Muye Yu was a Gold Prize Winner at the 2025 Erik Satie International Music Competition
Can you introduce yourself and share how you got into music?
Hello, my name is Muye Yu. I'm a composer specializing in both concert and film music. My work spans a diverse range of projects, from feature films and documentaries to chamber and orchestral compositions. Over the past five years, I have worked extensively in the industry as a composer and orchestrator, contributing to more than ten TV shows and ten films. My latest projects include Shaolin Avenger (2024) directed by Andy Le, Brian Le and Stranger, directed by Pema Tseden. In addition to film scoring, I have served as a music director, most recently completing the immersive show Seven in Downtown Los Angeles. Beyond film and theater, I also compose concert works and music for dance, with my collaboration with Grammy-winning soprano Hilá Plitmann receiving successful performances.
My musical journey began early, sparked by piano lessons at the age of three. This early foundation instilled in me a deep passion for music, which has remained a driving force throughout my career. My imagination has always played a crucial role, serving as a wellspring of creativity and allowing me to shape compelling narratives through music. Collaboration is also central to my artistic process—working closely with directors, producers, musicians, and dancers continuously offers opportunities for growth, creative exchange, and discovery. Most importantly, knowing that my compositions can move, inspire, and resonate with audiences makes every challenge worthwhile.
I began my formal education at Beijing Film Academy, where I developed a strong foundation in film scoring. After graduation, I pursued a master's degree in Screen Scoring at USC in 2021 and am currently earning my PhD in Composition at UCLA. Through these experiences, I have refined my craft, deepened my understanding of both traditional and contemporary music-making, and embraced a multidisciplinary approach that bridges concert and film music.
Could you tell us more about your submission? For instance, how did you prepare it, bring it to life, or any interesting stories behind it?
The Feast of Life is an orchestral celebration of the human journey, blending vivid storytelling with musical expression. The inspiration for this piece came after watching the Japanese animated film The Boy and The Heron. I was particularly moved by the portrayal of Warawara—marshmallow-like spirit creatures that exist in an in-between world, awaiting their transition to human life. The moment when countless Warawara take flight, ready to be born into the real world, left a profound impression on me. It was a scene of beauty, hope, and transformation, which I sought to capture in my music.
This idea became the foundation for The Feast of Life, a piece that celebrates the cycle of existence. The opening unfolds with a delicate dialogue between the flute and piccolo, evoking the ethereal fluttering of spirits entering the world. Their playful, otherworldly tones serve as a gateway, drawing the listener into an unfolding journey of discovery. Throughout the piece, the orchestra becomes a cast of vibrant voices, each contributing to the narrative with rich textures and dynamic contrasts.
Bringing this piece to life was both a creative and deeply personal experience. I sought to channel the sense of wonder and inevitability that defines life’s passage—its fleeting moments, its energy, and its interconnectedness. Through its imaginative orchestration and dramatic arcs, The Feast of Life is more than just a musical composition; it is an exploration of beginnings, connections, and the unyielding vitality that binds us all.
What do you believe defines a great Composer, and how do you incorporate your unique style into your music?
I believe a great composer is defined by a distinctive voice—something unforgettable that leaves a lasting impression. Whether through melody, harmony, timbre, or form, a composer’s unique style should shine through, making their music instantly recognizable.
My own compositional approach is deeply influenced by both Eastern and Western traditions. I draw inspiration from oriental elements, blending them seamlessly into my sonic palette. I am particularly sensitive to the colors within music, exploring how different timbres and textures interact to create depth and emotion. In my work, I strive to transcend boundaries, balancing visuals and music by incorporating both orchestral and electronic elements. By fusing these diverse influences, I aim to provide audiences with a fresh and immersive experience that bridges tradition and innovation.
Can you recall a memorable moment from your career that had a significant impact on you?
One of the most memorable moments in my career was the opportunity to study at USC. Coming to the United States and immersing myself in a completely new environment was a transformative experience. At USC, I had the chance to learn from renowned composers, collaborate with talented musicians, and truly step into the industry I had always aspired to be a part of. It felt like a dream come true—a pivotal moment that expanded my artistic horizons and set the foundation for my future as a composer.
Would you like to share your experience participating in our competition and anyone you'd like to thank?
I am deeply honored to receive the Gold Prize and the Excellent Creativity Special Prize from the Erik Satie International Music Competition. This recognition inspires me to create more music.
I would like to express my heartfelt gratitude to my family and mentors. Their unwavering support and encouragement have been instrumental, especially during pivotal moments when I was making significant decisions about my compositions, and even future. They have provided both a nurturing and challenging environment, shaping my growth as an artist and as an individual. This achievement is as much theirs as it is mine.