Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, …

Winter Landscape is an interactive composition for erhu (Chinese two-stringed fiddle), flute, piano, and Max/MSP interactive computer music system. The total duration of the piece is approximately 15 minutes. Winter Landscape serves to demonstrate one particular approach to exploring the possibilities afforded in an interactive paradigm within a cross-cultural context. The work is intended to convey my personality and identity as a contemporary Chinese composer through diverse cultural and musical influences drawn to this particular piece while creating a balance between traditional and modern sounds. The influences of Chinese philosophy (especially Chán) and the essence of Chinese traditional music play a prominent role as demonstrated in the formation of structures, expressions, and concept of Yun in the work; these influences also play a great role in determining the instrumentation and basic pitch structures of the work. However, this work is equally influenced by techniques and practices of modern Western classical music. These diverse influences hopefully have resulted in a unique work that truly does represent a cross-synthesis of these varying influences. In Winter Landscape, the interaction that takes place between the computer and the live musician is intended to reveal the responsive human/machine relationships. The computer constantly shifts its roles …