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The composer discusses her musical training at the Central Conservatory of Music in Beijing and at Columbia University in New York, and the effect of that musical heritage on her compositional style. She describes the techniques she uses in her chamber ensemble Happy Rain on a Spring Night (2004), including the use of speech tones for the development of her pitch material, and the Golden section for proportional relationships in the formal structure of the work. Volume 26, Number 3, September 2020 Copyright © 2020 Society for Music Theory

Compositional Process and Technique in Happy Rain on a Spring Night (2004)