Pupils are encouraged to utilise their creativity, imagination and music developmental techniques to create a sound project or image into a sound project.

Pupils employ imagination and different musical elements to transform depicted scenes form a picture or image into a sound project.

Pupils are encouraged to utilise their creativity, imagination and music developmental techniques to create a sound project or image into a sound project.

Pupils employ imagination and different musical elements to transform depicted scenes form a picture or image into a sound project.

Pupils employ imagination and different musical elements to transform depicted scenes form a picture or image into a sound project.

Pupils are encouraged to utilise their creativity, imagination and music developmental techniques to create a sound project or image into a sound project.

Pupils employ imagination and different musical elements to transform depicted scenes form a picture or image into a sound project.

Pupils are encouraged to utilise their creativity, imagination and music developmental techniques to create a sound project or image into a sound project.

Pupils are to generate different sound effects and create and interpret a sound project through vocal mimicry.

Pupils are to generate different sound effects and create and interpret a sound project through vocal mimicry.

The piece, composed for cello, clarinet, bassoon, marimba and percussion, depicts the hustle and bustle of the life of Hong Kong people. The music develops upon the Fibonacci sequence to portray a sense of instability and employs figures of different sequences to symbolize the tension and relaxation of our lives.

The Andante introduction, played in parallel by the clarinet and the cello, marks the start of a new day. Different instruments then alter the triplet motif which later develops into a woodwind conversation that is filled with triplets and sextuplets. The motif extends into canon form with dotted rhythms and leads to a chaotic improvisation which clashes with the lyrical melody, as if all those in life that hits us unexpectedly. The last section ends with a long sigh, goading us to stay gold at any rate.

Integrating live music, dance elements and video, this work reveals the story of a pianist losing and finding his way.

The first part, “Primer‧childhood”, starts with three tones being produced by the singing bowl, then a light melody in fast tempo represents the pianist’s happy childhood after the stage light is on.

The second part, “Choice”, has the cello solo and reddish lights on the stage, depicting the ups and downs in the pianist’s career.

In the third part, “Crumble”, the music gradually grows dissonant as a new melody is introduced. With the irregular beats and distorted lighting effects, the pianist has started to lose his way, begins to crumble under pressure and abuses drugs.

In the fourth part, “Seeking”, the tone of the singing bowl recapitulates. Then with the background of bird calls, a female voice hauntingly appears to represent an inner-self answer.

The fifth part, “Rebirth”, has the piano leading the orchestra to conclude the piece. The pianist has finally found himself and thus makes a grand reappearance as if the reborn of a phoenix.

By integrating dance, sand painting and live music, this creative work depicts the process of a butterfly breaking through a cocoon, thus encourages teenagers to live out of their comfort zones and chase their dreams courageously.

Having the flute plays the g minor melody and joined by a few other instruments, the work begins with an anxious atmosphere with an adrift caterpillar portraying teenagers losing themselves as being influenced by social norms. The weaving of cocoon is portrayed by series of harmonious chords, as if teenagers are striking a balance between their studies and the pursuit of dreams.

Vigorous rhythmic patterns contribute to the tension when a precipitous, extremely strong gust of wind occurred. With strong brasses and percussions, other instruments and vocals gradually join in to illustrate the frustration and despair when teenagers face the obstacles.

The music suddenly calms as a slight crack appears on the cocoon. The work ends lively when a stunning butterfly comes out of its cocoon and flies freely, indicating teenagers are then able to follow their dreams after their long and perplexed journey.

This creative work consists of 3 parts, highlighting the scenes and the mood before, during and after the urban renewal in Hong Kong.

The first part starts off with the glockenspiel imitating the pedestrian crossing beeps and the music played by ice cream trucks, which are remarkable symbols to generations of Hong Kong people. After the solo piano transition, a waltz then depicts how reluctant people are to see the renewal of the old district. The last part, played by the piano and violin tutti, leads to a reminiscence of the old district.

The work aims to bring up a thought-provoking question –

Could “Rebuilt” ever retrieve the sentiment from the past?

“貽” means “bequeath”. This creative work, “Rite”, tries to explore religion, a legacy that has been used as a system to sustain social stability.

The work starts with 4 symbolic hits on the tubular bells to signify the commencement of a rite, then utilizes some disparate augmented fourths to create a sense of space and distance, bringing the audience back to the time when everything originates as pandemonium. The timpani solo is as if people were questioning about the origins of everything. The second part employs different voices for a call-and-response, imitating sacred music and chants, and depicting scenes from rites of worship.

