《月世界》描寫臺灣南部「月世界」的特殊地形，為四人以上即興演奏家所作，不限樂器編制，即興部分為圖像記譜。
台南月世界的土壤含鹼量極高，使得當地草木難以生長，裸露的山脊又被河川切割開來，形成好比月球表面似的奇特景色。念國中時，我曾經去過一次月世界，雖然只是短暫的停留，那感覺如同步入一個不存在地球上的世界，至今仍讓我印象深刻。
【月世界】的樂譜結合了三種不同的記譜法：圖像記譜、簡譜（數字）與西洋五線譜。台灣畫家/小說家(我的哥哥)董籬所繪的月世界給了我靈感，並提供了這個作品的基本架構。於是，畫的本身成為了樂譜的一部份，而樂譜本身也同時成為藝術作品。
這首樂曲補捉了月世界的神秘感，引子在層層雲霧中展開，並拮取畫中部份圖像做為元素，引導音樂家即興演奏時的想像。跟著是低音聲部的獨奏，之後，其他樂器加入與低音樂器即興的對話，獨特的音響色彩，漸漸脫離我們所熟悉的現實世界。最後，畫的全貌才在樂譜中顯現出來，即興者的演奏隨著畫中山巒的起伏而變化。
Moon World《月世界》– Lan Tung & Li Tung (2011) – flexible instrumentation
This piece is inspired by the unique landscape of Moon World in Tainan, Taiwan (台南市左鎮區的草山月世界). Resembling the surface of the moon, the chalk soil in this area has prevented the growth of grass and trees. The score combines three systems of musical notations: graphic notation, cipher notation (numbers), and conventional staff notation. Taiwanese painter/novelist Li Tung’s (董籬) landscape painting of Moon World has inspired the piece and provided the basic structure. The painting itself has become a part of the score, and the score is at the same time the artwork.
I visited Moon World on a field trip at junior high school and was struck by the unusual surroundings, as if stepping into an unearthly world. This image has stayed with me for all these years.
This piece is to capture the mysterious feel of the place, from a cloudious introduction, a surreal solo on a bass instrument, to an ensemble improvisation following closely to the shapes and shades of the mountains in Li’s painting. Zooming in extremely on the painting, various moods and shapes jumped out, offering the ideas for the first two sections of the piece. Only in the final part, the painting is revealed in its entireness.