Scholarship on American composer Harry Partch (1901–74) has long focused on the composer's use of Greek musical ideals as the basis of his aesthetic, but little attention has been paid to China, a nation with which Partch had familial ties and with which he claimed an affinity. Using Partch's published writings, along with unpublished manuscripts, letters, and interviews, this article repositions China's role in the development of Harry Partch's music and aesthetic. By surveying his early experiences with Cantonese opera, his early expositions of his theoretical thinking, and his first full-scale composition, a setting of seventeen poems by Li Po, it demonstrates that China symbolized an alternative path. China's musical traditions were tied directly to the spoken word and featured integration of the arts through ritual, and thus for Partch presented a way to renew Western music. Through the Chinese musical quotations that reside in several of his works, the article also shows that, despite his later protests to the contrary, Chinese music both informed and shaped his music. Finally, it suggests that only by exploring the implications of China in his music can we fully understand Partch's compositional aesthetic.