Winter Landscape (for erhu, guzheng, flute, and Max/MSP) (2008-  )
Winter Landscape is an interactive composition for erhu (Chinese two-stringed fiddle), guzheng (Chinese zither), flute, and Max/MSP interactive computer music system.
Snow was chosen as the subject because the artistic conceptions snow conveys reflect Chinese philosophy: Chán (the Japanese pronunciation is Zen). Its purity, cleanness, uniqueness (in shape), intranquility, and brightness echo the beauty of Chán: solemn, nebulous, elegant, and peaceful, as well as the essence of Chán: integrating “have” with “have not” (emptiness), and “motion” and “motionlessness”.
This three-movement piece, Winter Landscape, is intended to depict a Chinese snow scene accompanied by the composer’s artistic conceptions of snow through music. Three movements, based upon an ancient Chinese verse respectively, are titled: “Qīng”, “Wŭ”, “Yōu”: “Qīng” delineates the smoky and foggy landscape created by the snow; “Wŭ” emphasizes the floating motion of the snow to illustrate its ethereal beauty; and “Yōu” portrays a large picture of the “white world” covered by the snow.
The total duration of the piece is approximately 15 minutes long.

Variations on a Chinese Folk Tune (for flute) (2008)
This piece is written as a birthday gift for my little daughter's one-year-old birthday.
Choosing the Jasmine Flower as the original theme is because of its popularity in China as a folk song and, as a flower, its nature of simple looking and sweet fragrance which resembles my little daughter in some ways.
Rhythmic and gestural alterations, chromaticism of pitch material, and the employment of extended techniques, are intentionally designed to make contrasts in musical "character".

Czardas (for erhu and string orchestra) (2008) This work, based on Vittorio Monti's violin solo Czardas, is re-orchestrated for the concerto performances I had with the Cobb Symphony Orchestra on Feb. 23 and 24, 2008, in Atlanta.

The Ghost Road (for video, audio, and live improvisations) (2006)
This piece is written for Halloween concert with intent of blurring the boundary between the worlds of the living and the dead. Video, pre-recorded audio, and the live performance constructed three layers interwoven with each other. Henry Cowell’s Banshee, Chinese traditional folk song, the poetry from the Tang dynasty poet Du Fu, and live improvisations are encountered at the crossroad and formed a ghostly collage.
Video images: Susanna Carlisle       Dance: Mary anne Santos Newhall       Audio & voice: Jing Wang
Chinese yangqin: Hsiao-Lan Wang       Viola: Kyle Jeffcoat

String Quartet (2006-07) This composition was written with the intention of paying homage to the contemporary composers György Ligeti and Witold Lutoslawski.
While intentional imitations of Ligeti’s and Lutoslawski’s styles are apparent in the opening sections of each movement of the string quartet, deviation soon ensues. Several electronic effects are intentionally simulated here, such as granular synthesis, panning, and freezer.
Each of the three movements is titled with a single classical Chinese character. Chinese characters are unique in that they are a logographic script whose fundamental structural principles haven’t changed in more than three thousand years. And each character when set alone has far further implications and meanings that stretch beyond any typical single English word.  As such, the characters here are specifically chosen to have a direct correlation to the purpose and design of the thematic material within the context of the piece as a whole.

"Movement I: 和 (He)"
In Chinese, “He” can be interpreted as ‘harmonious’, ‘chimes in with’, or ‘echo’. It is chosen here to represent the interchange musically between soloist and group.

"Movement II: 流 (Liú)"
The character “Liú” has traditional connotations of ‘flow’, ‘spread’, ‘stream’, and ‘liquidity’. As a bridge and contrast to the preceding and following movements, this movement is a seamless, shimmering, and continuous flowing of energy.

"Movement III: 元 (Yuán)"
“Yuán” can be defined as ‘element’, ‘unit’, or ‘unitary’. My intention in this particular movement is intended to fashion a miniature piece by mixing primary features of micropolyphonic texture, unsynchronized machinery, floating sonic quality, and deep-frozen expressionism, whilst placing them in a disjunctive formal frame.

