LIN, Zoe (Yi-Cheng)
LIN, Zoe (Yi-Cheng)
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latest update : 2026/9/2
Zoe (Yi-Cheng) Lin — also known as Sebastian Nagretshei — is a Synesthetic Sound Painter & Composer. Her works, called "Synesthetic Compositions," employ precise spatial and technological approaches to sound placement, creating immersive, multi-sensory musical experiences that expand the boundaries of human perception. Her work explores immersive sound, spatial perception, technology, and ecological imagination, moving between acoustic instruments, electronics, spatial audio, and audiovisual media, with particular attention to how sound can shape the perception of space, presence, memory, and dream.
Zoe (Yi-Cheng) Lin is a composer and software engineer specializing in digital music and technology-based composition. She holds a doctoral degree in composition from the University of Wisconsin–Madison and is currently a full-time composer and adjunct assistant professor at National Taiwan Normal University. Her composition studies include work with An-Yi Chang, Ya-Fen Cheng, Ching-Yu Hsiao, Stephen Dembski, and Laura Schwendinger, as well as Ladislav Kubík at the CASMI Music Camp. She also studied percussion with Chen-Hsin Chen.
Her creative practice focuses on visual-auditory synesthetic electronic music, 3D immersive electronic music composition and mixing, and the practical use of Ambisonic multichannel sound projection. Her work explores sound as an active medium of spatial perception, using technology to expand musical possibilities and to investigate relationships between sound, image, space, memory, nature, and imagination.
Her electronic music has been exhibited in 21 countries across Europe, Asia, North and South America, and Australia, with presentations at 48 international music festivals and events. Recent and selected presentations include ICMC (2026–2024, 2022), La Semaine du Son, Paysages Composés Festival 2025 (Grenoble, France), SICMF 2025 (Seoul, Korea), NYCEMF 2025–2023, JINLAC 2025, SEAMUS 2025 (West Lafayette, Indiana, USA), REF Resilience Festival 2024 (Foggia, Italy), Ars Electronica 2024 (Linz, Austria), IRCAM Forum 2024 (Paris, France), ACMC 2024 (Sydney and Melbourne, Australia), MediSouP 2024 (Cyprus), SiMN 2023 (Brazil), MUSLAB 2023 (Ecuador), MiRNArte 2023 (Venice, Italy), SICMF 2023 (Seoul, South Korea), NIME 2023 Mixed Realities Workshop (Mexico), Spatial Audio Conference 2023 (United Kingdom), NoiseFloor 2023 (United Kingdom), Earth Day Art Model 2023 (Indiana University, USA), MOXsonic Festival 2023, Atemporánea Festival 2022 (Argentina), and IRCAM Forum 2022 (New York), among others.
Her music has been featured on releases from EMPIRICA RECORD (Italy), SiMN 2023, and the MUSLAB 2023 phonographic production PLANETA COMPLEJO project through Cero Records. Her work was also selected for the Anthropocene Project 2024, curated by Wilfried Agricola de Cologne and produced by The New Museum of Networked Art. In 2024, she was selected for EMPIRICA RECORD, an initiative by EMPIRICA in partnership with MID SIDE APS dedicated to experimental classical, contemporary, and electronic music.
Previously, Zoe served as Chief Music Officer at an AI music company, where she spearheaded research and development in AI music generation, integrating artificial intelligence with commercial music. At National Taiwan Normal University, she teaches interdisciplinary courses bridging music and programming, alongside composition guidance. She has also served as a reviewer for the international music technology events NIME and SEAMUS, was an alternate for the Fulbright Scholar Program (2023), and, as a selected member of TechGiCS, joined other members in a meeting with Taiwan's President in 2024.
Zoe's interdisciplinary projects blend music, technology, and immersive experiences. She co-created the XR film "Diving into Siraya", contributing composition, sound design, and 3D immersive mixing; it premiered at the ACM SIGGRAPH International Film Festival (USA), the Bucheon International Fantastic Film Festival (South Korea), and the Kaohsiung Film Festival (Taiwan). Her original VR app music game, Journey into the World of Dimensions, was performed at the World Saxophone Congress 2018 and exhibited in the UK, Germany, Japan, Hong Kong, and Finland. Her digital art projects include 3D game works such as Snow Sculpture and the WebXR project The Breath of the Forest; in physical installation art, she led the music design and algorithmic composition for Luminous Path, a tech-integrated piece exhibited at the Taiwan Music Hall.
