The familiar melody of Hua Hao YueYuan, or "Flowers Are Full, the Moon Is Round," echoed through Tianjin Juilliard’s concert hall on September 9, marking the lead-up to this year’s Mid-Autumn Festival on September 25. The tune is a traditional piece evoking family reunions and the warmth of home, yet many musicians performing were far from their own families. Among them was Travis Springer, a 21-year-old viola student from Texas in his second year at Tianjin Juilliard, the first overseas campus of New York’s Juilliard School.

Springer, who had options to study in New York or Seoul, chose Tianjin largely out of a desire to experience China firsthand and gain deeper cultural insight. Since arriving nearly two years ago, he has traveled to several provinces including Guangdong, Henan, and Hainan, while adapting to daily life through local apps like WeChat and Alipay. Springer has also pursued learning Mandarin, recognizing significant cultural differences between China and the United States. Beyond language, music has served as a bridge; although his focus is Western classical, he has increasingly engaged with Chinese repertoire, performing arrangements of Chinese folk songs by Chinese-American composer Zhou Long and studying recordings of ensembles such as the Shanghai Quartet. He described Chinese music as possessing a distinctive "song-like quality," reminiscent of traditional Chinese opera, which has helped deepen his understanding of China’s cultural landscape.

The exchange of knowledge and experience is mutual at Tianjin Juilliard. Lee Allen, an American trombonist who has taught at the school for eight years, came to China after a career in the U.S. and an extensive tour of the country with a student brass ensemble. He recalled being struck by the enthusiasm of young Chinese musicians he encountered. Allen welcomed the chance for a "drastic change" by joining Tianjin Juilliard and brought with him an American pedagogical approach that encourages questioning, discussion, and independent learning. Simultaneously, he adapted to the educational expectations of his Chinese students. Allen views the classroom as a confluence of diverse musical and cultural perspectives, where students from multiple countries collaborate and learn to listen beyond language barriers. “Music does not need perfect words,” he said. “It needs openness.”

For graduates, the relationship with China often extends beyond completion of their studies. Bethany Lawrence, an oboist from Houston, initially arrived in Tianjin without plans to stay long. She had completed a doctorate in 2016 and was established professionally in Texas but decided to pursue a second master’s degree amid the disruptions caused by the COVID-19 pandemic. Although she had limited Chinese language skills upon arrival, Lawrence’s curiosity about life in China deepened during her time there. Travel restrictions during the pandemic prolonged her stay and opened opportunities with local orchestras. She eventually joined the Shanghai Opera House Orchestra as associate principal oboist and now describes China as her second home.

The experiences of Springer, Allen, and Lawrence illustrate how Tianjin Juilliard serves as a cultural bridge, fostering an exchange of musical traditions and building connections across geographical and cultural divides.