My major works can be categorized into two main areas: first, the fusion of the zhongruan (a traditional Chinese plucked string instrument) with Western electronic music, combining ambient electronic music, pop beats, and string composition; and second, directional works based on popular folk orchestral arrangements, utilizing effects, soundstage, and EQ variations.
In these two pieces, I will illustrate the fusion of Eastern linear timbre with Western electronic music, as well as the integration of ambient electronic music with contemporary pop production. In the zhongruan-electronic fusion piece, ambient electronic music provides a malleable sonic environment, while the construction of pop beats allows traditional instruments to seamlessly blend into the musical mood. In the folk orchestral pop piece, I deliberately incorporate effects and EQ curves into the compositional process, ensuring that the music is not merely written as a linear narrative but continuously generated during production. During this semester’s practice, my compositional approach has undergone a significant transformation, fundamentally shifting from a “melody-centric” to a “sound effect-centric” approach. In the zhongruan-Western electronic fusion piece, my initial compositions heavily relied on performance improvisation. I typically created a zhongruan motif first, then laid out harmonies and rhythms around it. This method has advantages in emotional expression, but it quickly reveals two problems: first, the musical development easily stagnates in a cyclical rhythm; second, the zhongruan (a traditional Chinese stringed instrument) is often masked by electronic effects, lacking a clear positioning. In popular folk orchestral works, I believe my main shortcoming is: neglecting the cultivation of narrative ability and over-relying on orchestration rules. I feel that while the band’s writing is complete, the overall listening experience lacks layered variation. Therefore, I specifically conducted some exploratory experiments: First, using effects pedals as rendering tools, including adding distorted electric guitars. Second, exploring soundstage changes. By adjusting automated sound imaging and spatial parameters, I made the folk orchestral music more spatial. Third, EQ storytelling. Utilizing gradual changes in frequency bands to shape the energy direction, rather than simply pursuing balance.
Regarding how to establish the characteristics of traditional instruments in contemporary music.
In today’s vast musical environment, the boundaries between traditional music, electronic music, instrumental music, and classical music styles are constantly expanding, with various genres merging. Therefore, many works today are no longer easily categorized into a single musical style, but rather revolve around various production techniques and tonal combinations. My fusion music piece with the zhongruan (a traditional Chinese stringed instrument) is an experiment in this genre. It’s neither traditional Chinese folk music nor Western electronic music, but rather a practical work of cross-cultural exchange. In my popular folk orchestral music, through my composition, I further showcase the musical characteristics of traditional Chinese folk music within the framework of Western orchestration. Effects, soundstage changes, and automated EQ become important tools for rendering musical emotions. Therefore, the emotional changes in music come not only from melody and harmony but also from the approaching or receding of spatial sense and frequency band changes. I believe this creative approach is very close to the working mode of contemporary film scoring and pop music production—that is, the constant transformation of sound.
Regarding self-evaluation and future direction:
Looking back on the entire semester’s studies, I think my biggest progress lies in transforming from a music writer into a sound maker. For example, in this piece combining the zhongruan and electronic music, I no longer write a melody and then add accompaniment; instead, I practice through sound effects and stylistic combinations, which makes me feel that I can truly think about music from the perspective of a “producer.”
Therefore, in the CMP2 stage, I hope to make progress in several aspects. First, I want to strengthen my structural thinking. While maintaining the ethnic characteristics of my work, I hope to design more layered sections, giving it both rich timbre and a stronger structural structure.
Second, I hope to improve my production and mixing skills. I am still not very proficient in advanced techniques such as mixing and mastering.
Third, building on the existing fusion path, I want to try to guide my work towards cross-media creation in film, games, and other fields, so that my music is not only a personal expression but also has a practical application.
Therefore, I hope that in the next semester, I can advance my current “fusion exploration” towards a clearer and more mature direction in contemporary music production.
Some of my aesthetic and personal reflections on music production.
