Although Béla Bartók never visited China, his music was widely performed and accepted in China after 1949 because of his significant contributions to the combination of western compositional techniques and national music elements. Many Chinese composers of different generations have been inspired by his achievement. This research focuses on the study of selected contemporary Chinese solo piano music after 1980 and investigates Bartók's influence on these works. Besides repertoire practice, which occupied most research time, the research methods included a literature review, analysis of compositions and interviews with composers. This research discusses Bartók's treatment of Hungarian folk music on three levels in keyboard compositions, and explores their influence on selected contemporary Chinese piano music. Furthermore, it develops performance techniques and approaches to interpretation of these selected works, especially the specific techniques which are related to the playing of traditional instruments and folk singing. This research highlights not only how the composers combine their national musical language with western compositional techniques, but also how pianists can deliver this national musical idiom and the spirit of folk music through performance. The outcomes of this project are two 60-minute recital recordings and this supporting exegesis.