"Life becomes fearless when you find your passion"
– Interview with Composer (Vicky) Yi-Chan Li
Karen Lee | December 23, 2023 Tags: Yi-Chan Li, Seattle Film Institute, Composer
Before graduating from university, Yi-Chan Li had never considered becoming a composer. After completing her undergraduate studies, and transitioning from the composition department at National Chiao Tung University to the Seattle Film Institute in the United States, I asked her if she ever considered changing her path amidst life's continuous journey.
"I feel that I will always be involved in 'music.' Whether it's music therapy, music education, or any other music-related industry, I want to explore and steadfastly continue on this path."
The Aha! Moment that Defined Her Decision
During high school, Yi-Chan, originally in the sciences stream, unexpectedly shifted to the humanities stream due to an unexpected outcome in a standardized test. In university, she entered the philosophy department but felt it wasn't her true calling. Pursuing dual degrees in criminology in hopes of becoming an investigator, an internship experience made her realize the profession wasn't what she had envisioned. "During an internship at a halfway house for juvenile delinquents, I discovered that I lacked the capacity and unwavering sense of responsibility to guide them towards a better path."
This realization led to another change in direction, and her thoughts turned to her true passion—music.
The Choice Made at That Moment
At the moment of university graduation, Yi-Chan reflected on her life's journey of over twenty years. She discovered that the one thing she never gave up on was music.
Starting piano at the age of five, joining the choir as an accompanist in university, and later participating in a performing arts group, she found a profound connection to composing musical theater songs. "At that time, I witnessed the audience shedding tears because of the songs I created. It was an unforgettable experience, and I felt an irreplaceable energy in that moment."
This moment prompted her to embark on the lengthy journey from a non-music major to pursuing a master's in composition at the National Chiao Tung University.
Clarifying Her Ambition in the Music Department
"At that time, although my main focus was on contemporary musical theater, creating atonal music to complement elements like drama, dance, and lighting, my professors introduced me to many innovative concepts and taught me to embrace different genres. They made me understand that even if what you create may not be considered mainstream art by others, as long as you infuse sincerity into your work, it can be equated with great art."
At NCTU, Yi-Chan had the fortune of encountering Professor Chao-Ming Tung, who accepted students from various backgrounds. In her third year, she also became a teaching assistant for Professor Ming-Hsueh (Mitch) Lin, both of whom became mentors in her musical journey.
Apart from the professors, the abundant resources at NCTU and the diverse backgrounds of her peers left a lasting impression on her. "For example, I noticed that musicians in the performance group had keen ears and precise intuition. In contrast, I excelled in understanding quickly, thinking about harmony, and occasionally preferring to solve problems logically."
Reflecting on this, one can't help but wonder what the phrase "every path in life is worth walking" means to Yi-Chan. Does what she learned during university have practical applications?
"I think it might not be of great help in actual composition, but it certainly has an impact on the spiritual level. For example, during my university years, I read many literary works and scripts. I incorporated Samuel Beckett's 'Waiting for Godot' into my concept for the master's graduation concert, transforming the dialogue of the two main characters in the book into a musical form. Additionally, my exposure to counseling psychology in the criminology department, learned at times of hardship, has often been a lifeline for me."
Although graduate school seemed like the destined path, the answer she found after all the challenges was unexpected. A part of her still felt empty. This emptiness manifested as a diminishing and eroding passion, seemingly slipping away unknowingly.
She discovered that she couldn't sustain her passion for atonal music composition indefinitely and couldn't continue to delve into this field. Yet, returning to the essence, her love for "music" itself remained unwavering.
Therefore, instead of changing her path, she decided to further her studies abroad—trying her luck at the Seattle Film Institute.
Seattle Film Institute
Before trying her luck, Yi-Chan's life resembled ever-changing weather, with hidden currents surging like an undercurrent beneath the sea.
At the time, she spent over three months selecting a school in the United States, preparing for the IELTS, but due to less-than-ideal results, she nearly found herself barred from the doors of the film institute, needing to wait another year to reapply. Fortunately, after an online interview with Professor Hummie Mann, who liked her work and found no issues with her spoken English, everything fell into place. She successfully obtained admission.
