Black Bear Moon《黑熊阿墨》，擔任作曲家

（導演 / 動畫師：趙大威 / 國立臺灣藝術大學，臺灣）

Long Night《長夜》，擔任作曲家 / 音效設計師

（導演 / 動畫師：黃思茹 / 國立臺南藝術大學，臺灣）

A HTC One X Promo Video

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HTC One V Promo Video

The Dawn, a small piece for piano was written by me on Nov 7, 2010.

Pure Sound Waves (2006 – 2007):

There are various sounds consisting of clamors, cheers, laughs, and cries in a metropolis as Taipei, Taiwan. In Pure Sound Waves, I present abstract relationships between these sounds by not only depicting their concepts from the original definitions but also embodying them musically via string quartet, one of the oldest conventional instrumental settings of the world of classical music.

I convey innovative ideas and complex emotion into this piece. By combining unusual harmony, experimental acoustics, irregular rhythm, and exclusive strings’s timbres, I expect that the audience will experience the varying degrees of the tension and all the unexpected sonority.

The composition comprises eight sections that are Chant, Laugh, Whisper, Dialogue, Silence?, Chatter, Cry, and Lament in sequence. I build up these musical sections with both the traditional and spatial notations in order to clearly express the miscellaneous sounds that resonate in my memory of living in such a bustling metropolis.

Moreover, in addition to the graphic notation, I also exploit the technique of pitch class in the middle section of the music that also consolidates the musical structure without getting the complexity sloppy or uncontrolled. I also create the Density Line and the notation of blowing air into the f-shaped hole of the sound boards of the strings.

This composition is not only a milestone of my study in youth as well as a memory for the past 5-year life (from 2001 to 2006) in Taipei.

Film Noir Sound was written for the Composition for Film and Television Class in February 2009. This is recorded at the orchestral reading by the UCLA Philharmonia.

(Professor / Supervisor: Paul Chihara; Conductor: Henry Shin; Alto Saxophonist: Ryan Weston)

Imageless Flicker

I wrote the piano piece on June 10, 2011, when I felt kind of lonely.

The beginning motif (Ostinato, repeating idea) first came into my mind naturally and later I felt it might be cool to bring the melody from Ravel’s Pavane for a Dead Princess (Pavane pour une Infante Defunte) into the music. It’s not only a fragmented combination but also a re-creation which is supposed to be something new, inspiring, and based on the memorable tune. The repeating motif created by me symbolizes the flickery appearance, and later, is melted with the sorrowful melody from Ravel, and with the approach, outlining an imperfect beauty which I look for from the work.