In AI development, Zoe focuses on algorithmic composition, neural networks (natural language processing), and reinforcement learning. Her AI tools include a four-part harmony generator, a two-part counterpoint generator inspired by 16th-century techniques, and the Little Pi contemporary classical music generation system. She also participates in research activities at the "Acoustics and Hearing Group" led by Professor Yi-Wen Liu, Department of Electrical Engineering, National Tsing Hua University.
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Nostalgia | Soprano and chamber ensemble | 2006 | 30' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Alpsolve | Orchestra | 2026 | 8' | |
| Brume de montagne et lumière sur une île humide | Orchestra | 2026 | 7'08" | |
| Distant Sorrows | Orchestra | 2026 | 9'12" | |
| Fugue in Motion for Orchestra (String Part) | String orchestra (full orchestral version to be released later) | 2026 | 8'52" | |
| Joy Under the Falling Leaves | Orchestra | 2026 | 7'36" | |
| La lumière éclatante du jardin | Orchestra | 2026 | 8'02" | |
| La Mer pour orchestre | Orchestra | 2026 | 8'46" | |
| Mosquito Concerto | Orchestra | 2026 | 6'16" | |
| Switzerland: Preview Mode | Orchestra | 2026 | 7'10" | |
| Taiji—the beginning of the four phenomena | Bass clarinet concerto | 2008 | 25' | |
| Lament of the Xiang River | Orchestra | 2006 | 8' | |
| River Legent | Orchetra | 2004 | 10' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Stray Bird | Song Cycle for Tenor | 2009 | 20' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Between Ink and Air | String quartet | 2026 | 6'59" | |
| Pluie, routine et fatigue | Marimba, harpsichord, and flute (trio, or four independent solo pieces) | 2026 | 4'45" | |
| Quatuor pour flûte, clarinette, violon et percussion | Flute, clarinet, violin, and percussion (performed via MIDI mockup) | 2026 | 7'54" | |
| Réflexions sur une peinture de nymphéas | Flute, oboe, clarinet, bassoon, saxophone, and horn | 2026 | 7'41" | |
| The Onion March — Weeping in Major, Chopping to the Beat | Clarinet in B-flat, accordion, violin, cello, and percussion | 2025 | 6'24" | |
| A Humback Whale's Popsong | Chinese Di Zi, Clarinet, Saxophone, Sheng, Trombone, Erhu, Liuqin, Pipa, Yangqin, Guzheng, Double Bass, Percussion, and Piano | 2024 | 9'18" | |
| painting | Duet for violin and piano | 2009 | 3' | |
| Tide of TIme | Clarinet, Harp, Cello, and Bass Drum | 2009 | 20' | |
| Journey to the west | Mezzo- soprano and chamber ensemble | 2008 | 17' | |
| 24 hours trio | Violin, cello, and piano | 2007 | 3' | |
| labyrinth | fl. cl. And piano | 2007 | 4' | |
| Wan Xiang | Percussion quarter | 2007 | 25' | |
| Music poem | Piano trio | 2006 | 2' | |
| Trio | Violin, vibraphone, and piano | 2004 | 15' | |
| Woodwind Quintet No. 1 | Woodwind quintet | 2004 | 15' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Fantasia d'Onion: A Vegetable's High Note Retaliation | Solo harpsichord | 2025 | 7'25" | |
| The Dancing Chameleon of the Sea for Solo Harp | Solo harp | 2025 | 12'02" | |
| Dialogue Entre Des Temps | For saxophone solo and pre-recorded music | 2012 | 10' | |
| Refinance of the Three Kingdoms | Violin solo | 2008 | 8' | |
| Butterfly valley | Viola solo | 2007 | 3' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Taroko: A Lullaby of Coastal | Immersive electroacoustic music | 2026 | 9'47" | |
