Now, for the record, most of my writing about electronic music internationally is based upon interviews with composers. This includes Chen Yuanlin, who was the source for my information about his own work. My article makes this quite clear, to anyone who has actually read it. Any issues that people have with how he represents his work should be taken up with him. I did receive a few critical comments about elements of it (frankly, composers not infrequently do not represent their own histories in an accurate, unbiased manner) and these were incorporated into my text. Other interviews for this article were with Zhang Xiaofu and Dajuin Yao, sources that I consider to be the highly trust worthy and respectable.

The one area about which I make no claims to have full information is about the non-academic electronic music world. Dajuin Yao was helpful in introducing me to some of that music, but the text that you claim that I cut and paste from the blog is quite clearly marked in the article as a quotation from email sent to me by Kenneth Fields - as I wrote: “Kenneth Fields (correspondence, January 4, 2006) describes 21floor (formerly 21floor Sound Unit) as “a Guangzhou-based experimental group composed …” I had never even read your blog until months later. The accusation leveled at me is very unfair and frankly rather cheap.

More to the point, I completely agree that Chinese scholars should write about electroacoustic music in China. Frankly, there is just about no information about this musical world available in English anywhere that I have seen. I would be very happy to see this change and, in the meantime, I try to do what I can, with what resources I have, to attempt to inform the world about what I consider to be a source of worthwhile creativity, the electroacoustic music world of China. I had hoped to learn even more when visiting China, this past Fall, but unfortunately had to cancel my trip due to illness. I very much look forward to making a trip. It would be nice to find welcome and encouragement rather than the kinds of insults that have been thrown here.

Finally, regarding the rather insulting suggestion that I am incapable of comprehending anything about a culture other than my own. I am not going to even respond directly as I do not think that the comment is worthy of response. However, I will note that part of my work is an attempt to recast the way the history of electronic music has long been written. I have been doing so by tracing the origins of the field throughout Asia and the world, interviewing the pioneering composers, and telling their stories. My experience has been that the history of the field changes when one removes the usual Euro- and North American bias. My work in this regard has been well documented and has been published in most of the major international journals of the field. It is a pity so see that people on this blog would find it entertaining to ignorantly throw stones at this work. If the goal is to undermind the legitimacy of efforts like this, that would be a shame and, frankly, rather self-defeating.