Have you ever stood amidst a forest, silent and aware, vibrating with the whispers of the wind and the rustling of leaves? Becoming one with your surroundings, you feel a sense of serenity and energy emanating from the seemingly silent life of all the beings around you. This sensation captures the essence of Ziying Wang's artistic journey, where music and sound becomes a conduit for environmental awareness and cultural dialogue.

In her recent work, Ziying intertwines the delicate threads of Eastern and Western musical traditions, creating a network of sounds and melodies reflecting the inherent complexities of society and human emotions. Each note she plays and sings is imbued with the memories of landscapes both cherished and threatened, reflecting the subtle rhythms and cultural nuances in the environment. Her performances are not merely concerts; they are the embodiment of an imaginary embued with empathy and cross-cultural reflections on our relation with nature, making us aware of the stories that nature has to tell.

One of the most beautiful aspects of Ziying's artistic practice is that she does not seek to impose a narrative of despair or triumph; instead, she offers a space for contemplation. Her music is a subtle means of personal liberation, inviting us to pause and reflect, to find solace in the simplicity of a single note or the complexity of a harmonious chord. It is in this quietude that the true power of her work emerges—a reminder that, even amidst the chaos of environmental crises, there exists a profound beauty in the connection between humanity and nature.

Let's start from the basics. What background and studies helped you develop into the performer and researcher you are today? 

My musical journey began at the age of four. I first started learning the guzheng, a traditional Chinese instrument, followed by the piano at six and the violin at ten. These early studies laid a solid foundation for my musical studies. At the age of 13, I unexpectedly won first place in a singing competition, receiving recognition and encouragement from professionals regarding the quality of my voice. It was by chance that I embarked on my journey in vocal training, nurtured with great care by my first vocal teacher in China. Later, I graduated at the top of my class from the Vocal Department at the Xi’an Conservatory of Music, I came to the UK for a Master of Arts in Voice. Later, I decided to shift from music performance to musicology, motivated both by career considerations and a deepened understanding of the cultural significance of music. As a performer, the opportunities for stage appearances and competitions are often limited by age, which can impact the longevity and flexibility of one’s career. At the same time, I came to realise that truly bringing music to life requires not only technical skills but also a profound cultural foundation. Music is more than a form of entertainment; it reflects the complexities of society and human emotions. During my undergraduate studies, I wrote articles on topics such as nurturing musical talent in children and the impact of vocal works on cats and adolescents. While pursuing my master’s degree at Durham University, I produced numerous papers on performance practice, the globalisation of opera, and music theory, all of which laid a solid foundation for my transition into musicology. During this journey, the guidance and support of several mentors have been invaluable. British vocalists Poppy Holden and her friend Emma Kirkby, as well as ethnomusicologist Martin Stokes, provided me with both academic insights and encouragement in difficult times. Friends have also been a constant support, helping me through low points. Their unwavering support has strengthened my resolve to pursue a path that combines scholarship and artistry, laying a solid foundation for who I am today as a performer and researcher.

You started your musical journey at age four and since then you have learned several instruments and have performed all over the world. Can you tell us more about your journey as a musician, singer and performer?

As a performer, I have had the privilege of sharing my music on stages around the world. I have been honoured with numerous accolades, such as the top award in the professional vocal category at the Melbourne China-Australia International Music & Art Festival, a gold medal in the World Masters Open Music Competition with an invitation to share my winner's remarks on the competition’s official website. In August this year, I was invited to perform at the United Nations’ Vienna Peace Concert, and I received first prizes in international competitions in Russia, Italy, and the France Aria Competition. Recently, at the Second Royal Music Masters International Competition in London, I won first place in the vocal category (as the only Chinese contestant) and received high praise from the jury. On the London musical theatre stage, I portrayed Zhu Yingtai in Butterfly and played multiple roles in Miracle. From December 2023 to May 2024, I also directed the Chinese play Mr. Donkey for Durham University.

My experiences participating in competitions and concerts across the globe have not only refined my vocal technique and stage confidence but also helped me grow as an advocate for cultural exchange through music. In addition to vocal performance, I have earned recognition in instrumental competitions, including a gold prize in the Chang’an Piano Competition in Xi’an and a silver medal in Hong Kong’s Sixth International Guzheng Competition. In 2022, I held a violin solo recital at Collingwood College, Durham University.

A recent highlight of my musical journey was the concert “Melodies Beyond Time: The East-West Harmony”, held at King’s College Chapel in London. This performance, blending Eastern and Western vocal traditions, was widely acclaimed and will soon be part of a UK tour, marking an exciting new chapter in my journey as a performer.

