Abstract
This essay considers American ultra-modern music from the vantage point of Chinese America. It argues that the interiority of this racial terrain was molded by the negotiation, mimicry, and transformation necessarily attended musical activities across racial boundaries. Cowell‘s ultra-modern composition bears witness to Asian confluence in the American musical landscape at the beginning of the century, and raises the question of musical heritage. Rejecting the typical orientalist analysis and its self-other framework, this essay explores the significance of Chinatown music, and how a sonic idea that was engendered from it found expression in the dialogical space of American ultra-modern music.
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