I am a passionate researcher, musician, and lifelong learner with diverse interests. With master's degrees in both theoretical physics and music, I focus on developing technologies that inspire creativity, foster understanding, and make knowledge more accessible, driven by curiosity and a love for the arts.
My past research in theoretical physics explored the properties of spacetime and symmetry. I have also studied how Chinese tones influence the composition and perception of melodies in Chinese pop songs. Currently, I am focused on developing music AI agents to inspire creativity and foster meaningful human-AI interactions.
As an active pianist, composer, and singer-songwriter, I strive to express my emotions through my compositions while connecting to others by experiencing the depth of their works.
Grimaud has been one of my favorite pianist for a long time. It all started with her Beethoven 5th Piano Concerto, then I fell in love with her Brahms Sonatas and Debussy, and last semester, when I played Corigliano's Fantasia on an Ostinato, I adored her interpretation the most. Her seriousness and respect for modern pieces really stand out—unlike some pianists who treat contemporary works carelessly. This was my first time hearing her live, and she was playing French repertoire—Ravel's Piano Concerto in G Major. I was beyond excited!
My chamber music teacher once said, “You know, as a pianist, you are hated by the string players—yes, HATED—because the piano sounds so different from strings.” But this performance was the only time I’ve ever felt the piano and orchestra were so intimately connected, as if they were whispering sweet nothings to each other. The dynamics, tone control, fluidity, and clarity were all otherworldly.
The first half featured Shostakovich’s Violin Concerto No. 1—what a stunner! An unexpected delight, especially since I didn’t prepare by listening beforehand. I’m generally not a huge fan of Shostakovich’s music, so I didn’t have high hopes. But Sayaka Shoji (庄司纱矢香) was made for this piece! Honestly, I’d never heard of her before (to be fair, her name and photo weren’t even on the SFS program—ironically fitting for the shadowy, introspective mood of this concerto).
