
DE RITIS, A., & CAI J.
Instrumentation and Orchestration of Chinese Instruments
Central Conservatory of Music Press, Beijing. (Anticipated, 2023).
The Central Conservatory of Music Press invites Prof. Anthony Paul De Ritis to lead a team to do research on the instrumentation and orchestration of Chinese instruments. The research result will be a book in English and published by the Central Conservatory of Music Press in China. Proposed date of the publishing is 2023. The instruments covered in the book include most importantly used instruments in the current Chinese National Orchestra. The targeting readers of the book include English readers who are interested in composing Chinese music as well as those who want to get general knowledge on Chinese instruments.
Under contract, work in progress
De Ritis, Anthony P., & Cai Jindong. (in progress). Instrumentation and Orchestration of Chinese Instruments. Central Conservatory of Music Press, Beijing, China. Anticipated Publication, 2023.

DE RITIS, A., LYONS, R., & ZHANG F.
China’s Music Industry Comes of Age
In Jayson Beaster-Jones & K. Goldschmitt, (Eds.) (Anticipated 2023). Oxford Handbook: Global Music Industry Studies, Oxford University Press. [Manuscript submitted for publication].
China’s music industry has been changing rapidly. Historically, China has been a low intellectual property rights environment, with the music industry in particular greatly suffering from widespread piracy; initially with respect to pirated CDs, then with illegal peer-to-peer downloads and streaming. Despite efforts to publicly rectify this situation (i.e., changes to existing copyright laws; stricter enforcement mechanisms; more robust music rights management), China’s IP environment is still far behind the U.S. with respect to its enforcement and its ability to drive music industry revenue. However, this has not hindered the growth of China’s music industry; in fact, despite this market environment, there has been a burst of new, innovative approaches to monetizing music, led by the significant investment of some of China’s largest companies. Innovations embracing fandom, gifting, livehouse, and artificial intelligence have propelled China’s music industry forward, placing China at the forefront of the global music industry. This chapter is in two parts, the first establishes China’s efforts to develop its music industry along the lines of the Western model; i.e., a system of copyright, intellectual property rights, royalty collection and distribution. The second introduces the players in China’s digital music industry, massively resourced companies furiously competing for market share – capitalism with Chinese characteristics – that is transforming the global music industry. We examine recent developments in the Chinese music industry that impact its music copyright environment, Chinese innovations for the monetization of music (including business models that embrace a wide range of digital music-themed activities such as downloads, live streaming of concerts, short-form video, and karaoke apps). We draw upon an extensive literature review as well as primary sources from within China’s music industry, government, expert interviews, and in country surveys; with findings presented within a general context of understanding China’s music industry as a whole, and points of comparison drawn from the music industry in the United States.
Under contract, pending
De Ritis, Anthony P., Lyons, Robert., Zhang Fengyan. (Anticipated 2023). “China’s Music Industry Comes of Age.” In Jayson Beaster-Jones & K. Goldschmitt, (Eds.), Oxford Handbook: Global Music Industry Studies, Oxford University Press [Manuscript submitted for publication].

DE RITIS, A.
‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today
Organised Sound. Volume 27, Issue 3, December 2022 (anticipated). Cambridge University Press [Manuscript submitted for publication].
Current trends in the works of Chinese composers and their electroacoustic music today embrace increased abstraction and individual self-expression, while others celebrate the importance of clear communication and a unified ‘Chinese model’. How is one to derive the current state of a Western art form imported by China, in the context of unparalleled sharing and convergence of ideas made possible by the Internet and extensive intercultural exchange in today’s globalized world? And how important is it to identify and measure the level of Chineseness in the artistic output of today’s electroacoustic music composers that embrace Chinese elements – whether born inside or outside of China? This article seeks to unpack some of the current thinking shared by institutional leaders, such as Yu Feng, President of the Central Conservatory of Music; scholars of Chinese electroacoustic music, such as Marc Battier, Ken Fields, Leigh Landy, Yang Yinuo, and Annie Yen-Ling Liu; and several composers and thought leaders in the most recent generations of Chinese electroacoustic music.
De Ritis, Anthony P., (December 2022; anticipated). “‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today.” Organised Sound. Volume 27, Issue 3, December 2022. Cambridge University Press [Manuscript submitted for publication].