"The film scoring master's program at the Seattle Film Institute is unique. It covers two years of courses from other schools in just one year. The curriculum is solid, and there are plenty of opportunities for practical application. For instance, in the orchestration class, students have the chance to collaborate with student directors, conduct in the recording studio, and record their works, accumulating a lot of practical experience."
`Entering the recording studio, collaborating with musicians, first-time conducting experiences, drafting complex film and television contracts, in-depth understanding and application of software like Protools and Logic Pro, and the completion of a film score graduation project performed by an orchestra—between challenges, every step not only confirmed that this was what she wanted and loved, but also became an opportunity for her to decide to stay after graduation, hoping to find more opportunities to collaborate with musicians and film composers.
When asked about the most special event or experience she has participated in, she mentioned the Seattle 48 Hour Film Project. This film festival requires teams to create a 7-minute short film, including scriptwriting, shooting, video editing, and composing music, within 48 hours.
In the festival, individuals may not be dedicated filmmakers, but they are willing to embody the spirit of a professional wholeheartedly. "They want to present the best to the audience, and this spirit is admirable."
"Independent workers face challenges. Incomes may not be as high, and there's no guarantee of making it to Hollywood. Yet, everyone has ideals and aspirations. They gather together, create their works in high-energy environments, and indirectly move me."
With experience in taking on projects in both the United States and Taiwan, does she have any practical advice to share?
"Contracts must be clearly written! Also, I think the styles of different types of workers are different. It mostly depends on observation. For example, game developers may lean more towards an engineer's mindset, and collaboration tends to be more formal with clearer conditions for music (length, type, key points of the narrative, and planning of the work schedule). On the other hand, film directors may be more humanistic, using richer emotional language to describe the music they want. Collaboration often turns into friendships!"
As for approaching projects, actively reaching out to people, participating in events, and frequently visiting Facebook groups, Yi-Chan suggests maintaining an open mind and not fearing communication when it comes to skills that are quite useful.
The Energy Flow of ‘Present' and Diverse Timbre in the Ad Score for Taiwan's Judicial Reform
Throughout her career, Yi-Chan has accumulated a variety of scores, and the short film "Present" marked her first income from scoring during her time in the United States. Before officially starting the composition, there was a small incident: "Before working on the score for this short film, I happened to be deceived by someone claiming to be working on an anniversary music project. So, I was extra cautious before taking on new projects. It wasn't until the director paid me for the first contract that I realized I was really starting to work!"
Starting with some skepticism, Yi-Chan unexpectedly gained significant rewards afterward. This short film not only received recognition through various awards but also had screening opportunities at several film festivals. The director's passion for creativity indirectly influenced her, making her part of "telling stories for others," and her creative energy was elevated accordingly.
Facing a horror-themed short film, Yi-Chan listened to many suspenseful film scores by the master of suspense, Alfred Hitchcock, before starting the composition. The Christmas song at the beginning of the short film was transformed into a unique and unsettling version with distinctive harmonies. The "functionality" of music was something she repeatedly pondered. "Music's role in visuals has three aspects: one is to 'pre-announce' something about the yet-to-unfold story; another is to match the atmosphere with the visuals; the last one intentionally creates an opposite effect to the plot. For example, when everyone sees a murder happening on the screen, having very quiet background music can be even more chilling."
"In the first section of 'Present,' I used music to serve the function of a prelude, indicating that something is about to happen. The second section's composition was adjusted to complement the later-added sound effects, but it still followed the storyline. As for the third section with the cast list, when the scene reached the part with the cannibalistic gift box, I chose to end it with a relatively warm and cheerful Christmas song, creating an eerie atmosphere."
Beyond film and TV works, Yi-Chan also completed the score for the "2022 Taiwan Judicial Reform" advertisement. The Judicial Yuan wanted to convey the message that "the law is trustworthy, and the judiciary provides a channel for your voice." Musically, it progressed from darkness to brightness across four short stories, and by the end, it resembled a majestic ocean, giving a firm sense that everything in the world is worth embracing—a sea of inclusiveness.
