I've always been impressed by the voices of the female characters in Peking Opera(京剧): Tsing Yi (青衣)，this prompted me to take this opportunity to collaborate with EIC to create a trans-cultural piece that uses contemporary musical language and computer music techniques to express this beautiful and historic Eastern art.  Electronic part plays an important role in this piece: the sample section consists of original samples of Peking Opera singer (Tsing Yi) and processed variants as part of an ensemble with other instruments; the piece also uses a real-time synthesizer to convert certain phases of the clarinet, trumpet, and viola into vocal voice (similar with Tsing Yi) in real time, echoing the samples. 

"Heterometric Patterns" draws inspiration from the mesmerizing overtone singing technique known as "Umngqokolo" from South Africa. This composition seamlessly weaves the rhythmic tapestry derived from African folk music, interpreting it in a rich and heterogeneous manner through the collaboration of 15 musicians. The spatial arrangement of these musicians into three distinct groups on the stage enhances the element of spatialisation, contributing to the immersive and dynamic nature of the performance.

"In Einem Moment" seamlessly integrates original Mongolian folk music material with unadorned electronic arrangements, forging an evocative dialogue with a symphony orchestra set within a contemporary context. The utilized materials evoke a sense of both familiarity and novelty for the composer, drawing inspiration from ethereal overtone singing, known as "Khoomei," the melodic grace of the long song, the rhythmic heartbeat echoed through sheepskin drums, and the haunting reverberations of the Jew's harp. This composition encapsulates a harmonious convergence of traditional Mongolian sounds and modern orchestral arrangements, creating a unique sonic landscape that bridges cultural heritage with innovative musical expression.

"Petrichor," aptly named after the pleasant smell accompanying the first rain following a prolonged warm, dry spell, transcends the constraints of tempo and rhythm. Instead, the composition places a deliberate emphasis on fostering communication among the musicians. It becomes a sensory experience, mirroring the organic and unscripted quality of rainfall after a period of aridity.

"Petrichor," aptly named after the pleasant smell accompanying the first rain following a prolonged warm, dry spell, transcends the constraints of tempo and rhythm. Instead, the composition places a deliberate emphasis on fostering communication among the musicians. It becomes a sensory experience, mirroring the organic and unscripted quality of rainfall after a period of aridity.

"Déjà vu" encapsulates the psychological phenomenon of experiencing a present situation with an overwhelming sense of familiarity, as if it has been encountered before. Rooted in psychology, this piece delves into the concept of "visual sense," where an individual perceives a scene that seems familiar, yet the source remains elusive.  The orchestral parts, operating on different levels, convey the ambiguous mood of a cascade—seemingly illusory, possibly incorrect, and gradually becoming clearer. Through the simplicity of the musical texture, the piece explores the expression of clarity, culminating in a transition from illusion to reality.

When a whale meets its end in the vast ocean, its colossal body descends into the abyssal depths, reaching depths of a thousand meters. In this process, the deceased whale's body becomes the catalyst for the formation of a complex and localized ecosystem, providing sustenance to deep-sea organisms for decades to come. This poignant phenomenon illustrates the interconnectedness of life and the enduring impact that even the passing of a great creature can have on the underwater realms.

                             Serein (2020)

                                  for violin and zither

                             Poem (2017)

                          for prepared piano and electronic