East Asia had incorporated Western music well before dodecaphony was introduced. Its foray into atonality and dodecaphony is unsurprising. Japan, as the first country to fully embrace Westernisation, played a major role. Developments of dodecaphony in China and Korea were connected to Japan through an active network of ideas, print media, and movement of people in the region. Despite their shared resources, however, wars and politics determined whether or not (and when) composers in different East Asian countries had the liberty to explore dodecaphony. China was close to developing dodecaphonic compositions before being stopped after the founding of Communist China in 1949. The post-Mao introduction of dodecaphony, led by Luo Zhongrong, was a late ‘arrival’. Japanese composers’ initial enthusiasm for dodecaphony did not gain in significance. Yoritsune Matsudaira and Joji Yuasa were representative. In Korea, led by Isang Yun and Sukhi Kang, serialism was employed thoughtfully by several generations of composers throughout their creative output.