If we carefully listen to the score, we'll notice several instances where the theme specifically representing the Judicial Yuan appears. The incorporation of subtle electronic music, despite the dissonant packaging, seamlessly integrates with the dark and heavy elements within. Notably, Yi-Chan, who used to be confined to orchestral methods in her compositions, discovered through this advertising project that exploring the diverse "tones" requires more than just orchestral methods; there must be innovative elements, such as adding "jazz drums," to provide the finishing touch.
Toward Heaven: Dance Merging with Music, Breaking Out of the Comfort Zone
Moving on to dance, Yi-Chan previously merged music with dance in creations like "Pascal's Mirror" and "Journey to Heaven - Bird Chapter." Behind these works was a secret agreement with her dancer friends to "exchange leaders." "We agreed to collaborate on completing two works together, and it had to be a mutually beneficial (work leader) relationship!"
Dance combined with music, fluidity, and density are two essential keywords in her mind. Yi-Chan added, "The order" brings about a marvelous effect. In "Pascal's Mirror," there was music first, followed by dance. Since the music came first, the coordination between the music and the movements was coherent and tight. On the other hand, "Journey to Heaven - Bird Chapter" started with dancers choreographing to classical music, and music was added later. The most significant challenge was that the dancers were accustomed to creating dance to 4/4 beats, while Yi-Chan created irregular electronic music. "However, something magical happened later. At that time, we were performing at Guandu Nature Park. The dancers were outdoors, and the audience was indoors, separated by a layer of glass. The music played indoors was my composition (the music the audience heard), while the dancers outdoors listened to classical music. Both the indoor and outdoor audiences could see the performance, so there was a one-time presentation of two different styles! The indoor audience felt that the music (electronic music) was trendy and stimulating to the ears. The outdoor audience felt that classical music coexisted with nature, presenting a beautiful and serene atmosphere."
In the case of "Pascal's Mirror," where the audience and performers were in the same venue, how could the issue of beats be resolved?
Yi-Chan suggested to the dancers, "Instead of focusing on beats, why not try listening to each section's leading instrument! For example, this section could be the violin, the next section might be the cello, and the following one could be the flute. Leading instruments usually play louder and have more distinct strings. I think this approach should be much easier than counting beats."
Different preferences became the starting point for mutual learning. After overcoming the learning curve, it brought endless nutrients and stepped out of the comfort zone.
“Toward Heavens – A Dance Piece About Birds and Humans" is the graduation work of dancer Zhang Wen-Hsin (during her time at Taipei National University of the Arts). It was also featured as one of the opening performances at the 2018 Guandu International Nature Art Festival!
Continuing, electronic music/sound installations are a particularly unique part of Yi-Chan's creations. There was a period when she was fascinated by Canadian science fiction writer Robert Charles Wilson's "Spin" and Gustav Holst's "The Planets," both of which later became inspirations for her "Time Journey" series.
The electronic piece "Time Journey: Neptune," centered around the "water" element, and "Time Journey: Jupiter," focused on the "wind" element, both received remarkable results at the "International Computer Music and Audio Technology Conference." "Time Journey: Asteroids" even received support from Taoyuan Front Arts and Culture Front and be authorized to exhibit in "Back to Tao Arts Festival" in the summer of 2019, led the audience into an endless sonic universe exploration and reflection on our relationship with sound through a sound interactive installation.
The Tranquil Sorrow in the project 'To Live'
Beyond film and TV, dance, electronic music, and sound installations, Yi-Chan has also entered into the realm of an artist's work—Tomoyo Ihaya's "To Live."
Facing a work that combines the issue of comfort women, the atmosphere of "grief without harm" that the artist wants to present, and the pre-existing central theme of "water" in the video, the preparation included fieldwork for audio-visual works. Korean films like “I Can Speak” (아이캔스피크) and Taiwanese interviews for the comfort women memorial in "Grandma's House" were within the scope. Simultaneously, Yi-Chan recorded sounds of droplets, rain, river flows, etc., as a backdrop to the central theme. The music used soundscapes, pure music, and electronic music to express a sensually moving atmosphere, much like the light that suddenly flickers in the quiet pond, illuminating every silhouette behind the heavy topic, worth being loved and embraced.
