"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. (ca. 12’)

"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. (ca. 8’)

This composition draws inspiration from the ancient plucked-string Chinese instrument, the Guqin. When the Guqin 古琴 is played, it engages a range of aesthetic elements encompassing motion, gesture, and the nuanced sounds produced during its performance. In a unique exploration, this piece features the violoncello, a symbolically Western instrument, positioned horizontally in front of the performer. The video accentuates intricate details and offers varied perspectives, intertwining real-time imagery with pre-recorded sequences, creating a multilayered narrative. This innovative fusion of Eastern and Western musical traditions, coupled with a multimedia approach, seeks to explore the convergence of ancient and contemporary elements in a visually and aurally compelling manner. (ca. 9’)

"Khoomei" is a composition inspired by the mesmerizing Mongolian style of singing, where a solo performer generates a diverse harmony of multiple voice parts, incorporating a sustained bass element produced in the throat. In an effort to explore and interpret this fascinating vocal technique, I employed my electronic music knowledge to collect composition materials. Utilizing computer-aided methods and through analysis and transformation, I was able to reconstruct parts of the Khoomei samples, capturing the essence of the pitches and rhythms. These reconstructed elements then served as the foundation for my creative process, allowing me to recompose and reimagine them within the context of my own musical creation. (ca. 10’)

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’)

Within the ensemble of piano, violin, clarinet, Mater (a percussion instrument comprising 7 bars of different materials), and synthesizer, my aim is to craft an acoustic atmosphere that straddles the realms of jazz and contemporary musical contexts. This eclectic combination of instruments forms a rich tapestry of sounds, each contributing its unique timbre to the overall sonic landscape. (ca. 10’)

In "Nomadic Sound," I delved into the realm of video scoring, leveraging a template developed for the Bach Library in Max/MSP. This experimentation with technology marked a departure from earlier pieces where I often utilized space notation to navigate the challenges presented by the limitations of meter and rhythm. Given the intrinsic importance of these elements in Asian folk music, I sought innovative methods to preserve their unique characteristics. (ca. 6’)

The inspiration behind "Scattered Views" is deeply rooted in Korean traditional music, particularly drawing from the rich tradition of Kayageum Sanjo. To express the nuanced tone colors and musical atmosphere inherent in Kayageum music, I employed string instruments as the primary medium in this composition.It dynamically shifts between rubato and rhythmic modes, providing the musicians with a degree of freedom to control the tempo and rhythm of the music. This deliberate interplay between freedom and structure echoes the essence of traditional Korean music. (ca. 10’)

This composition draws inspiration from Franz Kafka's short story "Der Hungerkünstler" (The Hunger Artist). The narrative delves into the concept of "hunger art," a phenomenon that gained popularity in early 20th-century Europe. One distinctive aspect of this new music theatre piece lies in its embrace of multimediality. The fusion of real-time instrumental performance and theatrical presentation, combined with both preset and real-time video elements, creates a rich and immersive experience. The composition seeks to capture the essence of Kafka's narrative while pushing the boundaries of traditional music theatre, offering a multidimensional exploration of the complex themes embedded in "Der Hungerkünstler." (ca. 45’)

This composition finds its inspiration in the rich tradition of traditional Chinese Guqin music. The interplay between the piano and the computer part forms a dynamic continuum, ranging from dependency to independence of the instruments' "voices." The computer part, in certain instances, relies on the piano part, acting as an amplifier that expands and enhances the dimensions and directions of the piano's musical expression. Original piano recordings undergo modification and manipulation through programmed Max/MSP patches. This process ensures that specific elements of the musical and sound material, both instrumental and electronic, exhibit similarities and, at times, seem indistinguishable. (ca. 8’)

                                 the Acho of Qin (2014 )

                       the Wave 波澜 (2013)