In 1989, his Tao Le "Sound Modeling" and his opera "Nine Songs" were commissioned by Guggenheim Museum in new york. In these two works, Tan Dun used more than 7 natural musical instruments with different shapes, which constituted his original organic classification of "Jin Mu fire, water and soil".

In p>1991, Tan Dun created the performance art "Paper Sacrifice: Jin Ping Mei" for the avant-garde "Spicy Mom" small theater in new york, and expressed the strong desire, pain and love in human nature by blowing, shaking, rubbing, tearing, beating, waving, patting and singing nine different kinds of paper.

In p>1994, Ghost Play was commissioned by the famous quartet Kronos, which blended the elements of water, metal, stone and paper, and introduced the Chinese shadow play and the Nuo opera performance tradition of China witchcraft culture into western chamber music.

In p>1998, Tan Dun was commissioned by the new york Philharmonic Committee to compose Water Music, which successfully brought these "organic voices" into the western symphony orchestra.

In p>2, the German International Bach Association commissioned Tan Dun to create the organic musical Journey to Resurrection to commemorate the 25th anniversary of Bach's death. In this work, Tan Dun takes water and stone as the main timbre of music, which symbolizes the beginning of life and leads the audience into a journey of resurrection of life and soul. In the 21st century, Tan Dun talked with Bach, the father of western music, about "the future of the world" with a distinct concept of oriental music.

In p>23, in order to celebrate the completion of the Disney Concert Hall in Los Angeles, the Youth League Committee of the Los Angeles Symphony Orchestra invited Tan Dun to create Paper Music, and Tan Dun successfully brought the concept of paper music into the Symphony Concert Hall. Tan Dun once said at the premiere of "Paper Music": "All substances (including people) in the universe have an interdependent way of survival. My organic music, from the first step to find the voice of nature, to the second step to rehearse and talk with the spirit of nature, and to the third step to face the communication between the audience and nature on the level of humanity, humanity and humanity, is a cry for environmental pollution and spiritual pollution today. These music are the tears of nature. "

twenty years of organic music has developed in countless forms, and it is still evolving further. Originally the works of Tan Dun's early pioneers and downtown experimental theaters, they gradually grew into a part of orchestral music and were appreciated by mainstream orchestras and audiences. The scale of the works has grown from small to large, and the artistic concepts in each work are increasingly expressed and developed by instruments specially made and integrated into the orchestra. Organic music is the most innovative group of Tan Dun's works.