LOCKE, T., FARIA DE SÁ TUCKER, L., HEIMAN, D., DE RITIS, A. P., & KUMARAKURU, H.
Acoustical Phenomena of Indigenous Instruments: Intercultural Music Immersion Through the Lens of Physics
Proceedings, American Society for Engineering Education (ASEE) 2022 Annual Conference: Excellence Through Diversity: Minneapolis, Minnesota. (June 2022). [paper] [award] [PPT]
Traditional musical instruments are often passed down and taught from generation to generation without essential information ever being documented. These instruments may have been in use for hundreds of years, yet if one desired to gain a better understanding of their acoustic properties, they would be left without crucial resources. In collaboration with the Department of Music, the traditional Chinese keyed soprano suona was studied. The audio signals of this musical instrument were recorded and analyzed to compare their acoustic properties to those of several contemporary western instruments. The audio waveforms were converted from the time domain into the frequency domain using a Fast Fourier Transform (FFT) algorithm, thereby generating the spectrum of frequencies that compose each sound. The frequency and relative intensity of the different spectral peaks determine the harmonic spectra, which were then compared with the instrument’s qualitative timbral qualities. These relative amplitudes and time behavior of the harmonics (overtones) were related to their corresponding effects in terms of brightness, tone, formant, etc. This was done in order to visualize the similarities and differences between several contemporary western instruments (saxophone, bass guitar, and harmonica) and the traditional Chinese suona wind instrument. Results of these investigations will contribute to the development of a book describing instrumentation and orchestration techniques for instruments of the Chinese orchestra. This work provides a valuable, accessible resource for musicians, composers, music historians, and anyone interested in the physics of music.
Locke, T., Faria de Sá Tucker, L., Heiman, D., De Ritis, A. P., & Kumarakuru, H. (2022, June 28). “Acoustical Phenomena of Indigenous Instruments: Intercultural Music Immersion Through the Lens of Physics.” Proceedings, ASEE 2022 Annual Conference: Excellence Through Diversity: Minneapolis, Minnesota. Washington, DC: American Society for Engineering Education.
* Winner, Paper Award, Engineering Physics and Physics Division of the American Society for Engineering Education
DE RITIS, A.
Music and Cultural Diplomacy.
In Kimasi L. Browne (English) and Zhang Boyu (Ed.), in Musicking the Soul (Published in English and Chinese). (January 1, 2018). [book chapter]
“Musicking” as defined by Christopher Small in his book Musicking: The Meanings of Performing and Listening, is “a verb that encompasses all musical activity from composing to performing to listening”. The art of musicking can help us to understand the relationships with people in our lives. Our “soul” may be described as our “sense of identity” that may be “revealed in a work of art or an artistic performance”. Editors Kimasi Browne and Zhang Boyu have asked the contributing authors of Musicking the Soul to consider the good human contacts that each has made through music and, in particular, through the Central Conservatory of Music in Beijing (CCOM), a focal point of international exchange in music between the world and China. I interpret the title Musicking the Soul to reference the musical activity that helps us to engage with others, and, in turn, musical activity that helps us to define ourselves. The path that I’ve taken since my first encounter with Beijing’s Central Conservatory of Music in 1999, and the many directions that it has taken me since, have resulted in a deeper sense of self-identity and awareness. What follows is a narrative on the intellectual energy born from my relationship with CCOM that has led directly to personal expression and meaning within my life in and beyond music, and revealed through original music composition and performance, relationships with people and institutions, and (perhaps) in the even greater mission of cultural diplomacy. Musicking the Soul in the context of my life and its intersection with CCOM is a case study of the importance and far-reaching potential offered by international exchange through music.
De Ritis, Anthony (2018, January 1). “Music and Cultural Diplomacy.” In Kimasi L. Browne (English) and Zhang Boyu (Ed.), in Musicking the Soul (Published in English and Chinese). Beijing: Central Conservatory of Music (CCOM) Press. Beijing, China.

