For Western ears, Dun's music will present a challenge. Because of the inherent subtlety of Eastern music of the period, there are no sweeping themes for characters or grand rhythms for fight scenes. Instead, Dun correctly tackles the project with an underscore that strikes a balance between minimalism and ethnic romance. The score is tight with tension throughout, with its melodies brooding in percussion and strings while other percussive elements set the basic tone and style of the music. There is nothing flashy about Crouching Tiger, Hidden Dragon; even with its tale, Dun's lyrical impressions are repetitious and yet elevated by the diversity of its own instrumentation. The cello solos by Ma are, as to be expected, very good, but the melodies he performs offer only hint of thematic romance.

Nothing could be further from the truth! Perhaps my ears are attuned to Eastern music, but I found the music to perfectly match the films motif. "Night Flight" even has the Western interpretation of build-up, (a rather long) crescendo, and resolution, so I can't see how the author can contend that Western ears would have difficulty with the score.

I also found the cello work by Ma to be romantic and brooding, with the subtle sorrow offered by the cello to be a great match to the film, unlike the reviewer, who commented that Ma's work "offer only hint of thematic romance". I found the entire score very romantic, sweeping, and a wonderful composition! I am proud to have it in my collection of "movie music", and even now, almost three years after the release of the movie, I listen to it often.