This supporting paper consists of five chapters, discussing my statement of my musical ideas, compositional techniques and practice of musical compositions. Chapter One is the introduction, in which I discuss my purpose of writing this paper as well as my comprehensive exposition in music. Chapter Two discusses the nature of composers with my own experiences. This chapter consists of two sections. One discusses the inner spirit of composers, including the loneliness and poetic thoughts. The other discusses the composers’ sensibility to the external world and how they consider compositions as their personal reflection. Chapter Three demonstrates how I combine my compositional ideas with theoretical techniques in four of my original compositions: vocal chamber composition, Inspiration of Withered Plum Blossom for soprano, flute, viola and percussion, chamber composition, Chen I for clarinet, bassoon, violin, cello and piano, Autumn waters duet for zheng and oboe, and Obscurity for di, erhu, pipa, and zheng. Four of my compositional methods are discussed in Chapter Four: the relationship between vocal text and music, the differentiation between western and traditional Chinese instruments, the exploration of contemporary musical language on traditional Chinese instruments, and the reconsideration of composing for Western instruments. Chapter Five concludes this paper with a review and a perspective on the future.