The sources of art music throughout the world have always been manifold, with each music a mixture of influences in its own right. Over the past century, however, musical hybridity has become increasingly radical and explicit. Such mixtures have emerged from musical cultures as diverse as China (Chou Wen-chung), Korea (Byung Ki Hwang), Indonesia (Nano S), Japan (Takemitsu), African-American culture (from Ellington to Braxton), as well as European and American cultures (from Bartók and Stravinsky to Harrison). The emergence of these hybrids suggest the arrival of a multilingual world art music unanchored to a single cultural context. Because of the cultural complexity of each alloyed style in each unique composition, world art music offers unprecedented challenges and opportunities for composers, performers, and listeners.