My portfolio consists of music compositions of various stylistic approaches and instrumentation. There are one music video, three film scores and nine concert works; of which multimedia works are listed first, and works are arranged according to the size of instrumentation. What connects the compositions is the evocative quality, atmospheric conception, and innovative blend of musical styles in film music that are integral to shaping my own personal style. While some compositions in this portfolio are actual film scores, others engender different atmospheres, or intend to capture different sceneries or feelings. / There are three film scores and a music video (a video will be tailor-made based on the music) in this portfolio. Depending on the nature of the films, varying types of musical languages have been used. The Boy who wears High Heels – a film based on a sensitive subject but turns out to be a touching story - is accompanied by music of elegance. Lyrical solo piano pieces, mostly in simple triple meter, are used to capture the inner voices of the characters in a short story about family in The Waltz. Static, atmospheric music with a focus on timbral differences is used to accompany Mong Kok II Purple — an almost surreal film that highlights the character’s emotional conflict. The music of Cinderella and the Happy Prince is inspired by the English romantic musicals. / While my film music centers on fitting music to the moving image, my concert music focuses on creating musical content from perspectives inspired by the film-scoring process. While both Stress and the City and The Light above the Leaves are written in an abstract Western musical language, the remaining compositions of this portfolio are highly influenced by ethnic music. In A Yearning for Peace and A Call in the Wilds, I have attempted to imitate the singing styles, as well as the timbre, phrasing, and playing techniques of various ethnic instruments on standard Western instruments, and within a Western contemporary musical environment. In Clouds in Twilight, Lament from the Forest II, Lost in the Desert, The White Wall and Whirling through the Dreams, many characteristics of ethnic music, Western traditional and contemporary music are so tightly integrated that it would be impossible to single each one out. / Through writing in different musical languages and for a variety of mediums, I have allowed myself to explore numerous compositional possibilities — such experiences have enabled me to challenge the existing instrumental writing techniques, phrase construction, and textural design among many other parameters. / 我的音樂作品集涵蓋了多種不同音樂風格及配器的作品，它們很大程度上受到電影音樂的影響，包括其以聲音製造氣氛、情景的手法及把不同類型的音樂風格相融合的創新嘗試。我的作品集包括了電影配樂和其他以音樂帶出氛圍、情景及感情的作品，它們揉合了不同類型的音樂元素 —如民族音樂、西方古典音樂 — 以表達樂曲不同的內容。 / 本作品集有三部電影配樂作品和一部音樂影片。我隨每一部影片的獨特本質選用了不同的音樂風格： 我以典雅為基調烘托題材敏感但卻感人至深的《穿高跟鞋的男生》；《圓舞曲》則主要以抒情的鋼琴獨奏表達角色的內心世界；而徘徊於寫實與虛幻的《旺角太紫》則以靜態、以音色變化為主的音樂烘托角色的內心掙扎。音樂影片《灰姑娘與快樂王子》的音樂則受到英國浪漫音樂劇的風格影響。 / 除了以上配合影片的音樂，作品集亦包括純音樂的作品。《壓力都市》和《綠蔭上的曙光》以較為抽象的當代西方音樂語言寫成，而其餘的作品則受到民族音樂影響而創作。我在《禱》和《野地的呼喚》中試圖以西方樂器模仿不同民族中聲樂、不同器樂的音色、句式和演奏技巧，並以當代西方音樂的思維加以處理。而在《暮雲》、《林裡的哀歌II》、《迷失曠野》、《白壁》和《夢行雲》中，西方古典音樂、當代西方音樂和民族音樂三者的音樂特色融而為一，密不可分。 / 我已透過不同風格的創作，挑戰了一貫的器樂寫作技巧、句式架構、織體設計等來探索作曲的無限可能性。 / Wong, Chun Wai. / Thesis D.Mus. Chinese University of Hong Kong 2015. / Abstracts also in Chinese; includes Chinese. / Title from PDF title page (viewed on 06, October, 2016). / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only.