“Aesthetic appreciation is a special form of human understanding of the world, referring to a non-utilitarian, figurative, and emotional relationship between humans and the world (society and nature). Aesthetic appreciation involves recognizing, understanding, perceiving, and judging the existence of the world through reason and emotion, subjectivity and objectivity. Aesthetic appreciation involves both ‘judgment’ and ‘beauty.’ In this phrase, ‘judgment’ is a verb, indicating that someone is ‘judging,’ that a subject is involved; simultaneously, there must be ‘beauty’ available for judgment, that is, the aesthetic object or subject. Aesthetic phenomena are based on the aesthetic relationship between humans and the world; they are phenomena within that aesthetic relationship. The aesthetic quality of art does not merely refer to the beauty of the artwork itself, but more importantly, it refers to the artwork’s ability to evoke aesthetic feelings and emotional resonance in people, and its ability to resonate through its form, content, and meaning.” The world, in its environment and other aspects, showcases the values of truth, goodness, and beauty. Humans need aesthetic appreciation because the world contains many things that require us to choose and select, finding those that suit our needs—the beautiful things. Animals merely adapt to the world instinctively, while humans can use their wisdom to discover the many beautiful things in the world, enriching their material lives and spiritual homes to achieve personal pleasure. Besides personal pleasure, aesthetic appreciation is also largely about self-improvement. Through generations of judgment and evaluation of the world around us, we have continuously evolved, forming a more complete view of things, eliminating some of the ugliness in human nature, and promoting truth, goodness, and beauty. Harmony as beauty is a fundamental concept of musical aesthetics, and instilling this in people’s minds… While conceptual understanding is not difficult and beneficial, achieving harmonious musical expression through practical musical aesthetic activities (composition and performance) is not something that can be accomplished simply by conceptual guidance. Therefore, music education plays a crucial role. Our feelings and experiences of musical harmony, beauty, and sublimity must be recognized through the act of playing music. In other words, we must clearly understand the fundamental attributes and aesthetic characteristics of musical art; otherwise, we risk mistaking the axe for the key. Music is a sound art; its perceptible material basis is sound, and it can only be experienced through the formal structures of sound (melody, rhythm, harmony, timbre). Through the wisdom and creation of composers, performers, and producers, sound forms create a rich and diverse musical world, encompassing different themes and styles. Music of the same genre presents beauty in a rich and varied way. Musical aesthetic taste is a collective term for the aesthetic appreciation of musical sentiments, that is, one’s attitude towards musical works. In musical aesthetic activities, the choice of what aesthetic objects to appreciate to a great extent reflects a person’s aesthetic taste and also their level of thought. Because music is an art of emotion, adept at expressing inner feelings, when appreciating it, one should fully utilize their imagination, engage in active figurative thinking, and emotionally connect with the work, allowing their emotions to resonate with it. This leads to aesthetic cultivation, embedding beauty within the soul. It allows the human spiritual civilization embodied in the work to nurture one’s sentiments and cultivate noble moral character. These are official answers from Baidu Encyclopedia.
This year, we’ve seen much discussion about AI music. Some people believe that using AI to create music can completely replace human music production, marveling at how AI can now create incredibly sophisticated and mature music. However, whether a piece of music is good or not is highly subjective. Currently, AI-generated works exist on various music platforms, and I believe their existence is perfectly reasonable. Our aesthetic sense as producers is never hierarchical; for us, different melodies represent different emotions. The true beauty of a song never lies in its sophistication. The songs we choose to produce reflect the emotions we choose to express. AI can generate countless melodies, but we should spend time reflecting on what our music truly wants to convey. Inspiration often comes from the little things in life, not just from repeatedly experimenting in front of a computer. Many times, our creative inspiration comes from our experiences. When we encounter happiness, sadness, or any special moment, we try to record these feelings musically. This is one of my most frequently used methods in my personal creative process: when a beautiful melody comes to mind in daily life, I write it down immediately, and then go back to expand and refine it when I have time. I often lock myself away when creating my own works, completely immersing myself in my musical world. Sometimes I spend a week designing a single melody, so during the creative process, I reflect on the overall structure of the piece and feel the emotions conveyed by each note.
On the path of music production, I believe a crucial mindset is learning to balance practice and creation. I often get stuck on technical details while learning production, such as constantly adjusting effects parameters but never feeling it’s quite right. This kind of “perfectionism” always stifles my creative passion. So, setting aside these thoughts, musical expression and emotional delivery are far more important than technical perfection. In today’s commercial music production, composition, lyrics, arrangement, and vocals remain the mainstream. Composition: The core is melody and rhythm. Good composition itself evokes many emotions and enhances the performance. Lyrics: Composition sets the tone or direction of expression. If the lyrics don’t match, even a beautiful melody will sound off; and the recent overuse of AI to pile up lyrics has severely reduced the enjoyment of musical works. Arrangement: The core is arranging various instruments and harmonies according to the melody and rhythm of the composition to create the desired story atmosphere. In modern music, arrangement has become extremely important; good arrangement can transform a work. Vocal Performance: If arranging is the interpretation of composition, then vocal performance is the interpretation of lyrics. Good vocals certainly require skill, but using skill requires a good artistic aesthetic. Similarly, many mediocre works can be transformed by a good vocal performance.
Finally, I hope to always maintain my curiosity and enthusiasm for learning. Music production is a constantly changing and evolving field, with new tools, styles, and technical processing methods emerging endlessly. We shouldn’t limit ourselves to past knowledge; we must continuously learn new things and try styles and techniques we haven’t tried before. This is how musical creation will always be full of freshness and vitality.
Furthermore, it’s essential to consult with colleagues and exchange ideas with other musicians. This is a great way to improve oneself, as you can learn many new ideas and techniques from their creations. As a musician, I have a background in traditional music performance, especially on the erhu. I have begun to experiment with incorporating the timbre of traditional Chinese instruments into modern electronic music and various music production processes. I want my work to showcase both Eastern charm and the vitality of modern music, emphasizing atmosphere creation and experimental sound processing and design. Through the selection and processing of various real-world timbres, and based on themes and emotions, I aim to create an immersive experience. Music production is not merely a process of showcasing musical techniques, but also a process of creating art. Technical means applied to music are simply tools; the ultimate goal is to express emotions and convey our creative ideas. Experimenting with different sound effects and timbre combinations, without adhering to traditional production methods, is an indispensable part of music production.
