Chong Lim Ng (b.1972) is one of the most prominent Malaysian pianists and composers. His solo piano work “A Distance Voice of the Rain Forest” is adapted from a portion of his larger chamber work, Rimba, for fourteen musicians, consisting of two groups of four string players, 3 woodwind instrumentalists, 1 pianist, and 2 percussionists. Although this piece is not well known internationally, it has garnered the interest of many Malaysian pianists who performed it both locally and abroad since it represents Malaysia’s diverse culture very well. An artistic masterpiece focusing on controlled improvisation and freedom of interpretation, this work exemplifies Ng’s unique methods and approaches to composition, and is inspired by his performance background. The extensive use of gamelan modes interwoven with pitch-class sets and various rhythmic intricacies highlight a current and ultimately successful artistic approach to resolving the timeless idea of “East Meets West”, wherein cultures coalesce and blend together to create a new and exciting music. Given Malaysia’s diverse yet unified society, this idea of combining the traditional with the experimental is a fairly common technique of Malaysian composers, allowing them to incorporate and integrate international and modern techniques into their musical creation without completely losing their native perspectives. In addition to detailing the composer’s background, my work will include in-depth personal interviews with Ng, allowing him to speak directly on his inspirations, influences and philosophy of music composition. My document will also include a detailed theoretical analysis of the work, examining its form, pitch-class sets, and rhythmic complexity, in the service of a well-informed performance model. Given the similar background that I share with Ng, as well as my close connection with him (he was my piano teacher for more than a decade), I believe I can interpret his piece in a most ideal and just manner. Importantly, this piece is of significant significance to my growth as a musician. Before learning this piece, I had no prior experience with extended techniques or controlled improvisation. Looking back, the anxiety mixed with excitement of dealing with something so unfamiliar helped release me from being such a restrictive and rigid performer. The close-mindedness of being a correct and perfect performer at any given moment had always confined my artistic freedom. Now that I am a more multifaceted musician, I think I can finally begin to understand the essence of this masterwork.