As an ecological musicologist, how do you see the relationship between music and environmental awareness? What role do you believe music can play in advocating for ecological issues? 

As an ecological musicologist, I believe there is a profound and unique connection between music and environmental awareness. Music, through its sound and expressive qualities, can emulate natural soundscapes such as wind, rain, birdsong, and flowing water. For instance, Mendelssohn's “The Hebrides Overture, Op. 26”, was inspired by the breathtaking landscapes of the Scottish Isles, and Beethoven’s “Symphony No. 6 in F Major, Op. 68” (the “Pastoral Symphony”) vividly depicts natural themes, reflecting a deep reverence for nature. These classical works enable listeners to “hear” the sounds of nature, fostering a deep connection to the environment and inspiring respect and empathy towards it.

Music’s wide-reaching societal impact also makes it a powerful tool for advancing ecological issues and inspiring change. Through concerts and creative works, artists can present pressing issues like climate change, pollution, and ecological destruction in a way that retains artistic beauty while prompting public reflection. For example, in my past research, I analysed the 2003 production of Wagner's Der Ring des Nibelungen by Argentine director Felipe Hirsch. Hirsch used a modern perspective and innovative stage techniques to integrate themes of industrial pollution and the contamination of the La Plata River, allowing audiences to be both emotionally moved and acutely aware of environmental urgency. 

Furthermore, music, as a cross-cultural form of expression, can communicate universal environmental values across different cultural contexts. Through this type of musical experience, people are not merely spectators but become active participants and advocates for ecological issues.

How has your personal relationship with nature influenced your work as a composer? Are there specific experiences that have shaped your perspective on climate change?

From a young age, studying various instruments and absorbing both Eastern and Western musical traditions, I was drawn to the depiction of natural landscapes in music. These sounds laid the foundation of my musical vocabulary, teaching me to listen for subtle rhythms and cultural nuances in the environment. My understanding and concern for climate change developed further during my undergraduate years. I participated in a nature study camp and, in July 2020, attended the 12th International Youth Summit on Energy and Climate Change as an outstanding volunteer, where I conducted extensive data research on global warming. I also lent my voice to a science outreach video on the melting glaciers and polar bear survival crisis, which was published on Bilibili. Additionally, during the pandemic, I joined a project by Ford Motor Company and NPI focused on promoting sustainable travel in Shanghai. Our team designed a pet-raising game, for which I created award-winning animal characters and sound effects that were later implemented. These experiences gradually nurtured my awareness of environmental issues and heightened my attention to nature.

These experiences subtly guided me towards ecomusicology, and my studies with Gavin Williams at KCL led me further into exploring how music can evoke a sense of urgency around climate issues and convey the fragile beauty of threatened ecosystems. 

In my compositions, I often incorporate natural sounds or themes inspired by nature, aiming to create an immersive experience that encourages listeners to form a deeper connection with the natural world. I believe music has a unique power to inspire empathy and action, and I strive to use my work as a bridge between audiences and the environmental challenges we face.

I'm fascinated by your extensive research on soundscapes and soundwalks, exploring the interplay between sound and the environment. Can you tell me more about how you connected natural and human-made sounds to create a distinct auditory experience?

In several of my articles, I have delved deeply into soundscapes, covering aspects of nature, emotion, and socio-cultural dimensions. In particular, during a soundwalk through London, I recorded a journey from King’s College to Hyde Park, focusing on the relationship between movement and auditory perception. My aim was to experience sound as a multi-dimensional phenomenon, not limited to hearing alone but as a fully immersive sensory experience.

Each stage of this walk presented a unique soundscape, contrasting the bustling city with the tranquillity of nature. Around King’s College, the vibrant urban soundscape was alive with students’ conversations, the roll of skateboards, and the occasional burst of political speeches, creating a tense, dynamic atmosphere. Near Charing Cross, the clanking of machinery and hurried footsteps combined with the rumble of trains and station announcements, while Trafalgar Square offered a cultural tapestry of sound with fountains, cooing pigeons, and street performers’ songs interwoven in a richly communal space. As I approached Hyde Park, the soundscape shifted dramatically, with the city’s noise gradually giving way to the serenity of nature—rustling leaves, birdsong, and the distant laughter of children at play, forming an entirely different acoustic environment. This journey to Hyde Park felt like a transition from the constructed to the natural, with each step deepening my connection to the surroundings.

Throughout this journey, I was both an observer and a participant in the sounds around me. Using high-quality recording equipment allowed me to capture the nuances of sound, from the rhythm of footsteps to the layered textures of ambient noise—even the curious glances of passers-by became part of the sound experience. This practice of soundwalking not only highlighted for me the power of sound to shape space but also influenced my artistic approach, encouraging me to explore how environmental sounds can narrate and evoke emotions to communicate dialogues between social dynamics and natural beauty. This journey gave me a deeper understanding of the intricate relationship between sound, space, and human interaction, enriching my artistic perspective.

