The piece contains various uses of sounds to illustrate different scenes related to the Chinese community’s experience of America. Using techniques imitating the sound of Suona, the abundant uses of vibratos project the image of a sorrowful farewell, or with the uncertainties of the changing rhythms and fast-moving patterns reassembled into a potentially turbulent departure. The music borrows a lot of elements from Chinese traditional music writing, combined with contemporary techniques to create a modern sound for the stories.
I used the flute and the pipa to project the image of “Drunk” and “Ink”. The strokes and patterns formed by the ink from Chinese Calligraphy are extremely diverse; On the other hand, a “Drunk” person’s mind appears with all kinds of illogical thoughts and a lack of control. The combination of the two creates an even more intricate and confusing image. The melodic materials learned from the lyrical writing from the traditional lyrical writings of the pipa illustrate a linear gesture; Yet the violent sonorities used in this piece indicate the traditional martial techniques of the pipa. I used the abundant textures of the pipa with the flute projecting tones or noises, to project each kind of illusion of “Drunken Ink”.
This piece renders the sound of fluctuation. Fluctuation refers to the state of being in constant change or variability. It is a natural phenomenon observed across various aspects of life and the physical world. Fluctuation can be characterized by irregular patterns, oscillations, or random variations around a primordial form, from which the logic of the piece is derived.
“Another 500 Miles to the east stand the barren mountain Luwu, covered with no flowers nor trees, yet rich in rock and minerals. The Zegeng River originates from the mountain and flows southward into the Pang River, where hides the beast Gu Diao (Venomous Vulture), which resembles a Vulture with long horns on its head. Gu Diao screeches like the sound of a baby’s cry. It preys on humans.“ From “The Classic of Mountains and Sea, Volume One, The Classic of Southern Mountains”.
I used to really like reading monsters from The Classic of Mountains and Seas as a kid. Among these creatures, Gu Diao is my favorite. Therefore I wrote a piece about this creature.
This piece is inspired by Marx’s theory of Alienation, in which he analyzed the consequences of individuals reacting to a class-divided society and division of labor. Alienation in general implies a disconnect between an individual and society due to the lack of value and social connection. Marx specifically emphasized that Alienation is a result of capitalism. Alienation of labor is when workers lose control over their careers due to the installation of assembly lines and division of labor. Alienated workers are disconnected from the activities of their work, the process of their work, and the goal of their work, causing the work itself to become an involuntary activity; therefore, workers are unable to acknowledge the meaning of their work.
The piece could be divided into three parts.
I. “Fabrik” (Factory)
Illustrating the life of workers in assembly lines from factories, painting a cruel image of how industrial machines devour human will.
II. “Wert” (Value)
Describing the psychological state of an alienated individual.
III. “Realität” (Reality)
The process of individuals fighting and reclaiming control over their products of work.
The piece is dedicated to illustrating Nietzsche’s philosophy with sound, based on chronological order.
I. “God is dead” is based on Nietzsche’s view on the dissolution of traditional values and Christian Authority within European society, as a consequence of the Age of Enlightenment. The music paints it by creating a tremendous sound effect of destruction.
II. “Nihil” is based on Nietzsche’s view on Nihilism, which is a philosophical view that denies the values, meaning, the morality of humanity. In Nietzsche’s view, the widespread nihilism was a consequence of the decline of Christianity. The music illustrates it by greatly reducing the usage of pitch materials.
III. “Übermensch” is referring to the idea of Übermensch (Overman), representing the future form of humans throughout evolution. Overman constantly denies itself, to achieve self-improvement and overcome oneself; Overman creates its values, instead of being bound by traditional values or nihilism. The music tries to demonstrate the self-overcoming process of Overman while comparing the success of Overman to the stubbornness of Letzter Mensch (Last man), the people tired of trying, take no risks, and seek only comfort and security.
To paint a time of turmoils is not the purpose of wishing for it, but for those who live in a time of peace, should be aware of the suffering from the troubled times, while keeping the memory of it, is an effort to keep the precious peace and prosperity that we have.
This piece is written to narrate the Ancient Greek story of Theseus and the Minotaur. The piece could be largely divided into four parts: “Labyrinth”, “Labours, “Banquet” and “Expedition”. “Labyrinth” presents the existence of the Minotaur inside the Labyrinth; “Labours” presents Theseus’ Six Labours on the way to Athens; “Banquet” presents Medea’s murdering scheme in Aegeus’s Banquet; “Expedition” introduces Theseus’s expedition for eliminating the Minotaur.
The idea of the piece was inspired by my journey to Greece in the summer of 2021. I was amazed by the remains of Knossos Palace of the Minoan civilization on the island of Crete. The complicity of the palace agitated the imagination of the Archaic Greeks to come up with the story of Theseus and the Minotaur.