It's worth mentioning that Tomoyo Ihaya's decision to focus on the comfort women as a subject was because during one of her trips to Taiwan, she had the opportunity to talk with one of the family members of a comfort woman at the Taiwan Comfort Women Memorial. She even had a chance encounter with the comfort woman herself.
This special experience has strengthened Tomoyo's commitment to the human rights issue, which she already values.
“To Live” from Tomoyo Ihaya on Vimeo
In the video at 4:00, a piano imitating rain sounds is used, without a clear melody and accompaniment, giving a granular feel. The reverb effect is heavily applied. At 8:09, a distinctive touch is added by using the cello bow to strike the vibraphone sound, combined with effects processing.
Most notably, the vocal interview at 9:00 in the video is excerpted from Grandma's interview footage. For the music behind the interview, Yichan specifically emulates Satie's "Gymnopédies No.1," creating a quiet and melancholic atmosphere.
Throughout our conversation about Yichan's past, what I admire most is not only her dedication and perseverance in the field of music but also her continuous drive—she tries when things don't seem right and persists with determination.
"There's a feeling that things will never get better if you don't do anything, and besides, everyone will die. Although death may sound scary, not doing anything is even scarier to me."
— Composer Yi-Chan Li
Never be afraid to try, because staying in one place won't make you happier. If you don't change, be prepared to be changed, and what you end up doing may not be what you imagined.
The British philosopher Bertrand Russell once wrote, "To fear love is to fear life, and those who fear life are already three parts dead."
To avoid the regret of not living fully, Yi-Chan repeatedly chooses to undergo a mental rebirth, daring to step out of her comfort zone.
So, what does she hope to achieve in her musical journey ten years from now? "In addition to composing some musicals, she also envisions, I hope that in ten years, my life will have a lingering resonance as I collaborate with artists from different fields, experiencing more diverse people and things."
Regardless of the path she takes, I believe Yi-Chan’s presence on that journey will be courageous, resilient, bright, and colorful—a testament to making the best choices and feeling proud of herself.
EP "Celebration" (2023) released by Vicky YiChan Li
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Present - Christmas Horror Short Film
Judicial Yuan, Justice Reform Image Video (Full Version) Online Advertisement
Toward Heavens - A Dance Piece about Birds and Humans
To Live
"Learning Imperfection" at the Seattle Film Institute
- An Interview with Film Composer Li, Yi-Chan
The United States is considered the center of the film industry in the world. Especially with the massive scale and narrative features created by Hollywood, it has not only changed the way a large number of people watch movies, but also continuously drives the thriving development of the American film industry. For many who aspire to enter the film industry, going to the United States is definitely a choice closer to the world film center.
Seattle Film Institute is a representative film academy on the West Coast of the United States, and a well-known talent training base for filmmakers. Different from common research-oriented institutes, the school aims to train students to become film professionals and emphasizes the atmosphere of practical creation, which also attracts many people who aspire to enter the international film industry to gather here.
Yi-Chan Li, a graduate student of the Music Research Institute of National Chiao Tung University, is one of them. In 2021, she applied for a study loan from the Ministry of Education and flew to Seattle alone, starting her dream of becoming a film composer in the United States.
Teaching Style at Seattle Film Institute
Seattle Film Institute has departments in performing arts, film production, film scoring, directing, animation, etc. Among them, the film scoring department (The Pacific Northwest Film Scoring Program) was founded and hosted by Hummie Mann, a two-time Emmy Award winner. The department was initially in the form of a music summer camp and gradually developed into a formal department for nurturing film composers. Through a four-semester intensive training program, the students with basic knowledge can acquire more professional film scoring skills.
Looking back on her one-year training at the film institute, Yi-Chan learned solid skills such as conducting, music arranging, recording, mixing, copyright, and contract writing. She, who was originally good at creating computer synthesized music (Mockup music), also realized her first cooperation with the Seattle Symphony Orchestra with 53 people.
