"Khoomei" was inspired by a mongolish style of singing in which a single performer produces a diversified harmony of multiple voice parts, including a continued bass element produced in the throat. For me the acoustic result from Khoomei is always mysterious and interesing: the rich multiphonic, the unpredicable micro pitches, the unconstrained rhythm, the unique vibration method and and…then I tried to collect the composition material with my electronic musiic knowledge: I used methods of computer aided, through the analysis transportation, I can almost rebuild parts of the Khoomei samples with pitches and rythums, then  used them as material to recompose them in my creation. (ca.10’)

In my piece Nomadic Sound, I experimented with the technology of video scoring, a template that was produced for the Bach Library in Max/msp. In earlier pieces I often used space notation for several pieces to avoid the limitations of metre and rhythm, as it is an important character in asian folk music, but I found using video scoring to be a better method for that purpose. It also helps the musicians with synchronization and is more effective than a click track, especially when they are asked to play in a special spatial arrangement very distant to each other, as it is the case in “Nomadic Sound”. (ca. 5’)

This piece is inspired by one ancient plucked - string Chinese instrument : Guqin. When the Guqin 古琴 is played, a number of aesthetic elements are involved: motion, gesture, and also the played noises. For this composition, the violoncello - as emblematic occidental instrument - is placed horizontally in front of the interpreter. a part of composition, the video reinforces the attention on the gesture by allowing the accentuation on the details and proposing different axes of visualization. Images taken in real time juxtapose pre-recorded sequences and function in writing with several voices. In the same way, electronics act in parallel or in counterpoint with the actions and presence of the performer. (ca. 8’)

1977 the probe Voyager 1 was sent into space. 2012 she left our solar system. Scientist said she should deplete all her energy resources by 2025, but somehow she didn’t. About 100 years from now, she still travels somewhere in the interstellar void. Pluto has long passed by; a final picture taken and sent home. Since then: silence. Nothing to see, nothing to report. No purpose. The communication with the scientists on Earth had stopped long ago. The distance is too far. Left alone, the outer void becomes an inner void. Voyager starts to feels abandoned, feels anger and desperation. She recalls what she has seen and dwells in her memories. In there she finds a message, left for her. She start to discover what she is carrying with her all along the way. A golden disc, full of information, language and music.  Orfeo, walking alone into the darkness of the unknown underworld...(ca. 20’)

The inspiration for „Scattered Views“ comes from Korean traditional music - from Kayageum Sanjo. I used  string instruments to express tone colour and musical atmosphere from Kayageum music. „Scattered Views“ switches between rubato and rhythmic modes. The musicians have a certain degree of freedom to control the rhythm and tempo of the music. In „Scattered Views“ sound structures are treated in a rapid changing manner and with an open acoustic space. It shows the aesthetic pursuits of  traditional asian art: changes of noise and musical tones illustrate the actual and virtual reality of the musical language, rapid rhythmic changes and instant transformations of tone colours contribute to the characteristic of „Scattered Views“. (ca. 9’)

This piece’s inspiration comes from the novelist Kafka's short story "Der Hungerkünstler" . It depicts "hunger art”, which was very popular in Europe at the beginning of the 20th century, from the perspective of starry hunger artist. The artist is sitting in a cage exhibiting his art by proving in public how long he can stay without food for some weeks – showing his capability to resist hunger.

One feature of this new music theatre piece is its multimediality. Multimediality is achieved by combining real-time instrumental performance and theatre performance as well as preset and real-time video to scaffold and extend the audience’s three-dimensional stage mood to a multi-level sense.  (ca 45')

This piece is inspired by traditional Chinese Guqin music. Musically, the computer part, at times, depends on the piano part, i.e. it serves to amplify the piano part in many dimensions and directions; while at the other extreme of the continuum between dependency and independency of the instruments’ “voices”, the computer part has its own independent “voice”.Recordings of original piano sounds were modified and manipulated by the programmed Max/MSP patches so that certain aspects of the musical and sound material for the instrumental and electronic parts are sounded similar and seem to be identical, to imitate the Guquin’s acoustic sound character associated with traditional Chinese playing techniques like glissando and pizzicato. (ca 8')

                                 the Acho of Qin (2014 )

                       the Wave 波澜 (2013)