Five Interviews with Chinese Electro-pop Musicians, Technologists, and Trailblazers

Wu JC. Five Interviews with Chinese Electro-pop Musicians, Technologists, and Trailblazers. In: 2025 Breaking Barriers in Audio. Audio Engineering Society; 2025. Paper 8. Available from: https://aes.org/publications/elibrary-page/?id=22831

@inproceedings{Wu2025_22831,
  author = {Wu, Jiayue Cecilia},
  title = {{Five Interviews with Chinese Electro-pop Musicians, Technologists, and Trailblazers}},
  booktitle = {2025 Breaking Barriers in Audio},
  note = {Paper 8},
  year = {2025},
  month = mar,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=22831}
}

TY  - CPAPER
TI  - Five Interviews with Chinese Electro-pop Musicians, Technologists, and Trailblazers
AU  - Wu, Jiayue Cecilia
T2  - 2025 Breaking Barriers in Audio
M1  - Paper 8
PY  - 2025
DA  - 2025/03/27
UR  - https://aes.org/publications/elibrary-page/?id=22831
PB  - Audio Engineering Society
LA  - en
AB  - This article explores five in-depth interviews, conducted via face-to-face, Zoom, email, and WeChat, with distinguished Chinese electronic/electroacoustic-pop musicians, technologists, and community builders across generations, from the late 1970s to the present. Tian Jinqin, Xu Jingqing, Meng Qi, Tang Nan (tamiX), and Slowcook are trailblazers who have pioneered New Interfaces for Musical Expression (NIMEs), achieved significant commercial success in electronic/electroacoustic music, and advanced diversity, equity, and inclusion in the industry. Using thematic analysis, this study categorizes key insights into technological innovation, gender diversity, social inclusion, and historical contributions, providing a comprehensive view of the evolution of Chinese electroacoustic music. Topics include Chinas first NIME innovation, the analog ribbon control string synthesizer (1970s), the Wing Pinger evolving harmony synthesizer (2020s), the composition of the iconic electroacoustic-pop piece Yun Gong Xun Yin (????), the founding of Chinas largest music technology online community (Midifan.com), and the establishment of the first LGBTQ+/Queer-friendly electronic-pop nonprofit organization. By examining these influential figures and their work, this article highlights the intersection of commercial and experimental music, art and STEM, and sound design and composition, shedding light on how technological innovation and social change shape Chinese electronic music today.
ER  -