Li first arrived on the contemporary music scene in Taiwan with her very original use of instrumentation and style in her chamber music piece Zang (the funeral) in 2000. In 2003, the expression and orchestration of her orchestral work Awakening won the prize at the Asian Music Festival 2003 in Tokyo from the Asian Composers’ League, and was subsequently premiered by the Tokyo Philharmonic Orchestra. In recent years, Li’s music reflects her transformation of processes and concepts in Asian traditional arts, literature, and Buddhism into a compositional technique for solo, chamber, and orchestra of both Western and Chinese instruments. With her virtuosity in instrumentation and fluency in converging and synthesizing diverse cultural, musical and conceptual frameworks, her treatment of the space of the sonority, temporality, texture, and syntax have engaged musicians of different practices, critics, researchers, and worldwide listeners.

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