Kai-Young CHAN has taught at The Chinese University of Hong Kong (CUHK) since 2016, currently serving as Associate Professor.
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Praised as “a tantalizing direction forward for East meets West classical fusion” by Classical Music Daily (2019), and “exquisitely flavored, with continual tension that captivates” by The News Lens (2023), Chan’s music has been performed in over 20 countries by renowned ensembles including the Pittsburgh Symphony Orchestra (with Leonard Slatkin), Hong Kong Philharmonic Orchestra (with Jaap van Zweden), Hong Kong Sinfonietta (with Wing-sie Yip), Hong Kong New Music Ensemble, Daedalus Quartet, and Mivos Quartet. His ongoing collaborations with violinist Patrick Yim (University of Notre Dame) have produced works of cross-cultural themes and instrumentations performed by Yim and such esteemed artists as Natalie Douglas (MIT), Joel Smirnoff (Juilliard), and sheng virtuoso Loo Sze-wang. His works are released globally by leading record labels including Ablaze, innova, and PARMA, with scores published by Edition ICOT(Japan), Edition Peters (UK), and Universal Edition (Austria). His hour-long portrait album (Navona Records, 2025) is the first Cantonese choral album published by a classical label.

Kai-Young is part of the first artist delegation of the American Composers Forum to the Havana Festival for Contemporary Music in Cuba, a historic tour documented by the National Public Radio. His music has been featured in leading festivals worldwide, including the Busan International Contemporary Music Festival (Korea), June in Buffalo (USA), International Forum of New Music Manuel Enriquez(Mexico), Risuonanze Festival (Italy), Internationalen Ferienkurse Darmstadt (Germany), and the Havana Contemporary Music Festival (Cuba). His works have represented Hong Kong at the ISCM World Music Days (2015, 2012) and theInternational Rostrum of Composers (2014, 2024). Chan has won the CASH Golden Sail Music Award and multiple other international competitions, including VocalEspoo (Finland), International Choral Composition Competition (Japan), Keuris Prize (Netherlands), and Robert Avalon International Competition for Composers (USA), among others.

To promote Cantonese musical genres and reduce barriers to composing in this tonal language, Chan has developed the open-access application “Cantonese Melody Generator”, which converts Cantonese texts into intelligible melodies. Since its beta launch in May 2022, it has garnered over 350,000 inquiries from researchers, composers, lyricists, and educators. In 2023, he organized the first international conference on Cantonese contemporary music, recognized by RTHK as one of the Top 10 Music Headlines of 2023 for its cultural and academic impact in Hong Kong. Chan earned his PhD in Music Composition from the University of Pennsylvania, where he was the Benjamin Franklin Fellow. A two-time recipient of the Faculty Outstanding Teaching Award at CUHK, Chan has received six teaching grants to develop videos and online games for music theory education. His music and research, funded by the Hong Kong Research Grants Council, CUHK, the Arts Development Council, and other commissioning bodies, have investigated how Cantonese text-setting constraints inspire creativity in contemporary music, addressed the under representation of Cantonese-language contemporary music internationally, and fostered interdisciplinary collaborations among music composition, artificial intelligence, and neuroscience.

Angus LEE is regarded as one of the leading performer-composers of his generation. He has appeared at international music festivals across Asia, continental Europe, and North America.
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Lee is one of Hongkong’s foremost flautists specialising in the interpretation of new music, and has been a member of the Hong Kong New Music Ensemble since 2016. He has premièred numerous works by distinguished local composers, including Chan Hing-yan, Chan Kai-young, Charles Kwong, and Daniel Lo. Notably, he has performed as soloist at Pierre Boulez’s 90^th Birthday celebration concert series (2015) and the composer’s memorial concert (2016). He has also been engaged for solo recitals by the LCSD under the Our Music Talents (2018) and City Hall Virtuosi (2023) series. His recording of early flute works by Camilo Mendez was published in 2024 by the Austrian new music label, KAIROS.