DE RITIS, A.
Selected Works for Pipa Composed by Anthony Paul De Ritis
Central Conservatory of Music Press, Beijing. (October 2016). [book excerpt]
The notion of “Globalizing Chinese Culture” is a strategic initiative of China to establish partnership with countries around the world, in order to facilitate dialogues free from prejudice. In spite of the impressive achievements as a result of years of hard work, there are still obstacles, the most conspicuous being the difficulty in conveying the message of the ultimate goal of the exercise. Since culture embraces national characteristics, cross-cultural exchange should be an effective means to promote communication and mutual understanding among different nationalities, yet it is always a challenge to amalgamate Chinese culture with a broad range of others, which possess differing characteristics. If “globalizing” merely involves exchange, then we have certainly completed the task; but if it implies enculturation – the acceptance of Chinese culture as an element of their cultural life – then it is a difficult mission. One may even doubt whether this is at all feasible.
There are composers working outside China who have a special inclination towards using Chinese instruments in composing. In contrast to Chinese composers, foreign works focus more
on the exploitation of instrumental range and timbre, even though some features of Chinese national characteristics are exhibited. Foreign composers often do not explore cultural implications of Chinese instruments (as their counterparts in China do); they draw more attention to physical sound and performing techniques, thus resulting in a very distinct style of Chinese music. The reason behind this is the imposed restriction of the convention of Chinese instruments experienced by Chinese composers as a result of the culture, while foreign composers have more freedom to trespass such boundaries, and conceive distinct music thinking with treatment of instrumental idioms seldom explored by Chinese composers. An analogy is the globalization of Western instruments, such as the piano and violin, breaking cultural boundaries, and this has assumed a superior position in world music culture. It is therefore a worthwhile venture to explore the possibility of globalizing Chinese music culture, so that it may develop features beyond its indigenous limit.
Selected compositions by foreign composers with Chinese elements – especially those involving Chinese instruments – will be published in stages by the Central Conservatory of Music Press. The aim is to contribute as much as possible to musical exchange between China and the rest of the world.
In this collection, the Pipa Concerto Ping-Pong is for Pipa and Piano Accompaniment. For access to the orchestral score and parts to Ping-Pong for Pipa and Western symphony orchestra, or to Ping-Pong for Pipa and Chinese national orchestra, please contact the publisher.
De Ritis, Anthony P. (2016, October). Selected Works for Pipa Composed by Anthony Paul De Ritis. Beijing, China: Central Conservatory of Music Press.

DE RITIS, A., & SI, S. (Eds.)
Media and Entertainment Industry: The World and China [Special Issue]
Media and Entertainment Industry: The World and China [Special Issue]. Journal of Global Media and China, SAGE Publications Ltd. and Communication University of China (December 2016). [paper] [read online]
Greetings! We are pleased to introduce this Special Issue of the journal, Global Media and China titled the “Media and Entertainment Industry: The World and China.” This Special Issue offers contributions from scholars and practitioners around the world with expertise in cultural and media studies, communication studies, digital media, law, economics, innovation and entrepreneurship, and the creative industries.
Global Media and China is a peer-reviewed, open access journal, which provides a dedicated, interdisciplinary forum for research. The journal welcomes articles on all aspects of international research in the field of communication and media studies and has a particular interest in how global media are impacting on, and are in turn being transformed by China, specifically Chinese institutions, industries and audiences. Research on digital platforms, social media and related policy is welcome. Please see the Aims and Scopes tab for further information.
De Ritis, Anthony P., & Si Si (Eds.). (2016, December). Media and Entertainment Industry: The World and China [Special Issue]. Journal of Global Media and China, Thousand Oaks, CA: SAGE Publications Ltd and Communication University of China, 1(4).

DE RITIS, A., FRIAR, J., ZHANG, W.
Inhibitors to Innovation in Chinese Students: The Case of the Ballet Slipper.
Proceedings of the 5th Annual International Conference on Innovation & Entrepreneurship. Singapore: Global Science and Technology Forum (December 2015). [paper]
As China has continued to develop economically, it needs to transition from a follower to an innovator. Several recent articles have questioned whether Chinese companies can indeed become innovative. China has traditionally pursued a top-down approach to innovation, which alone is not sufficient to
meet a country’s economic growth needs. Instead, a bottoms-up approach is also required: turning individual entrepreneurs into “fresh thinkers.” In this paper we analyze whether there are any cultural impediments to individual creativity in Chinese graduate students. By comparing Chinese student entrepreneurs to US student entrepreneurs in their ease or resistance to implementing design thinking processes into their business startups, we determined that there are five cultural impediments to individual creativity. We analyze these five impediments in a discussion of a specific Chinese startup – a ballet slipper company, to show how these resistance points were overcome.
De Ritis, Anthony P., Friar, John H., & Zhang, Wenjun. (December 15, 2015). Inhibitors to Innovation in Chinese Students: The Case of the Ballet Slipper. Proceedings of the 5th Annual International Conference on Innovation & Entrepreneurship. Singapore: Global Science and Technology Forum. DOI: 10.5176/2251-2039_IE15.22.
* Winner, Best Paper Award