Echoing with the beginning, the work ends with the bells and leaves room for a rumination: has religion been goading people into war, or has it established peace? Have people been blindly pursuing dogmas that they tangled the nature of religion?

Good and evil, a theme being studied for thousands of years, can still be considered as an unsolved mystery. Yet, this dichotomy is a very important issue in human civilisation. This rhapsody demonstrates the confrontations and interactions of their coexistence.

The music starts with the piano and the cello playing a fierce passage, representing the cold-heartedness and evilness. The “evil” theme, introduced by the piano, is then varied and developed. After a series of intense running notes, the “good” theme is then presented by the cello, creating a drastic contrast with the previous discordant section.

In the finale, the two conflicting themes are played in parallel on different instruments as if both of them are trying to claim dominance. The work ends gloriously in major key to suggest “good” will always prevail and give hope to the confused.

Through music and dance, this creative work portrays two themes, i.e. “Expose” and “Create”, expressing human breakthrough in a constrained space.

The work comprises two parts. The first part “Expose” begins with the cello melody which consists of diminished seventh chords, depicting the process of human exploration of space. The piano pedal points and a series of triplets in the bass drum penetrate the whole part, represent human impact on space.

The second part “Create” uses the resonance of piano sound to express a Utopia which is about to emerge. The recurrence of piano pedal points and the succeeding grace notes represent human hope of having a breakthrough in the constrained space.

Integrating music, dance and lights, this creative work describes the sense of confinement to the metropolitans.

“Freedom”, the first movement, begins with the piano and the cello, followed by the glissando of the strings. In “Restraint”, the second movement, dancers are joined by different lighting and a rapid pulse to depict the burden inflicted by different values and people to the Lead, who have been restrained in the confinement.

The third movement is “Compromise”. Accompanied by a series of chromatic scales and discords, the music resembles the Leads intention to compromise and succumb herself to despair by conforming to the norm. Yet, this only suffers her more. In the last movement, “Acceptance”, marching music is used to emphasise that being sympathetic and compassionate is the only way to break the confinement.

This creative work integrates music and video to depict the loss and gain of living things after life.

The work consists of three parts. In the first part, a refreshing flute line interacts with tensed melodies, presenting the inevitable – all lives and things will eventually decay and vanish.

As an introduction of the second part, short treble sentences and bass staccatos state the numbing fact of life and death. A 2/8 measure serves as the bridge to the dance part which tells the eternal cycle of life and death. After that, soft melodies remind us that there is still hope after life.

The last part, a tutti mixed with single and compound time, reinterprets the melodies of the previous dance with brand new tone colors. Hope is passed down to the next generation.

Will the cycle of seasons always persist? How will the nature fight back against human’s presumptuous actions to the environment?

In the first half of the work, characteristics of the four seasons are portrayed by different musical ideas. For example, a long and static line represents the grim winter; a graceful and lively melody depicts the spirited spring. In the second half, irregular rhythms, discords and improvised phrases are used to mimic the nature’s retaliation towards human’s arrogance.

Solo and group dances of different styles are choreographed to enhance audience experience by integrating visual and aural elements into the performance.

Integrating live music, dance elements and video, this work reveals the story of a pianist losing and finding his way.

The first part, “Primer‧childhood”, starts with three tones being produced by the singing bowl, then a light melody in fast tempo represents the pianist’s happy childhood after the stage light is on.

The second part, “Choice”, has the cello solo and reddish lights on the stage, depicting the ups and downs in the pianist’s career.

In the third part, “Crumble”, the music gradually grows dissonant as a new melody is introduced. With the irregular beats and distorted lighting effects, the pianist has started to lose his way, begins to crumble under pressure and abuses drugs.

In the fourth part, “Seeking”, the tone of the singing bowl recapitulates. Then with the background of bird calls, a female voice hauntingly appears to represent an inner-self answer.

The fifth part, “Rebirth”, has the piano leading the orchestra to conclude the piece. The pianist has finally found himself and thus makes a grand reappearance as if the reborn of a phoenix.

This multi-media work “War and Death” integrates Chinese and Western music, rap, beatboxing and lighting techniques to express the cruelty of war.

The first part of the work employs the unique timbre of dizi to depict the misery of war. The strings imitate dizi melody in the second part. In addition, the use of beat-boxing and tremolos on diminished chords tightened the atmosphere. The subsequent rap passage uncovers the composer’s discontent towards the war.

The third part uses diminished seventh chords and a violin solo to express human mourning over the dead. The emergence of strings symbolises the desperation brought by war. The work concludes with variation of dizi melody and a violin harmonic, represents human accusation of war.

The work also presents the deadly atmosphere of war by using cool colours lighting throughout.