As a composer, Lee’s works have been performed by the likes of Ensemble Intercontemporain, Ensemble Modern, Ensemble Multilatérale, Subaerial Collective, Hong Kong New Music Ensemble, Klangforum Wien, Trio Accanto, and Vertixe Sonora, presented at the likes of CYCLE Music & Arts Festival (IS), Festival Musica (FR), Gaudeamus Muzikweek (NL), ilSUONO Contemporary Music Week (IT), IRCAM ManiFeste (FR), outHEAR New Music Week (GR), Seoul International Computer Music Festival (KR), SPLICE Festival IV (US) and the VAULT Festival (UK). The past several years have seen a number of major commissions, including the two-piano miniature Rage Over Lost Time (2020; after Beethoven’s Rage Over a Lost Penny) by Cornell University’s Center for Historic Keyboards as part the Beethoven 250^th anniversary festival; the artificial intelligence opera Chasing Waterfalls (2021-22) co-commissioned by New Vision Arts Festival and Phase7 performing.art for Semperoper Dresden’s 2022-23 season opening; the orchestral works Des flammes… (2023-24) and … aux cendres (2024) by the Hong Kong Philharmonic, and hic / nunc (2024-25) for ensemble & fixed media by the Music Biennale Zagreb (HR).

Lee is equally in demand as a conductor in new music. He was a conducting fellow at Ensemble Modern’s International Composers and Conductors’ Seminar between 2020-22, where he was mentored by Stefan Asbury. Lee has also led Ensemble Modern in performance at the International Young Composers Academy in Ticino (CH) in 2018, the …cresc… biennale for current music Frankfurt-Rhein-Main (DE) in 2023 and the Stuttgart ECLAT New Music Festival (2024), premièring works by composers Philipp Krebs, Pyotr Peszat, and Irene Galindo Quero. In 2023, he has also led the Asian première of Michel van der Aa’s The Book of Water at the 51^st Hong Kong Arts Festival, and was conductor-in-residence at the International Young Composers Academy in Ticino, premièring works by student composers with Ensemble Musikfabrik and the Neue Vocalsolisten Stuttgart. Locally, Lee has led the Hong Kong New Music Ensemble in numerous notable performances, including the premières of Daniel Lo’s The Happy Family (2021) and Songs of Virotopia (2022), HKNME’s ensemble-in-residence performance at the RTHK (2022), as well as an all-strings programme featuring works by Erkki-Sven Tüür, Julia Wolfe, Philip Glass and John Adams at West Kowloon Cultural District’s Freespace (2024).

Lee was appointed to the position of assistant lecturer at the Department of Music in 2022, and is the sole coordinator of the Department's performance courses. He has also taught woodwind chamber music at the Hong Kong Academy for Performing Arts, and was flute faculty of the Lucerne Festival Academy in 2022 & 2023. He was also guest faculty member at the first South China Contemporary Creative Music Institute held at the South China Normal University, where he held masterclasses in flute, composition and conducting.

Davor VINCZE is a composer of contemporary music whose artistic focus lies on meta-reality and musical mosaicking. Inspired by technology and science fiction, he searches for hidden acoustic spaces or ways to blur the real and the imaginary, often using electronics and AI tools. Working with mosaics, in technique he calls ‘microllage’, Vincze searches for fluid sounds that allow for non-binary, ambiguous, or "androgynous" interpretations.
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After completing his composition studies in Graz and Stuttgart, Vincze specialized in electronic music at the IRCAM and finally completed his doctorate at Stanford University. His compositions have been performed by renowned international musicians like Ensemble Modern, Ensemble Recherche, and Ensemble Intercontemporain, Klangforum Wien, Talea and Slagwerk den Haag, JACK Quartet, Secession Orchestra, No Borders Orchestra, etc, at festivals such as Présences, Impuls, MATA, Manifeste, Darmstädter Ferienkurse and others.

In 2014, Vincze founded an international festival for contemporary music -Novalis. Since 2023 he has been co-director of the Music Biennale Zagreb. Vincze's works are published by Maison ONA in Paris. Vincze won the Alain Louvier Prize, Stuttgart Composition Competition and 2nd prize at the Pre-Art Composition competition, Impuls Festival competition, and has been awarded many stipends in support of his studies and creations of new works. In 2020/21, Vincze was the winner of "Boris Papandopulo Prize” for the best Croatian composer of contemporary music, winner of the European Contemporary Composition Orchestra competition, winner of the best audiovisual work at the International Competition Città di Udine (Italy), as well as artist-in-residence both at the Institute of Electronic Music in Graz (2021) as well as at SWR Experimentalstudio (2022 & 2024).

In 2023, Vincze completed his Arts Fellowship at Emory University in Atlanta. In 2024, his piece "XinSheng" was selected for the production of Noperas! in Germany, and a new, expanded version under the new title "Freedom Collective" had its premiere in numerous theatres in Germany. Vincze will continue to develop this interdisciplinary opera project as part of his post-doctoral research, which he started at Hong Kong Baptist University in 2023.

