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作品集內共有十一首作品，為修讀音樂博士學位期間所創作，分別為：《竹露》、《枯丫嘯鳴》、《痕》、《我是在魚缸裏的金魚》、《夜雷細雨打梨花，靜聽微風響叮鈴》、《碎彩迷圖》、《悸動》、《雲泊》、《魂牽夢縈，更哪堪酒醒！》、《唧唧咕咕》以及《畫布》。 / My portfolio of music compositions consists of eleven compositions encompassing works for solo, duo, trio, medium to large ensemble, choir a cappella and orchestra. / In retrospect, the compositions in my portfolio can be categorized into four states of maturity and intelligence growth during my doctoral study. Dew on Bamboo Leaves, Arid Branches Resound and Scar present my primitive and instinctive thoughts on harmonic colours, motivic organity and expression of solitude and sentimentality. Im a Goldfish in a Globe , Pyrus Flower in Rain and In the Labyrinth of Stained Glass Mosaic establish my proficiency in orientating musical idiom and in communicating deliberated artistic conception of space and time with music. Palpitation and A Lagoon of Clouds comprise a comprehensive perception of texture and temporality. Lastly, Yearning . Sober Anguish , Susurrus and Canvas convey my dexterity incraftsmanship, complexity, musical form and poeticality. / In brief, my portfolio exemplifies my idiosyncratic insight into music as atemporal art, as a language and as an architecture of soundscape. Itrepresents the artistry of my compositions as a young composer. / Detailed summary in vernacular field only. / Lee, Kar Tai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2013. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes Chinese. / Abstract / Acknowledgements / Content / Volume I / Dew on Bamboo Leaves --- p.P.1 (9) / Arid Branches Resound --- p.P.17 (14) / Scar --- p.P.37 (5) / Im a Goldfish in a Globe --- p.P.49 (3) / Pyrus Flower in Rain --- p.P.57 (3) / In the Labyrinth of Stained Glass Mosaic --- p.P.65 (16) / A Lagoon of Clouds --- p.P.85 (17) / Yearning --- p.P.107 (36) / Susurrus ( Quiet Carriage) --- p.P.147 (2) / Volume II / Palpitation - Montage for Large Orchestra in 100 Seconds --- p.P.1 (6) / Canvas --- p.P.13 (28)

In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art, and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of those influences, the boxes of the American artist Joseph Cornell played a particularly important role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay, instead of being driven by a single thesis, involves the creation of conceptual boxes. These conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers Iannis Xenakis and Gérard Grisey. In addition, a time line documenting the stages in Ebb's creation is included.

Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde.

Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde. / Arts, Faculty of / Music, School of / Graduate