Tsung-Hsien Yang, a Taiwanese composer, returned to Taiwan in 1991 after studying abroad in the United States. With his use of western compositional techniques that he learned in America, he merged them with traditional Eastern cultural. Both the Eastern and Western philosophical art context can be found in his music, along with traces of both Eastern and Western culture’s in both the work’s title and it’s contents.

Observing this piece from the writer’s Western musical education and performance concept background and to learn the composer’s mastery of Eastern and Western music language’s spirit, for a discovery of new performance techniques and sound concepts. Furthermore, related research papers on Tsung-Hsien Yang’s work are limited (only till 2002), and related books specialized on this discussion cannot be found in the past decade. This paper will further supply composition pieces and creation point-of-view on pieces after 2002, including the composition’s title, editing and related artistic impacts, to understand the composer’s thoughts and mentality, and, from a detailed analysis of “Contemplation”, enhancing the writer’s multi-faceted interpretation of performances and experiences on sound acknowledgment.

This paper will utilize Tsung-Hsien Yang’s “Contemplation” as the research context, separated into four parts for the research and analysis. The first chapter is the preface, explaining the motives of research and ways of research. The second chapter, will, through Tsung- Hsien Yang’s biography and composed pieces, divide his styles of creation into three periods for discussion, and later on conduct a comprehensive exposition of his ideas. The third chapter will briefly introduce the piece “Contemplation”’s creative background, following the second creation period’s creative approach as the context to discuss the piece’s materials, motives, musical forms, and, with the music sheet’s additional textual explanation, connect the composer’s interaction between rationality and sensibility. The Fourth chapter will, from the instrument audio characteristics and creative approach, discuss the music’s motives, time and pace, special performance technique aspects, and further extending to the interpretation of the writer’s point of view. The fifth chapter is the conclusion, explaining the results and experiences the writer explored from the research. This paper will also, by the writer’s face-to-face interview with the composer, enhance the understandings on the composer’s creative concept and understanding the shift of his music style, further expressing tribute to the composer’s creative passion.