Jing Wang is a composer and new music improviser. Her composition includes chamber music, orchestral and stage works in a variety of themes, such as Time, Space, Nature, Game, Kung-Fu, etc. Her work "Free fireflies" has achieved the Honorable Mention of 2012 BICW New Music Award, and it has been premiered by E-MEX Ensemble. Since then, her music started to be performed in China, Germany, Italy, the Netherlands, Switzerland,Greece, Spain, Austria, the US, Canada, Slovenia, Thailand, etc.
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She has participated in numerous music festivals in Europe and Asia, and worked closely with Ensemble Musikfabrik, Ensemble Recherche, Klangforum Wien, Neue Vocalsolisten Stuttgart, Ensemble Les Métaboles, Ensemble Multilatérale, Ensemble Traversée, Toolbox Percussion, TACETI Ensemble, Hong Kong Philharmonic Orchestra, China Youth Symphony Orchestra, etc.

With regards to improvisation, Wang has performed new music as a pianist with improvisers and sound artists in Germany, Italy, Greece and Canada. She has also conducted salons of new music and improvisation in China.

Wang earned her bachelor’s degree in composition from Central Conservatory of Music in Beijing, where she studied with Profs. Jia Guo-ping, Luo Xin-min, and Tang Jian-ping. She subsequently obtained her master’s degree in composition from Hochschule für Musik und Tanz Köln in Germany under Prof. Johannes Schöllhorn. In 2025, she completed her PhD studies in composition at the University of Hong Kong under Prof. Chan Hing-yan.

Arthur Yuen is currently pursuing a Doctor of Music (D.Mus.) at the Guildhall School of Music & Drama, under the supervision of Julian Anderson, Malcolm Singer, and Raymond Yiu. His research investigates the integration of Chinese cultural symbols into contemporary classical composition, approached through the lens of a 21st-century Chinese-globalist identity. He previously completed a Bachelor of Arts (B.A.) at the University of Hong Kong, studying with Prof. Chan Hing-yan, and a Master of Music (M.Mus.) at the Royal Northern College of Music, where he studied with Gary Carpenter, Steven Daverson, Adam Gorb and Emily Howard. His compositional voice has also been shaped through mentorship from prominent composers including Sally Beamish, Chen Yi, George E. Lewis, and Jukka Tiensuu — each contributing to his ongoing exploration of cultural hybridity in music.
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His latest doctoral project, Journey to the West, will be presented at the Composer’s Symposium this August in collaboration with the Hong Kong New Music Ensemble, supported by the Music Department at the University of Hong Kong. While inspired by the historical migration of the Han people beyond the Great Wall, the composition also addresses the contemporary displacement of Hong Kong people. Referencing the 1991 Cantopop song Queen’s Road West, the work draws parallels between past and present migratory movements, subtly alluding to the socio-political consequences of the 1997 handover and its lasting impact on Hong Kong’s relationship with Mainland China and the UK.

Presented alongside this project is Studies for Cello (2025), developed in close collaboration with Elide Sulsenti (Lucerne Festival Contemporary Orchestra) and premiered at the Inter Arts Center in Malmö. This solo work reinterprets the pentatonic mode — often subject to cultural stereotyping — through a microtonal and modal lens. Rather than presenting pentatonicism as a fixed cultural signifier, the piece expands its expressive potential within a contemporary framework.

Other highlights of his portfolio include Lunar Eclipse (2023), commissioned for the RNCM’s 50th Anniversary and premiered by the BBC Philharmonic, and Where is the Moon? (2022), premiered by the Sofia Philharmonic. Together with Dance of the Eclipse (2020), performed by Lontano under the direction of Odaline de la Martínez, these works represent formative explorations of the spiritual and symbolic dimensions of the moon—a recurring motif in Tang dynasty poetry and a continuing thread in his compositional practice.

Arthur’s accolades include the 2023 Samuel Coleridge-Taylor Prize, Third Prize in the 2023 International Music Competition (Marker and Pioneer), and a First Degree Diploma (Third Place) in the Professional Category of “The New Melodies” II International Composers Competition (2022). He was also a fellow of the Peter Eötvös Contemporary Music Foundation, receiving mentorship from Ramon Lazkanoin October 2023, and participated in Britten Sinfonia’s Opus 1 programme in2022, which supports the development of emerging composers.