liu attempted to compare music from three different Chinese regions in the 1950s, he initially observed a complete absence of modern music in Taiwan and Hong Kong. In the Mainland, however, patriotic and revolutionary songs flourished. A n enormous number of symphonic works were composed at the end of the 1950s. Clearly influenced by political ideology, these pioneering symphonic compositions were contrived to celebrate the 10th anniversary of the People's Republic of China.

Taiwanese students of musicology, like students in Mainland China, were confronted with their own tradition. Each instrumental major had to play at least one Chinese instrument, a 9. This view of the destruction of Chinese Culture during the Cultural Revolution, which again, was ideologically prescribed by Party Directives, has been reexamined by recent scholarship. Cf. the works mentioned in footnote 7 above. 10. 4. 11. For an extended discussion of different forms of "Chinese flavour" m New Chinese Music see Mittler, Dangerous Tunes, ch.

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