UC San Diego

During recent years, I have dedicated myself to a compositional path that involves subtle tone colors and gradations in a poetic sonic world. yet the dew remains in pale represents my first orchestral realization of this sonic world with a sophisticated design of tone colors. I consider my compositions to be sonic worlds in which I musically realize my dreams, imaginations, and thoughts. I transcend my personal reflections and transfer them into musical expressions to create a sonic world that connects my interior mind and the universe. When composing yet the dew remains in pale, I was inspired by the poem Jian Jia (Rush Leaves) that primarily expresses a longing for an intangible love. I interpreted an intangible love to be a dead person whom I miss but can only meet in a dream, or through a religious ritual. To express this sort of eternal longing, I created a musical dreamland in a mirror -like form that represents a transcendental journey to a spiritual space where I seek this intangible love. This mirror-like form musically represents a meditative process of intoning, transcending, reaching another land, falling, and returning. The pale dew, in stark contrast to the dream-like aura, symbolizes our inner tears that remain after journeying to the dreamland. The sonic world of yet the dew remains in pale consists of various musical elements in a drone-based texture. These musical elements- -chanting lines, the rhythmic patterns, and the melodic fragments,--all join the spectrum-based harmonic fields. Based on the drones and the spectral chords, the various composite tone colors and their timbral gradations serve as the most important musical-contextual components of the entire work. Eventually, yet the dew remains in pale musically represents my spiritual journey to a dreamland through a flow of tone colors