LÜ (live interactive work for Erhu & Max/MSP) (2005-06)  A recurring theme in composer’s work is the concept ‘balance of dichotomy’: East vs. West, tradition vs. modernism, and acoustic vs. electronic. In this particular work this theme is revisited in its attempt to meld together two temporally and spatially distinct instruments – erhu (Chinese two-stringed fiddle) and computer – through the utilization of the computer music language Max/MSP.
The title LÜ (Chinese for ‘Journey’) is methodically chosen here as it illustrates a musical journey of gradual morphing between the roles of erhu and electronics. Over the course of the work, the natural and pure acoustical quality of erhu gradually gives way to the computer’s mounting manipulation until eventually the electronic timbre secures its dominance in the end. The improvisational reprise in the closing stages of the work suggests a mirroring of the one we observe in the introduction; only now the erhu seems to have merely become a shadow of its opposing counterpart.
Truly, this work serves as a sheer metaphor to life itself. With the implementation of Max/MSP combining with expression of evolution of timbre, we can render a parallel of reflection in how our own history has continually evolved in the advent of technology through the ages.

Weathered Edges of Time (2004) This piece can be considered as a memorial ceremony for the elapse of time. The sound of real world and the sound of musical instruments diverging and converging over the piece convey the feeling of swinging between the reality and memory. The Javanese gamelan melody quoted from "Rain" (by Jeff Morris) highlights the characteristics of ceremonial music. The chime-like timbre of gamelan also constructs and maintains the coherence of the piece as a whole. The main sound source in this piece includes the natural sound of car engine, tree-falling, glass-crashing, and water; and musical instrument sound, such as gamelan, piano, flute, and etc. The real world sound is intentionally treated as special instruments with their special timbral and rhythmic characteristics.

Here & There (2003) The sound source of this piece is from ambient sound recorded around University of North Texas campus. The main audio materials I chosen from the original sound file are the rolling cart and water fountain sound. My composition idea came after my experimenting on those two audio materials with Spectral Extractor in SoundHack. The other techniques I used frequently in this piece include Convolution (Peak), VariSpeed, Mututation (SoundHack), Granular Sampling (MetaSynth), Grain_O_Rama made by Prof. Rovan, Source Filter Synthesis (AudioSculpt) and a little program I made in MSP which plays back a soundfile by randomly choosing start/ending points, speed and harmonic range.

The Distant Horizon (for modern dancers) (2003) 1) Prelude 1'20 2) Empty 3'40 3) Revive 3'10 4) Breaking 2'34
This piece is commissioned by the Dance Department at Northern Illinois University and is originally composed for computer music & modern dancers. The music part is trying to provide an atmosphere of intranquility, confusion and actuation. This is a piece based upon MSP, MetaSynth, and Peak software environment. The original samples include female voice, cello, Thai flute, and percussion instruments.

reShanti (2003) is a remix piece based on Sheila Chandra's "Shanti, shanti, shanti" (Album "Roots and Wings"). It can be taken as an exercise to explore the possibilities to develop the short samples (two voice motives and one tabla phrase) mainly under the MetaSynth and Peak environment. It is a kind of image patchwork in music.

Dreamland (the conversation between piano and computer) (2002) This is an interactive program combining live piano performance and computer real-time control. There are no pre-recorded sound elements, as everything originates from the live piano performance. The interactive environment is based on MAX/MSP software.

Trio (for computer, violin and erhu) (2000) This is a piece based upon MSP interactive programming environment. The purpose of this piece was to symbolize the concept: "balance of dichotomy", Erhu (Chinese two-stringed fiddle) vs. violin, modernism vs. tradition, acoustic vs. electric, and West vs. East. The computer part is controlled in real time by a computer operator who is also a musician. This person is required to improvise, cooperate, and balance the sound samples in real time. This collaboration is subsequently the reason why the piece is entitled "Trio".