Abstract

When Chinese piano works are performed in Western stages, they are often perceived through Western listening habits and perceptual logics. The listening expectations may lead to perceptual mismatches when applied to works grounded in different cultures and aesthetic priorities. This article examines listening as a culturally conditioned practice through a case study of Chinese composer Du Mingxin’s The Dance of Waterweeds. Drawing upon research in music listening, music recognition, and cross-cultural aesthetics, it argues that auditory misunderstanding arises from divergent listening logics rather than compositional inadequacy. Instead of providing a music analysis, it points out three listening strategies that redirect attention toward texture, motion, and sonic continuity for Western-trained listeners when they are exposed to Chinese pieces. By refocusing attention away from structural development towards changes of sound qualities, the performer reconfigures perception through different ways of interpretation. By foregrounding listening guidance as a practical strategy, this article contributes to discussions of musical perception and cross-cultural communication.

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