Can you tell us more about the concert you recently hosted in London titled "Melodies Beyond Time: The East-West Harmony"?

I am thrilled to introduce this concert, which has already gained recognition and will embark on a UK tour later this year. I warmly welcome friends and enthusiasts to attend. "Melodies Beyond Time: The East-West Harmony", my third solo recital in the United Kingdom, was featured in press coverage following its presentation at the Chapel of King's College London at 18:30 on 27th October 2024. This event is celebrated as a profound cultural exchange, using music to celebrate shared human experiences while honouring the distinct traditions of China and the West. The performance is divided into two parts, showcasing classic pieces from both Eastern and Western repertoires. The Western segment opens with Mahler's playful “Ablösung im Sommer,” inviting the audience into a world of musical wonder. It also includes Benjamin Britten's song cycle On This Island, Op. 11, as well as a selection of a few arias, offering a rich blend of jazz and classical influences across German, Italian, and English styles. Many attendees have expressed how deeply moved they were by the cross-cultural experience, finding moments of emotional resonance despite linguistic or stylistic differences. The latter half of the programme comprised Chinese works, featuring both Peking Opera and Chinese Art Songs (classical Chinese poetry set to music)

The Chinese segment is interesting when it comes to my collaboration with British pianist Joshua McDade, which is a partnership that symbolises the harmonious merging of Eastern and Western perspectives. Having known each other for three years, Joshua and I are not only musical collaborators but also close friends. In preparing for this concert, we engaged in extensive discussions on several Chinese pieces. I shared insights into the lyrical depth and symbolic natural elements within Chinese art songs and operas, while Joshua offered his understanding of Western musical aesthetics and discussed how to adapt Chinese pieces to appeal to Western audiences. Together, we made subtle adaptations to the Chinese folk song “Jasmine Flower,” preserving its emotional essence while infusing it with harmonious classical elements. This song, deeply rooted in Chinese culture yet widely recognised internationally, especially through Puccini's Turandot, serves as a touchstone for our performance. Our interpretation aims to reveal the song’s rich history while evoking a sense of nostalgia and familiarity for the audience.

This concert underscores the harmonious potential between two distinct musical languages and demonstrates how collaborative efforts can transcend barriers, becoming a testament to cross-cultural respect and creative synthesis. It allows both Chinese and Western audiences to appreciate the depth and beauty of the music, highlighting the universal language of melody and emotion.

One of your works is a critical review titled "Whispers of the Earth: Brian Field's Three Passions for our Tortured Planet." Can you tell us more about this review and how it connects with your overall artistic practice?

In this review, I adopt a prose-like approach to analyse how Brian Field uses musical language to depict the three natural elements—fire, water, and wind—conveying Earth’s “cry” amidst an ecological crisis. Through delicate and intense musical techniques, Field captures the power, fragility, and resistance of these natural elements, using changes in melody, rhythm, and dynamics to bring them vividly to life.

The first movement focuses on the power of fire, from the small, flickering flames to an uncontrollable blaze. In this movement, the notes gradually become more agitated until reaching a destructive climax, evoking the despair of a wildfire crisis. The second movement centres on water, with dark sounds and slow rhythms, symbolising the vulnerability of melting glaciers. The gradually intensifying emotions sound like a warning bell of rising sea levels, allowing listeners to feel the silent disintegration of nature. The third movement portrays the unpredictability and destructive force of hurricanes. Through sharp rhythmic changes and irregular melodic leaps, the music conveys the tension and threat of an approaching storm, filled with an atmosphere of instability. This movement reveals the strength and relentlessness of nature, evoking a sense of fear and reverence for ecological crisis.

This work resonates deeply with me because it is more than just an auditory art form; it is a sincere call to address the ecological crisis. Through its musical language, the work gives “voice” to natural elements, allowing audiences to hear nature’s lament and feel the urgency of environmental issues. This approach to conveying environmental awareness through music aligns with my own artistic practice. A few years ago, my research began integrating music with natural soundscapes, aiming not only to preserve these natural sounds but also to use music as a medium to promote the conservation of nature and animals. In my view, music is not merely entertainment but a socially valuable heritage, capable of transcending cultures and languages, inspiring respect and care for nature, and fostering active environmental stewardship.

You are currently applying for a PhD and your proposed research focuses on the reception of 19th- and 20th-century Western classical music among Chinese women and its role in fostering intellectual and cultural liberation. What motivated you to explore this line of inquiry?

