Since the 1960s, Asian American composer Chou, Wen-Chung (1923- ) used the I-Ching philosophy as both his mode of expression and underlying composing principle. From this, he pioneered a unique pitch system, variable modes. Today, this variable mode of thinking continues to influence Asian American composers, calling on them to draw from their "root" culture. As Chou, Wen-Chung says time and time again, "successful composers must acknowledge, appreciate, and reflect on their own culture. This renders their work unique."

As such, this thesis will analyze Cursive (1963) by Chou, Wen-Chung from the lens of the variable mode technique. This will shed light on other fundamental elements and parlay into analysis of the work's deeper meaning. This enables an understanding of the Asian spirit behind the essence of the piece: how the composer integrated Asian traditional calligraphy's cursive form with Western musical vocabulary.