for solo violin Conceived as a set, these eight songs are drawn from several Chinese regions (Shaanbei, Shaanxi, Yunnan, Jiangsu, Sichuan, Hunan, and Shanxi) and represent the three main genres of mountain song, work song, and the more structured performance song aimed at professional singers. In this new arrangement for solo violin the music has been carefully refashioned for Western instruments, with writing that includes stylistic bowing and fingering to match the original style. Suitable for students at early to intermediate level, these compelling short pieces are accompanied by illuminating programme notes with a synoposis of each song.

for solo cello Conceived as a set, these eight songs are drawn from several Chinese regions (Shaanbei, Shaanxi, Yunnan, Jiangsu, Sichuan, Hunan, and Shanxi) and represent the three main genres of mountain song, work song, and the more structured performance song aimed at professional singers. In this new arrangement for solo cello the music has been carefully refashioned for Western instruments, with writing that includes stylistic bowing and fingering to match the original style. Suitable for students at early to intermediate level, these compelling short pieces are accompanied by illuminating programme notes with a synoposis of each song.

for SATB or upper voices, and orchestra or wind band The Future of Fire is a brief but powerful work. The vibrant scoring creates a feeling of explosive energy from beginning to end with intense bursts from a battery of percussion. The melodic material is taken from a popular and touching love song from Shannxi province in north-western China, which is coupled with rhythmic motives in both the orchestra/wind band and chorus. Folk melodies from this region use intervals of a minor seventh these angular leaps are suited to the dynamic spirit of this work. The chorus sings a vocalise based on repeated syllables that are found in Chinese folk songs, as well as many folk songs from around the world.

The Immortal was commissioned by the BBC World Service, and was premiered at the BBC Proms in 2004. This work pays tribute to the influence of Chinese artists and intellectuals in the twentieth century. With an undercurrent of tranquillity and meditation, the work features a powerful and rhythmic introduction, from which emerges a section of sustained high-pitched glissandos, as well as lyrical melodies and expressive glissandos that characterise many of the solo motifs.

for solo piano and full orchestra This work opens with a form of Shaman-dance from North-east China, during which the piano mimics some of the animal postures seen in the art of kung fu. Pianobells, the more lyrical and lightly orchestrated second movement, takes two contrasting bells (Mighty Bells and Frost Bells) as its narrative throughout. The third and final movement, which is intended to represent the Peking Opera Monkey's action, is a wild and intense finale with rapid rhythmic patterns from the percussion. This concerto is exciting, lively, and highlights the piano as a virtuoso percussion instrument.

for soloists, SATB, children's chorus and orchestra with Chinese flute and erhu This opera in four acts is based on an ancient Chinese myth about a snake-shaped spirit that attains human form to experience love. The English libretto by Cerise Lim Jacobs sensitively adapts the story for modern audiences, and Zhou Long's music uses both Western and Chinese sounds to create a pioneering cross-cultural opera. Long was awarded the 2011 Pulitzer Prize for Music for Madame White Snake, and the Pulitzer jury described the work as 'a deeply expressive opera that draws on a Chinese folk tale to blend the musical traditions of the East and the West.' Madame White Snake was first staged by Opera Boston on 26 February 2010 at the Culter Majestic Theatre, Boston, USA, and received its first Chinese staging at the Beijing International Festival on 10 October 2010, Beijing, China.

Based on the popular Chinese story 'King Chu Doffs his Armour', this concerto is influenced by both Western and Eastern traditions. It is constructed around a classical Chinese solo pipa work (of the same name), and retains the structure of the traditional manuscript. The musical influences are distinctly Chinese, but Zhou Long adds an introduction, cadenza, and coda in keeping with the Western concerto tradition.

Network Robustness under Large-Scale Attacks provides the analysis of network robustness under attacks, with a focus on large-scale correlated physical attacks. The book begins with a thorough overview of the latest research and techniques to analyze the network responses to different types of attacks over various network topologies and connection models. It then introduces a new large-scale physical attack model coined as area attack, under which a new network robustness measure is introduced and applied to study the network responses. With this book, readers will learn the necessary tools to evaluate how a complex network responds to random and possibly correlated attacks.

for SATB or upper voices, and wind band The Future of Fire is a brief but powerful work. The vibrant scoring creates a feeling of explosive energy from beginning to end with intense bursts from a battery of percussion. The melodic material is taken from a popular and touching love song from Shannxi province in north-western China, which is coupled with rhythmic motives in both the wind band and chorus. Folk melodies from this region use intervals of a minor seventh these angular leaps are suited to the dynamic spirit of this work. The chorus sings a vocalise based on repeated syllables that are found in Chinese folk songs, as well as many folk songs from around the world.

for tenor solo and SATB unaccompanied This is a poignant evocation of morning, opening and closing with a delicate, folk-like melody in the solo part supported by hums and vocalizing. A central episode is more urgent and uses dance rhythms. Despite the divisi in all parts the pieces is surprisingly easy to prepare, making it accessible to school choirs.

for solo viola Conceived as a set, these eight songs are drawn from several Chinese regions (Shaanbei, Shaanxi, Yunnan, Jiangsu, Sichuan, Hunan, and Shanxi) and represent the three main genres of mountain song, work song, and the more structured performance song aimed at professional singers. In this new arrangement for solo viola the music has been carefully refashioned for Western instruments, with writing that includes stylistic bowing and fingering to match the original style. Suitable for students at early to intermediate level, these compelling short pieces are accompanied by illuminating programme notes with a synoposis of each song.

This opera in four acts is based on an ancient Chinese myth about a snake-shaped spirit that attains human form to experience love. The English libretto by Cerise Lim Jacobs sensitively adapts the story for modern audiences, and Zhou Long's music uses both Western and Chinese sounds to create a pioneering cross-cultural opera. Long was awarded the 2011 Pulitzer Prize for Music for Madame White Snake, and the Pulitzer jury described the work as "a deeply expressive opera that draws on a Chinese folk tale to blend the musical traditions of the East and the West." Madame White Snake was first staged by Opera Boston on 26 February 2010 at the Culter Majestic Theatre, Boston, USA, and received its first Chinese staging at the Beijing International Festival on 10 October 2010, Beijing, China.

Suitable for flute, clarinet, violin, cello, and piano.