All Music Composed, Vocals, Played Instruments, Mixed and Produced by Xiong Yanyi. @ all rights reserved
Mantra Series:
Composed during a three-year retreat in Tibet Garze Lengu Monastery
is currently being finalized with musical arrangements...
Music of the <True Mean> Exhibition:
Music of the Land Art Performance <Little Green> and <Bā Pá>:
Music of other namesake Performance Works:
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Music of the Namesake Performance:
Film Score:
Music of the Namesake Performance:
Film Score:
Yanyi Xiong has demonstrated extensive engagement in the field of musical composition.
As a composer, she covers a wide range of musical genres, including a cappella choirs,chamber music, electronic operas, and film music.
She has been invited to participate in a variety of international arts and music projects and festivals,
such as the Berlin Atonal Kraftwerk in Germany, the Electro-Acoustic Opera in Münchner Kammerspiele Theatre in Munich,
and the ancient Chinese music event in the British Museum.
In 2017, her collaborative work, <The Future of Chu>, premiered at Guildhall Hall in London,
interweaving artificial intelligence holographic installations, experimental music, classical opera, and ancient Chinese instruments into a groundbreaking synthesis.
Yan’s artistic practice is anchored in her rigorous classical music training while extending into interdisciplinary investigations within the realm of fine arts.
Her interdisciplinary research on audiovisual isomorphism and the ontology of sound.
She employs Western classical musical structures, integrating them with the linear musical particularities of
ancient Chinese music and ethnic minority regional instruments.
Through synthesiser technology, she interrogates the ontological essence of sound,
transcending surface phenomenological correlations between auditory and visual modalities to reveal deeper isomorphic principles embedded within perceptual systems.
In her diverse body of work—spanning land art, performance art, and painting—music and visual elements are never constrained to mutually illustrative forms.
Instead, they coalesce through an audiovisually integrated holism, probing the intrinsic unity between the immateriality of sound and the materiality of visual forms.
Her paintings, for instance, manifest a vivid translation of “韵-yun” (“resonant vitality”) into visual rhythm,
where brushstroke cadences mirror the temporal dynamics of musical phrasing.
Whereas her “Auditory-Visual Virtual Reversal” project employs synthesisers to simulate natural soundscapes
while inversely reconstructing electronic timbres from organic acoustic sources.
This dual methodology deconstructs perceptual boundaries, inviting audiences into unintentionally curated environments
where the symbiotic interplay of sound and space emerges through her harmonious instrumental ontology—
the intrinsic properties of instruments—combined with live improvisational virtuosity.Yanyi’s approach redefines the cognitive framework of artistic reception.
As she articulates, “To exist within a realm of inter-stasis”—a space where silence and resonance, visibility and invisibility, achieve non-dual equilibrium.
Her research provides empirical grounding for the ancient Chinese philosophy of “韵” (resonant vitality) as a trans-sensory medium, proposing a holosonic-
visual paradigm where art becomes a laboratory for investigating consciousness itself.
晏一在音乐创作领域展现出广泛而深入的探索，其作品涵盖独奏钢琴、无伴奏人声合唱、室内乐、实验音乐、歌剧及电影音乐等多种形式。
她曾有幸受邀参与多个国际艺术项目，包括柏林实验电子音乐节（Berlin Atonal Kraftwerk）、大英博物馆实验音乐计划，
以及德国慕尼黑（Münchner Kammerspiele）剧院的合作演出。早在2017年，她以一部深具前瞻性的作品《楚之未》，首演于英国伦敦市政厅礼堂，
将人工智能全息影像互动装置、实验音乐、古典歌剧以及中国古代音乐进行了深度碰撞。
熊晏一的创作立足于她的古典音乐根基，同时涉足纯艺术领域的研究。
她善于运用西方古典音乐结构，结合且采集研究中国古代音乐与少数民族地域乐器的线性音乐特殊性，
并借助合成器技术探索声音艺术的本质，
进而让视听的关联性艺术呈现不停留于现象层面的简单对应，而是揭露根植于感知系统中更深层的同构性原理。
我们不难看到在晏一多样化的音乐作品中，无论是大地影像装置，还是现场行为艺术，以及她的绘画作品，音乐与视觉从未局限于互证的功能性呈现，
而是以视听平等整体的方式展开无形与有形之间内在不二的平等性质。
尤其是她的绘画作品，在她行笔的节奏中，我们洞察的是她对“韵”在视觉里的生动刻画，
而在音乐方面，她实践的“视听虚拟反转”，则是通过合成器模拟自然声场，同时反向以自然音源重构电子声质，
还原在感知经验中我们对声音边界的认知及探索，这种对乐器器性的理解结合她现场即兴的演绎，
使观众得以在无预设的场域中，悄然触及视听共生的微妙体验。
用晏一的话说则是：“存在于一种休止之间。”
她曾有幸受邀参与多个国际艺术项目，包括柏林实验电子音乐节（Berlin Atonal Kraftwerk）、大英博物馆实验音乐计划，
以及德国慕尼黑（Münchner Kammerspiele）剧院的合作演出。早在2017年，她以一部深具前瞻性的作品《楚之未》，首演于英国伦敦市政厅礼堂，
将人工智能全息影像互动装置、实验音乐、古典歌剧以及中国古代音乐进行了深度碰撞。
熊晏一的创作立足于她的古典音乐根基，同时涉足纯艺术领域的研究。
她善于运用西方古典音乐结构，结合且采集研究中国古代音乐与少数民族地域乐器的线性音乐特殊性，
并借助合成器技术探索声音艺术的本质，
进而让视听的关联性艺术呈现不停留于现象层面的简单对应，而是揭露根植于感知系统中更深层的同构性原理。
我们不难看到在晏一多样化的音乐作品中，无论是大地影像装置，还是现场行为艺术，以及她的绘画作品，音乐与视觉从未局限于互证的功能性呈现，
而是以视听平等整体的方式展开无形与有形之间内在不二的平等性质。
尤其是她的绘画作品，在她行笔的节奏中，我们洞察的是她对“韵”在视觉里的生动刻画，
而在音乐方面，她实践的“视听虚拟反转”，则是通过合成器模拟自然声场，同时反向以自然音源重构电子声质，
还原在感知经验中我们对声音边界的认知及探索，这种对乐器器性的理解结合她现场即兴的演绎，
使观众得以在无预设的场域中，悄然触及视听共生的微妙体验。
用晏一的话说则是：“存在于一种休止之间。”