In the author’s journey of learning Dizi, he has mostly come across compositions by Chinese composers. However, in recent years, a new generation of composers from Taiwan has rapidly emerged, and their works have been shining in the music scene, including Wang I-Yu, Jen Chung, and Lu Yun, etc. This has sparked the author’s interest in exploring Dizi compositions by Taiwanese composers.

This article focuses on Jen Chung's Dizi concerto "Years" as the subject of research. It’s commissioned by the Kaohsiung Chinese Orchestra in 2018, the piece was premiered by Dizi performer, Li Yu-Tze on January 19, 2019, at the Kaohsiung City Dadong Arts Center.

Jen Chung is currently an active musician, composer, and educator, and he is one of Taiwan's most active young musicians. His works are great at depicting imagery without sacrificing the essence of the composition in pursuit of flashy techniques. The melodies are beautiful and thought-provoking, and he has a wide range of compositions, including numerous commissioned arrangements.

Since Jen Chung is a rising star in the music scene in recent years, there is currently no literature specifically studying in his works and his personal experiences as a composer. Therefore, the primary research methodology employed in this study is interviews, supplemented by data collection, audiovisual observation, analysis, and musical interpretation. Chapters covering the composer's personal background, educational journey, and the background of his works were constructed based on these methods. Finally, through the integration of data, music analysis and interpretation of the composition can be conducted.

Through the research, it was found that "Years" is a single-movement Dizi concerto with a free ternary form structure. It consists of three titled sections: "Yearly Market Street," "Childhood Memories," and "Years" They are respectively performed on G-key , Bb-key , A-key Dizi, and it incorporates the melody of the Taiwanese folk song "White Egret" as a creative material, with the concept of "Years" running throughout the entire composition.

The above literature has provided the author with a deeper understanding of the music, and through interviews with the composer, interpreting the music can better convey the composer’s intension. It is hoped that this research can provide a literature reference for flute players who are interested in music.