李思嫺以為，音樂無論絕對或者標題者，都應有種有效的表達。這不僅僅作為一個觀念而存在，它是作曲家的信仰與座右銘，也是其音樂美學觀念的根本出發點。她的音樂獨特而引人入勝之處，在於其將「音樂創作」作為一種人文地理的「親臨現場」與一種事件歷史的「實際參與」，而這些就是其以為的音樂之「表達」。這種人文關懷成就於其作品當中，構成音樂內涵「文本」之情境的書寫，而外來「引用」則作為此「表達」之有效的確立工具。

Lee Szu Hsien believes that music, whether it is absolute or programatic, should be an effective means of expression. This thought not only exists as a concept; it is the faith and motto of the composer and the starting point of her music aesthetics. The unique and fascinating part of her music lies in the fact that she actually makes “music composition” a “personal visit to the scene” of human geography as an “actual participation” of event; This is what she considers musical “expression” to be. The humanistic concern in her works constitutes the situational “textual” writing of her musical contents, and external “quotation” is used to verify this “expression”.