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PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Tel: (+351) 234 370 389 (ext. 23700)


Yundi Hou was born into a musical family. She graduated from the Piano Department of the China Conservatory of Music in 2018 and received her Master's Degree from the Hamburg Conservatory of Music in Germany. Since her professional studies, she has received high praise from Robert McDonald, Boris Berman, Pieter Eicher, Roberto Domingos, G. Friedrich Schenck, and Matti Raekallio. As a young pianist, she has rich experience in solo and chamber music performance, has traveled all over Asia and Europe, and has held many solo recitals in Fuyang, Beijing, Manheim, Hamburg, Porto, Sardoal, and Aveiro. As a chamber musician, she is also active in Germany and Portugal, where she collaborates with cellist Nagisa Mitsubishi and clarinetist Hiroko Onuma. She has won many prizes in national and international competitions, such as the 12th "Xinghai" National Piano Competition, the 1st "Yingchang" National Piano Competition, the 18th Santa-Cecilia International Piano Competition, the 20th Santa-Cecilia International Piano Competition. In 2022, Yundi Hou won the Second Prize and the Young Talent Award at the 7th Sardoal International Piano Competition in Portugal, where she was highly praised by the renowned Portuguese pianist Jorge Martins and other jury members. Since 2022, she has been pursuing her doctoral degree in music performance at the University of Aveiro under the tutelage of pianist Prof. Shao Xiao ling.
Doctoral Project
Messiaen and Peking Opera in the multimodal perspective of performing Qigang Chen’s piano work

This research project raises the performance study of the main piano works of Chinese-French composer Qigang Chen, which were composed at the beginning of the 21st century. Chen was deeply influenced by his tutelage under Olivier Messiaen, meanwhile, grounded in Peking Opera due to his childhood training, Chen's compositions embrace aspects of Chinese traditional opera and integrate them with contemporary Western musical concepts. This study adopts a multimodal perspective, considering intertextual dialogue, scenic movements, and dynamic timbre combinations. This research investigates how symbolic and multisensory elements, influenced by Peking Opera and Messiaen's synesthetic perspective, impact interpretation and performance. The research aims to propose strategies for cohesive multimodal performances of Chen's piano works, including incorporating audio-visual interactions into live performances, devising non-verbal movements in collaboration with percussionists, and exploring stage space and lighting. It also assessed the impact of multimodal performance on audience experience and cultural perception, thus providing new perspectives on music performance and cultural studies.

Keywords: Qigang Chen, Olivier Messiaen, Peking Opera, Multimodal performance