I chose this topic because I am deeply interested in how heterogeneous cultures can interpret each other through the universality of music, transcending cultural boundaries and inspiring shifts in thought and identity. Growing up in China, with a background in studying Western works, I noticed that Western classical music holds a unique place in the hearts of many Chinese women, including myself. It is not merely a process of learning music; it has become a form of self-expression, a window into different worldviews, and a subtle means of personal liberation within a historically conservative society.

In researching the history of Western classical music’s spread in China, I observed how it influenced generations of women, providing them with tools for intellectual exploration and personal empowerment. Previously, in addition to my ecological studies, I published three articles on Google Scholar: one on female characters and feminist critiques in Wagner’s operas, and another on the relationship between the Takarazuka Revue and women’s lived experiences in Japan. In my doctoral studies, I aim to build on this foundation and identify a new area for meaningful research: examining how the dissemination of 19th- and 20th-century Western classical music in China, alongside the continuous reinterpretation and imitation within Chinese society, influenced Chinese women’s cultural identities and opened new avenues for challenging social norms. As a scholar well-versed in Chinese history and Western music, I find this topic not only highly valuable but also well-suited to my interdisciplinary background.

Through this research, I aim to combine my passion for musicology, history, psychology, and sociology, exploring how music fosters intellectual and cultural growth. This study allows me to understand and celebrate the resilience and wisdom of Chinese women who, through music, achieved personal growth and empowerment.

As a member of a Chinese environmental nonprofit organization, you have given numerous talks addressing topics related to ecology and animal protection. How does this work align with and inform your artistic practice?

My experience working with an environmental non-profit organisation in China has deepened my understanding of ecology and animal protection, while also reshaping my perspective on music research. I have come to realise that art is not only a means to evoke emotional resonance but also a powerful medium for communication, enabling us to present urgent environmental issues to audiences in a more direct and impactful way. In my performances and research, I strive to incorporate elements of nature into music—not only as a theme, but as a narrative and emotional journey that encourages reflection on our relationship with the environment.

Through my talks on ecology and animal protection, I have further appreciated the unique power of art to raise public awareness. The emotional expression within art can make complex ecological issues more accessible, encouraging audiences to see beyond the beauty of the music to the environmental message it conveys. I am passionate about nature and hope to inspire others to treat life with respect. I continually explore ways to embed these insights into my work, allowing music to act as a bridge, communicating both the urgency of ecological protection and the connection between humanity and the natural world.

This fusion of activism and art has not only enriched my research but has also endowed music with a deeper sense of social responsibility. Beyond its entertainment value, music becomes a cross-cultural language, calling upon people to be mindful of ecology, to respect life, and to take action to protect our planet.

In your opinion, what responsibility do artists have to address social and political issues in their work?

I believe that artists indeed have a responsibility to address social and political issues within their work. Art is not merely a tool for self-expression; it is also a medium that can inspire resonance and reflection. Through their creations, artists are able to present complex social issues in a direct and emotionally impactful way, sparking public awareness and discussion. For instance, in my research on ecomusicology, I explore how music can express and foster environmental awareness. Music not only conveys a deep appreciation for nature but also highlights the urgency of environmental crises, prompting resonance and a call to action among audiences.

In an article I published for an art exhibition, I examined director Valentina Carrasco’s approach in her 2003 adaptation of Wagner's opera-Ring Cycle. Carrasco utilised music and projected stage design to incorporate pressing issues such as water pollution, social inequality, and political corruption in Argentina, creating a powerful audiovisual impact. In this context, art serves as a cross-cultural language, breaking down geographic and cultural barriers to present universal themes of environmental protection, social equality, and more to a diverse audience. Artists may not always need to be representatives of any particular ideology, yet they certainly possess the ability, through their work, to touch hearts, encourage audiences to reflect on societal realities, and contribute to positive social change.

Finally, what advice would you leave our readers?

As a musician, I am very grateful for the opportunity to share my musical journey and insights here, allowing everyone to gain a deeper understanding of the meaning of music. I hope everyone can keep a sense of curiosity and passion for exploration, maintaining an open attitude towards learning across different fields. Approach things from multiple perspectives, discovering works that are not only entertaining and enjoyable but also hold research value.

As artists or researchers, we have the privilege of inspiring others. Whatever the art form, we have the opportunity to make a meaningful impact, fostering connections across cultures and communities, and increasing awareness of social issues, bridging humanity with society. A work of art is not merely a showcase of talent; it reflects one’s values. Be courageous in using your voice to bring positive change to this world, making it a better place.

Find more about the artist here.

Cover image:

A cross-cultural vocal music exchange concert featuring Chinese and Western works, held at KCL in October 2024.