Fleischer’s compositional style expresses the multi-culturalism to which she was exposed already during her childhood. She grew up in a Jewish-Arab environment, and the atmosphere of coexistence that characterizes Haifa, the city of her birth, naturally penetrated her works. Her broad musical education in the realm of classical and modern Western music, the music of all of the Jewish ethnic traditions, East and West, and Arab music, as well as her linguistic education in Hebrew, Arabic language and literature, and ancient Semitic languages, are all reflected in her works.
“The sources of my inspiration are rooted first of all in the surrounding atmosphere, in the smells of the street and in the Israeli landscape, as well as in the literature that arose from the cultures of the region and took hold of the soul . . . An original work is the mother of spiritual existence, and it is imprinted with the characteristic of rootedness. This arises from the artist’s surroundings from the moment of birth.”
The transition from composing light music to classical music for the concert hall occurred, according to Fleischer, with the musical Alei Kinor (Upon a Fiddle) (based on the story by Shalom Aleichem), which she composed in 1974 and which to this day continues to be produced time and again. This dramatic 90-minute musical work was a peak in Fleischer’s expression in the light genre, and yet, demonstrated beyond a doubt that her place is in Classical music. From that moment to this day, Fleischer has composed over 100 works (of them, 30 are unnumbered, and can be found in the National Library Music Department Archives, MUS 121 A 30 "Pre-Opus" Folder in Tsippi Fleischer's collection), including music for solo instruments, music for orchestra and chamber ensembles, vocal music for choirs and solo voice, stage music (operas and oratorios), music on magnetic tape and multi-media productions.