Artistic Practice

My practice brings composition, performance and research into a continuing exchange. I am interested in how music takes shape through the actions of performers: how a gesture unfolds, how musicians attend to one another, and how notation guides what they do. These questions take different forms across orchestral and chamber works, vocal music, electronic sound and interdisciplinary collaborations.

I work with musical materials and with the conditions of performance. Pitch, rhythm and timbre matter alongside bodily movement, spatial relationships and the distribution of attention. A score may closely determine particular materials while leaving their coordination, pacing or relationship to other parts open to negotiation. I am interested in what becomes possible when musicians bring these elements into relation through performance.

Guqin practice is a sustained source of inquiry. Its relationships between touch, movement, listening and musical time inform how I think about instruments, scores and performance. Studying its music and writings also brings me into dialogue with Chinese literati traditions, including poetry, painting, philosophy and gardens. These encounters continually renew my questions about contemporary composition.

For me, composing is a form of research: asking questions, creating conditions in which to explore them, and reflecting on what emerges. Rehearsals, performances and conversations with collaborators can reveal possibilities that lead to further revisions or new works. A composition may therefore belong to a continuing inquiry extending across several pieces and many encounters.

The listener also has a place in this exploration. Some works invite movement, participation or a choice of listening position; others ask for close attention to small changes within a sound or a musical relationship. I seek to create situations in which making and listening become active forms of discovery.

艺术实践

我的实践让作曲、演奏与研究持续相互启发。我关心音乐如何通过演奏者的行动逐渐成形：一个动作如何展开，音乐家如何关注彼此，记谱又如何引导演奏。这些问题在管弦乐、室内乐、声乐、电子声音及跨学科合作中，以不同的方式得到探索。

我的创作既涉及音乐材料，也涉及演奏发生的条件。音高、节奏与音色，与身体动作、空间关系及注意力的分配共同发挥作用。乐谱可以明确规定某些材料，同时让它们之间的协调、时间安排或相互关系留待演奏者协商。我感兴趣的是：当音乐家在演奏中建立这些关系时，会产生怎样的可能性？

古琴实践是我持续探索的重要来源。触弦、动作、聆听与音乐时间之间的关系，影响着我对乐器、乐谱及演奏的思考。对琴乐与琴学文献的研习，也使我与诗歌、绘画、哲学及园林等中国文人传统展开对话。这些接触不断更新我对当代作曲的提问。

对我而言，作曲是一种研究：提出问题，创造可供探索的条件，再反思实践中所发生的事情。排练、演出以及与合作者的交流，都可能揭示新的可能，促成修改或下一部作品。因此，一部作品也可以属于一项持续的探索，贯穿多部创作与多次相遇。

听者同样参与其中。有些作品邀请听者移动、参与，或自行选择聆听的位置；有些则引导听者关注声音内部或音乐关系中的细微变化。我希望创造这样的情境：让音乐的实践与聆听都成为主动发现的过程。

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