F I O N A – X U E · J U

From 2020, Fiona pursued her education as one of the members in master’s program CoPeCo (Contemporary Performance and Composition), which is an itinerant program across four conservatories in European cities: Estonian Academy for Music and Theater (Estonia), Royal Academy of Music of Stockholm (Sweden), Conservatoire National Supérieur de Musique et de Danse de Lyon (France) and Hochschule für Musik und Theater Hamburg (Germany). She studied mainly under Michele Tadini and Jean Geoffroy from her home institution CNSMD de Lyon. She also studied composition and electronic music with Alexander Schubert, Georg Hajdu, Jacob Sello, Konstantina Orlandatou, Hara Alonso, Mattias Sköld, Per Mårtensson, Helena Tulve, Taavi Kerikmäe, among others.

As a composer, she has written a variety of music for chamber ensembles, electronics, films, art installations, and multimedia collaborations. In 2018, her sinfonietta piece Invocation: Blessing the Boat commissioned by CME (Oberlin Contemporary Musical Ensemble) was well received after it was performed at the Cleveland Museum of Art. Her music has been praised for its “fresh-sounding ideas” and described as “aurally fascinating” (Cleveland Classical). As a former musical theatre scholar at Oberlin, she developed skills in theatre music, staging, lighting, and costume design. At the forefront of Fiona’s creative process is a dedication to experimentation and collaboration. She has collaborated with a diverse range of artists, including dancers, visual artists, performance artists, and film directors, always pushing the boundaries of what is possible and exploring new sonic territories. Her interest lies in exploring how sound can merge with installation art, interactive design, and performance art, with the goal of bringing electronic music from the digital realm to the physical performance space. She aims to examine the ways in which sound can transcend the boundaries between virtual and real environments, creating a dynamic and engaging experience for audiences.

In recent years, Fiona Xue Ju has been creating a range of multimedia works that incorporate sound design, visual arts, and performing arts. With a particular emphasis on live electronic improvisation and performance, her passion for exploring the intersection of sound and technology is reflected in her innovative use of electronic and acoustic elements, creating works that are truly unique and captivating. Through her works, she invites audiences to contemplate the complexities of reality, society, and human nature. Fiona strives to create works that challenge and inspire, transcending cultural boundaries and offering a glimpse into the infinite possibilities of sound, promoting a deeper understanding of ourselves and the world around us.

鞠雪出生于中国青岛，早年在上海就读于上海音乐学院附中作曲专业，在那里她师从中国著名作曲家演员居文沛学习作曲。后来移居美国，在欧柏林音乐学院获得作曲学士学位。师从格莱美获奖当代作曲家 Stephen Hartke, 当代作曲家Lewis Nielson, Elizabeth Ogonek, Lyn Goeringer(电子音乐), Tom Lopez (电子音乐)。自2020年起，鞠雪作为欧洲CoPeCo(当代表演和作曲)研究项目的成员继续进修作曲，分别在四个欧洲国家的音乐学院学习，分别是: 爱沙尼亚国立音乐和戏剧学院、瑞典斯德哥尔摩皇家音乐学院、法国里昂国立高等音乐舞蹈学院、德国汉堡音乐与戏剧学院。法国里昂国立高等音乐舞蹈学院作为她的保送院校，她主要师从于Michele Tadini和Jean Geoffroy，她还跟从Helena Tulve、Taavi Kerikmäe、Mattias Sköld、Per Mårtensson、Hara Alonso、Konstantina Orlandatou、Jacob Sello、Georg Hajdu、Alexander Schubert等人学习作曲和电子音乐。

作为一个当代作曲家和音乐制作人，她的作品涉及室内乐团、电子音乐、电影、装置艺术和多媒体艺术等。2018年鞠雪为CME（奥伯林当代音乐乐团）委任创作的作品《Invocation: blessing the boat》在美国克利夫兰艺术博物馆演出后广受好评。她的音乐被称赞“充满新鲜的声音和想法” 并被形容为 “听觉上迷人的” (克利夫兰经典乐评)。她曾作为欧柏林大学的音乐戏剧学者，学习和研究戏剧音乐、舞台、灯光和服装设计方面的相关技能。近年来她一直在挑战可能的界限，探索新的声音领域，与视觉艺术家、表演艺术家和电影导演合作了诸多艺术项目。她还感兴趣于声音作为一种媒介如何与装置艺术、交互设计和表演艺术相结合，将电子音乐从虚拟数字领域转化到物理表演空间。

最近几年,鞠雪一直在创作多媒体作品，包括声音设计、视觉艺术和表演艺术， 同时也参与了很多现场电子音乐即兴和表演。她对探索声音和技术的跨学科的热情体现在她对电子和声学元素的创新使用上。她努力创造挑战和激励的作品，超越文化的界限，试图引导观众对现实和社会的反思，以及对人性的关注。