The confluence of Eastern and Western music has become a trend among Chinese music composers in the 21th century. Since the creation of “Concerto for Bamboo Flute and Orchestra” by Ma Shui-Long in 1981, dizi (i.e., bamboo flute) has inspired composers with Western musical backgrounds to compose for dizi. This further diversifies composition techniques and elements.

A dizi concerto entitled “Di-Day,” created by the Taiwanese composer Hung Chien-Hui in 2016, was a commissioned piece in the 2017 Taipei Chinese Instrumental Competition hosted by the Taipei Chinese Orchestra. This concerto involves the use xiaodi, bangdi, and qudi, to illustrate the beauty of natural landscapes changing at different times throughout the day. The piece was used as a compulsory work in the final of the competition, whose performance requires the comprehensive use of various techniques and understanding of the instrument’s musical properties. “Di-Day” is thus considered a representative work of contemporary dizi music. Accordingly, the musical piece is composed of the Western music structure and the cyclic form and involves notable interaction between the dizi and Chinese orchestra. It also integrates the Chinese and Western musical languages and is highly appealing to the audience.

This study used analysis, music interpretation, and interviews to compile data a further insight into the composition ideals of Hung. In-depth analysis on the structure, motive development, and performance art of “Di-Day”. Finally, this study explored the manifestation of the confluence between Eastern and Western musical languages, and can be served as a reference for subsequent researchers and dizi performers.