In this cooperation, Yi-Chan personally served as the conductor and recorded live performance music. She found that the imagined music score could not necessarily be played by the musicians. For example, in the mixing software, multiple instrument sounds can be added and adjusted to a lower volume at the same time, but in the process of live performance by musicians, there are actually upper and lower limits to the volume. Such observations also allowed her to achieve creative needs requiring real music more professionally.
In addition to practical skills, what influenced Yi-Chan the most at Seattle Film Institute were the concepts that the professors often reminded of:
The works that you consider as garbage music may not be so bad, and you should find ways to put them out in order to receive feedback.
This is because for many young creators, the "pursuit of perfection" mentality often leads to procrastination and even the production of "High Effort Garbage" (works produced with great effort but of poor quality). While seemingly incomplete, in the path of becoming a composer, no one can always deliver a perfect score, and most good music is the result of repeated modifications. Therefore, instead of pursuing perfect works, it is better to keep experimenting and improving and make it possible for more people to listen to the works, which will create more and more opportunities. This is the creative philosophy that Yichan learned at the Seattle Film Institute.
Outside of school, expanding the path of music in the United States
During her time in the United States, Yichan encountered language barriers and cultural differences, but she believes that she was lucky because music is an art form that can transcend language. Whether it is in film, television, games, or stage plays, music can convey emotions through melody and rhythm.
Also because of the exchange of music, although Yichan was the only Taiwanese in her class, she did not experience too much difficulty in integration. Instead, she often exchanged works with her classmates. Everyone's path to music is different. Some were originally recording engineers, some were professional conductors, and some were creators of pop music. Since everyone is good at different instruments, in the music industry that requires teamwork, there are many opportunities for resource exchange, and they often go to the theater together to watch movies and listen to the latest film scores.
Yichan remembers being deeply impressed when she watched "The Sound of My Voice" before it gained so much attention. Outside of campus, new things are happening every day in the American film and music industry, providing her with nourishment.
In addition to her busy studies, Yichan often attends gatherings with friends who are also film and game creators, where they exchange industry news and create collaboration opportunities. Through the Seattle Film Fans community, Yichan started working with the team of the short film "Present" (2022) as a composer, not only becoming her first music income in the United States, but also receiving ample encouragement and feedback from the director. This successful experience made Yichan realize that as long as she can understand what the director wants and provide music that meets the requirements, language and cultural differences do not constitute a barrier to her career as a composer.
However, among many good experiences, Yichan still feels a clear language barrier when it comes to writing contracts for music work, which involves not only many formal legal English terms but also drafting different contracts for different types of collaboration and fully considering the production process and copyright issues. Yichan Li believes that she still has room for improvement in this area.
Tailored Music for Taiwan's Judicial Reform Advertisement
In 2022, Yichan received a commission to create a customized score for an advertisement promoting judicial reform in Taiwan, recommended by a professor at National Chiao Tung University. Despite being in the United States, Li felt honored to touch upon such a significant issue as a composer.
When it comes to judicial reform, the atmosphere is often serious, but Li chose to use her piano and chord skills, which she excels at, to create a calm and firm atmosphere in the advertisement. This not only allowed her to showcase her exceptional musical style under time pressure but also softened the established image of the judicial system that can be challenging to approach.
Yichan believed that the biggest challenge in the creative process was that the advertisement was composed of four separate events involving different characters. It needed to be separated into four independent mini advertisements while still being able to merge into one coherent video. To overcome this obstacle, Li created music that was specific to the personality and story of each character, giving each character a three-dimensional image. She also created a theme melody that could run throughout the entire video, allowing the narrative to be reassembled through the theme melody after each character's event.
This score for the video required both a coherent narrative and character development, and the high level of completeness achieved in the final product was remarkable. It is hard to imagine that Yichan was able to accomplish this within a short period while being busy with moving and dealing with the challenges of working remotely.
Li's practical training at the Seattle Film Institute has made her a more mature and professional composer, even though she was alone in the United States. This experience has transformed her dream of becoming a composer into a visible path with clear direction and guidelines.
Executive Editor: Tseng, Sheng-Hsuan
Proofreading Editor: Sun, Ya-Wei