DE RITIS, A., LYONS, R.
Media, the Web, Mobile Devices and Learning in the 21st Century
The Online University: Building Viable Learning Experiences for Higher Education (2013). [book chapter]
In this chapter, we focus on the pedagogical uses of digital media in the design and development of eLearning; this chapter is divided into six sections. The Introduction defines “What do we mean by media in an online learning environment?” and provides current formats and methods of transmission; differences are cited to give deeper understanding to how media is used to aid teaching and learning. Media can be used in learning environments that are synchronous and asynchronous. The next section of this chapter considers media in online learning environments where the teacher and the learner are not communicating in real-time. Media can be transmitted continuously from a web site to a learner as a continuous flow of information also known as a stream. What if a learner is confronted with multiple streams of information at the same time? Does this help or hinder learning? We then ask the question, “Does multiple streams of data aid the user learning experience?” We then clarify the use of the term “interactivity”, which is often cited as a requirement for effective media-based learning. Next we focus on issues related to designing and using media with an interface as small as a cell phone. Given that the visual surface of cell phones and tablets can be 10 to 15% that of a PC monitor, what attributes must we consider in making mobile learning effective, especially when compared to those with larger screens? Given that much of the world uses mobile devices as the only access to asynchronous online learning environments, can we learn from their experiences? Lastly, we deal with the questions related to production quality and the use of media in asynchronous learning environments; a summary follows.
De Ritis, Anthony, & Lyons, Robert. (2013). Media, the Web, Mobile Devices and Learning in the 21st Century. In Richard Kesner (Ed.), The Online University: Building Viable Learning Experiences for Higher Education (pp. 422-452). Champaign, IL: Common Ground Publishing.

DE RITIS, A., MCDONALD, A., & LAIRD, J.
From Idea to iTunes: Das Online Conservatory des Boston Symphony Orchestra
[From Idea to iTunes: The Boston Symphony Orchestra Online Conservatory]
Kulturmanagement & Kulturpolitik. Berlin. (2007) [paper]
Das Online Conservatory des Boston Symphony Orchestra (BSO) gehört zum Multimedia-Angebot der BSO-Website. Es eröffnet faszinierende und neuartige Dimensionen der Orchesterarbeit. Das Online Conservatory wurde gemeinsam mit der Northeastern University entwickelt. Das Online Conservatory wurde u. a. in The New York Times, The Boston Globe, Symphony, Gramophone, Newsweek und The Chronicle of Higher Education vor allem für seine Leistungen im Bereich Marketing und PR für Symphonieorchester, für das pädagogische Multimedia-Angebot, für das flashbasierte Design und für die Informationstechnologie gewürdigt.
The Boston Symphony Orchestra’s (BSO) Online Conservatory is part of the BSO website’s multimedia offering. It opens up fascinating and new dimensions of orchestral work. The Online Conservatory was developed in cooperation with Northeastern University. The Online Conservatory was, e.g., recognized in The New York Times, The Boston Globe, Symphony, Gramophone, Newsweek, and The Chronicle of Higher Education, for its achievements in symphony orchestra marketing and PR, educational multimedia, flash-based design, and information technology.
De Ritis, Anthony P., McDonald, Ann, & Laird, Jay (2007). From Idea to iTunes: Das Online Conservatory des Boston Symphony Orchestra [From Idea to iTunes: The Boston Symphony Orchestra Online Conservatory]. Kulturmanagement & Kulturpolitik. Berlin: RAABE-Verlag, 2007, J2.2, pp. 1-24.
Now published in “Das Handbuch Kulturmanagement: Recht, Politik & Praxis” [The Handbook of Cultural Management: Law, Policy & Practice] under “Best Practice: Fallstudien aus dem Ausland” [Best Practices from Abroad].

