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   'Chinese elements' is a myth to both reviewers and composers. You won't ask a German or American composer to write music in a German or American manner, but you will definitely expect a Chinese composer to feature something Chinese. When a composer introduces his work on alien soil, the identity of a 'Chinese composer' is somewhat overemphasized. Some so-called Chinese elements are very superficial. People tend to equate the pentatonic scale with Chinese music. If it is that simple, isAuld Lang Syne, which is entirely pentatonic, Chinese music? I don't want to be too artificial or superficial, like conveniently assigning chords in Western music to a Chinese melody. I want to do it with some depth. Let's say, the cadence in Western music is usually presented in form of chord progression, but in Chinese music, it is usually expressed by changes in tempo and tone colour. I'm actually more concerned with exploring ways to build up the architecture for Chinese music.