Bo-he Yeh’s Zhongguo yin yue shi is, as its title suggests, the first general history of Chinese music. It was published in two parts. The first part was published by the author in 1922. The second part, published in 1929, appeared in The Sichuan Daily Supplement. Even though it was the first documented history of Chinese music, this book was soon forgotten; it literally disappeared in the literature of Chinese music history until its republication in 1992. Despite its simple, brief discussion of Chinese music history, Zhongguo yin yue shi served as a pioneer of the writing of music history in Chinese culture. Yeh based the methodology inherent in the writing of Western music history to introduce Chinese music history. Therefore, this work reflects a collision between historical musicology in Western music tradition and traditional Chinese music, a collision that took place in the early 20th century. Based on the perspectives of historical musicology in Western culture and comparative musicology (later known as ethnomusicology), as well as the manner of research and analysis in historical musicology, Yeh re-constructed the history of traditional Chinese music. From numerous historical documents, which he used as his reference sources, Yeh searched for the elements representing "music in itself" in order to re-define the history of Chinese music. In this essay, I use Zhongguo yin yue shi as my major source and complement my discussion of this source with the historical context of early 20th-century China and Yeh’s biography. I aim to re-evaluate this work, showing its significance in the context of the development of Chinese music history in the early 20th century.