| Whispers in the Stone Crevices | For erhu and immersive electroacoustic music | 2026 | 10'12" | |
| Dream Voyager: A Pilgrim of the Infinite | For solo flute and electronics | 2025 | 9'27" | |
| 3D Illusory Immersive Soundscape: Lava's Roaring Dance | Immersive Electroacoustic Music | 2024 | 10'16" | |
| 3D Illusory Immersive Soundscape: Glacier | Immersive Electroacoustic Music | 2023 | 10'00" | |
| Aurora | for Solo Saxophone and Multi-Channel Immersive Electroacoustic Music | 2022 | 10'08" | |
| OWt's World | for Flute, Clarinet, Zheng, Percussion and Multi-Channel Immersive Electroacoustic Music | 2022 | 8'21" | |
| Walking into Consciousness of Flowers | Immersive Electroacoustic Music | 2022 | 8'12" | |
| Image of Watercolor Painting | Immersive Electroacoustic Music | 2021 | 8'48" | |
| Meditation through Glass | Immersive Electroacoustic Music | 2021 | 9'04" | |
| Music from the Metaverse: 3D Illusory Immersive Soundscape “The Spirit of the Giant Tree” | Immersive Electroacoustic Music | 2021 | 8'40" | |
| Self Portrait | Immersive Electroacoustic Music | 2021 | 9'10" | |
| Summer in Trees | Immersive Electroacoustic Music | 2021 | 8'12" | |
| Dance of the Soul | Solo Harpsichord and Immersive Electroacoustic Music | 2020 | 13'48" | |
| Music of VR Movie—“Divining into Siraya” | Electronics (3D immersive music for VR) | 2020 | 20' | |
| Pray for Life | For harpsichord and electronic music | 2020 | 8' | |
| Zen In Suiboku-ga (Oriental Ink Wash Painting) | Electronics | 2020 | 7' | |
| Grandma's memories | For electronics and sound recordings | 2019 | 7' | |
| Hey Kid | For electronics and sound recordings | 2019 | 28' | |
| Star fantasy | Electronics | 2019 | 6' | |
| Deadlines | Electronics | 2017 | 1'30" | |
| Dialogue Entre Des Temps | For saxophone solo and pre-recorded music | 2012 | 10' | |
| “Glorious” Beethoven | Electronics | 2011 | 15' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| The First Contemporary Classical AI Composer Robot—The Debut Diary of Little Pi. | 2022 | |||
| “Score of Light”—Music and Light Installations | Music and Algorithms of an out door music and light Installation | 2020 | ||
| Searching （Time Sculpture) | Music in multimedia (3D video game scenes)（Game version for Snow Sculpture） | 2019 | 10' (more than 10') | |
| The Breath of the Forest | Interact Musical App with algorithms | 2018-2022 | 8' | |
| Journey into the world of Dimensions | For VR and live saxophone solo | 2018 | 30' | |
| Snow Sculpture | For zheng solo and 3D video game scenes | 2018 | 9' | |
| Journey into the world of Dimensions VR | VR iOS App | 2016 | 30' |
* link to " NCAF online Archive of Grant Fruitages "website (in Chinese)
| Title | Instrumentation | Year | Duration |
|---|---|---|---|
| Whispers in the Stone Crevices | For erhu and immersive electroacoustic music | 2026 | 10'12" |
| OWt's World | for Flute, Clarinet, Zheng, Percussion and Multi-Channel Immersive Electroacoustic Music | 2022 | 8'21" |
| Image of Watercolor Painting | Immersive Electroacoustic Music | 2021 | 8'48" |
| Snow Sculpture | For zheng solo and 3D video game scenes | 2018 | 9' |
EME33: A Dataset of Classical Piano Performances Guided by Expressive Markings with Application in Music Rendering
IEEE2024
Research collaboration with the Acoustics and Hearing Group, Department of Electrical Engineering, National Tsing Hua University (Prof. Yi-Wen Liu); co-authored with pianist Kit Armstrong.