DE RITIS, A.
Senses of Interaction: What Does Interactivity in Music Mean Anyway?
Proceedings, 2001 Symposium on Artificial Intelligence and Creativity in Arts and Science: University of York, England. (March 2001). [paper]
In order to facilitate a meaningful transdisciplinary discussion of human-machine interaction with a special focus on music, it is necessary to begin to standardize what is meant by “interaction” given the various ways in which the term is used and perceived. In October 1999, the first “Interactive Music Xpo” was held at the Jacob Javits Center in New York City. When I asked David Zicarelli, co-developer of the MAX interactive music programming language and the developer of MSP (Max Signal Processing), if he was going to participate in the conference, he stated, “Their type of interaction is not my kind of interaction.” This conversation initiated my current research on senses of interaction. What are the ways in which the various disciplines of music use the term? How do definitions of interactivity in music compare? At the Interactive Music Xpo, interactivity in music often meant nothing more than a simple download of an mp3 file. A variety of commercial-based music industries were represented, including the computer game industry, DJs, software companies, record producers, and digital content clearinghouses. When I asked Brian Schmidt, Program Manager of Consumer Windows Division for the Microsoft Corporation, “What does interactivity mean?” we only agreed that the term continues to evolve. In this paper I propose to summarize the different senses of interaction offered in interviews with individuals from a variety of music and non-music disciplines, and attempt to synthesize a methodology for continued research with the hope of stimulating and provoking innovations in the next generation of intelligent music systems.
De Ritis, Anthony. (2001, March). “Senses of Interaction: What Does Interactivity in Music Mean Anyway?” Proceedings, 2001 Symposium on Artificial Intelligence and Creativity in Arts and Science: University of York, England. (2001: 58-64). University of York, Heslington, York, England: The Society for the Study of Artificial Intelligence and the Simulation of Behaviour (AISB).

DE RITIS, A.
Cathedral: An Interactive Work for the Web
Proceedings, International Computer Music Conference (ICMC ‘99): Tsinghua University, Beijing, China. (October 1999). [paper]
The Internet is fast becoming a valid performance venue for the creation of unique concert experiences. However, virtual concert spaces on the World Wide Web are deviations from the traditional concert model: the distinctions between composers, performers, and listeners are being blurred. How does an Internet concert experience differ from the traditional concert? What are the possible components of a large-scale musical work designed and written specifically for the World Wide Web? What are the issues involved in creating and/or experiencing a virtual concert space? In this report I chronicle the issues involved in developing, implementing, and maintaining the virtual stage of Cathedral, an interactive work for the Internet that explores the musical and artistic potential of the Web. It includes live and on-line performances of both real and virtual instruments, and gives listeners the ability to interact with the composer and performers. Cathedral, the brainchild of composer William Duckworth, is growing toward the year 2001, when it will culminate in a live and on-line 48-hour concert, with sounds streaming into the piece from sites around the world.
De Ritis, Anthony. (1999, October). “Cathedral: An Interactive Work for the Web.” Proceedings, International Computer Music Conference (ICMC ‘99): Tsinghua University, Beijing, China. (1999: 224-227). Ann Arbor, Michigan: International Computer Music Association (ICMA), Michigan Publishing.

DE RITIS, A. (Ed.)
“The Importance of Being Earnest” by Mario Castenuovo-Tedesco
Opera, full score, critical edition, The Importance of Being Earnest. To be published by Edizioni Curci, Milan, Italy [Manuscript submitted for publication].
Edizioni Curci, in association with Cidim, Comitato Nazionale Italiano Musica (Italian National Music Committee), is proud to present The Mario Castelnuovo-Tedesco Collection, the first series ever published entirely dedicated to the composer from Florence (1895-1968) who settled in the United States, where he became known as “the Maestros’ Maestro”. The collection is edited by Angelo Gilardino, composer and scholar, who enjoys the full confidence of the Castelnuovo-Tedesco’s estate. The collection will present all of the musician’s as yet unpublished works, which are housed at the Library of Congress in Washington DC, according to the original manuscripts. Each volume has both Italian and English commentaries.
Under contract, pending…
Castelnuovo-Tedesco, Mario. [Manuscript submitted for publication]. Anthony Paul De Ritis (Ed.). Opera, full score, critical edition, The Importance of Being Earnest. To be published by Edizioni Curci, Milan, Italy, 363 score pages.