According to her, the creation of Pi embodies elements of Chinese philosophy, aesthetics, and narrative. For example, a key aspect of Chinese music aesthetics is the concept of "leaving space".

"There are moments in my singing where there is complete silence — an emptiness — before I release the sound. That silence allows me to convey something meaningful," Zhelai explained.

"This performance reflects the Chinese way of storytelling, giving the song a rhythm distinct from Western narratives."

She also noted that the arrangement of Pi combines Western symphonic elements with traditional Chinese instruments such as the zhong (bell), qing (chime stone), and bianzhong (bronze chime bell).

"These instruments were commonly used in ancient ceremonial music in China," she said.

Zhelai believes her singing aligns with the song's spirit because her vocal exploration is deeply rooted in local Chinese culture and folk music.

"I grew up in the Gobi Desert and by the Qilian Mountains. The natural environment shaped my spirit and character. Later, I learned to play traditional instruments like the pipa, and in university, I studied Chinese national opera and folk art songs," she said.

In Pi, Zhelai weaves together various techniques from the folk songs of her hometown. For example, she used a long, linear note inspired by the Hua'er folk singing from Gansu.

"The mountains there are vast and barren, so greetings between people often stretch out melodically to carry over long distances. This imparts a broad, artistic atmosphere to the song," she explained.

Another element she draws from is Qinqiang, an ancient opera popular in Northwest China, also known for its powerful vocal style.

"These are the spiritual nutrients that this land has given me," she said.

In 2018, Zhelai began collecting and studying traditional folk songs from the Hexi Corridor — a historically significant trade route along the ancient Silk Road in Gansu — interviewing and learning from dozens of cultural inheritors. However, she doesn't simply replicate these songs; she blends modern music techniques and electronic arrangements to give traditional music a fresh, contemporary appeal.

Zhelai describes her style as "world music" — deeply rooted yet distinctly modern.

Her aspiration is to let the world hear the sounds of her hometown, especially Dunhuang, a city in Gansu known for its iconic Mogao Caves.

"Dunhuang is a cultural treasure trove where music has always played a crucial role. While many people appreciate the visual beauty of Dunhuang, few have truly heard it. Some films and videos about Dunhuang even use music from other places to accompany the visuals," Zhelai said.

"As a local, I want to bring the essence of the folk songs I grew up with to the world through my music projects."

guiqian@i21st.cn