When Ding Sangpeng spoke, everyone listened quietly and carefully. Only a staff member from the school's propaganda department was holding a camera and crouching in front of the first row of the auditorium. The camera first focused on the rostrum from different angles, and the shutter was pressed.

Dozens of times. Then the staff turned around, pointed the camera at the audience, and took violent shots.

After the panoramic view, the photographer wanted to capture his personal style again. He squatted down about one meter in front of Yang Jingxing and Li Yingzhen and pressed the shutter.

Yang Jingxing seemed to be very experienced. He did not look at the camera, but still focused on the rostrum. After taking two pictures, the photographer moved his butt to the left in a duck-step, and then raised the camera to clearly focus on Yang Jingxing and Qi Qingnuo, and then asked Congratulations

Hongchui should also be the central figure.

Ding Sangpeng did not immediately express his views on Yang Jingxing and 306. Instead, after establishing today's theme, he asked others to share their thoughts.

After a brief humility, the principal began to show his host's enthusiastic attitude. He said: "Today is a rare opportunity. I will share my views on folk music and new music.

I feel that if a musical work has a distinctive national style or local color, it is gratifying, but it is not something we must deliberately pursue, nor is it indispensable. In contrast, the personality of the work is, for the composer,

Say it is more important.

Nationality alone is not enough. I think any national style is formed historically. It is affected by politics, economy, society, geography, language, climate and other factors. These factors are all in the process of change.

, the establishment of style is relative, but the freedom of style is absolute.

For example, we cannot accuse contemporary Puhai people of losing their traditions and style just because they live in Puhai in today's high-tech era, and their living customs and language habits are far different from those of Puhai people when the port first opened.

.

For example, the song "It's Us" just now cannot be said to be a folk music work, or not a pure folk music work, just because of the many innovations and breakthroughs of the composer and performer.

As a modern composer, he must truly reflect and express his understanding and experience of his own era, society, and life in a way that can arouse people's resonance. His style must belong to the era in which he lives, but this does not mean

Preventing him from using traditional techniques in his own way.

Just like the neoclassicists and neo-Baroques, they shout "Go back to Bach", but in fact they have never written a fugue in pure Bach style. No one will compare Hindemith's "Tune to Bach"

" is heard as "Twelve Equal Temperaments", and no one will regard Schnittke's "Concerto Grosso" as a work by Vivaldi.

Let’s talk about new music. In fact, new folk music is not a new concept.

Western new music, also called modernism and avant-garde, mainly appears in European and American countries. Its emergence is related to the liberation of individuality.

Of course it is right to pursue individuality, but it is also easy to go to extremes, often ignoring ideological content and emotional expression. Some Western composers simply say that music cannot express anything other than the music itself. However, this view

, probably few of us can accept it!

Whether those "new music" can stand up in history can only be verified by time. When Stravinsky's "The Rite of Spring" premiered, the audience responded with ridicule, uproarious laughter and

Whistle. But in the recent performance, this work received several minutes of applause and cheers.

It seems that people's hearing is also developing. In Germany, young people like pop music, and old people listen to classical romantic music. However, Stravinsky, Bartok, and Hindemith still have a considerable market. For

The vast majority of people do not understand contemporary new music, such as Stockhausen, Ligeti, Penderecki, etc., let alone like it. However, as long as you show some patience and understanding, you can succeed in music.

Sparse applause could already be heard at the meeting.

Let’s talk about the same example around us. The two pieces we just listened to were praised by almost everyone, including teachers, when they were first performed.

Of course, two classmates, Yang Jingxing and Qi Qingnuo, are far less avant-garde and radical than Stockhausen, and they don’t have any color of serialism. But this is what makes us happy. Some teachers said that Yang Jingxing’s works are “inherited and

Unconventional, popular yet unique”, I think it’s right.

What makes us particularly happy is that Mr. Ding and Mr. Tang also have a positive attitude towards today's work. This shows that the two students are on the right track. I believe they can be recognized by more people, and we should also create for them.

Under these conditions, I don’t think it matters whether what they do is folk music, new folk music, or new music.

Of course, the two students must still have shortcomings, and I hope that all the experts and seniors can give you more guidance, thank you."

Everyone applauded, and everyone on the stage looked at each other, someone had to continue talking. After being invited by the principal, Zou Chunyu, the director of Little Giant, was not polite. His Mandarin was more Mandarin: "This is my fifth time in mainland China, and I can see so many amazing people.

I am really excited about the artists, especially Mr. Ding. Thank you very much. Thank you to those beautiful girls just now and Mr. Yang Jingxing, you are also great.

Many years ago, I firmly remembered what Mr. Ding said: You must have a sincere heart for music. Everyone was so moved upstairs before. Our composer Mr. Bai Xianwen shed tears because we all felt the same.

When it comes to Yang Jingxing and the ladies from 306, they have a sincere heart for music.

Mr. Bai Xianwen is an old friend of mine. I have known him for almost 20 years. Today, for the first time, I heard him say that he wanted to pay tribute to the younger generation. Mr. Bai Xianwen also has a sincere heart for music, and I admire him very much. But Mr. Bai said that he should

I admire Yang Jingxing, because a composer is willing to write so many wonderful musical ideas into one work, which deserves his bow."

Yang Jingxing was embarrassed, but Zou Chunyu stood up and really bowed to the audience. Although Zou Chunyu's waist was not very low, Yang Jingxing stood up immediately, bowed in return, and then turned around.

Then he bent down towards Bai Xianwen's group of people behind him.

Several Taiwanese friends in the back row stood up and returned the favor to Yang Jingxing. Although it was quite interesting, no one laughed.

Yang Jingxing does not deserve it. When many composers and even composers create, they often enrich and decorate one or two themes or motives that they have thought hard about or come up with by chance through various composition techniques. So this work

The most valuable and rare thing is actually those one or two motives.

"It's Us" is so different. The whole song only lasts half an hour, but it has dozens of dazzling motives and themes, as well as wonderful phrases and musical ideas one after another... Why does half an hour keep the listener from getting bored at all?

Instead, I become more and more devoted to enjoying it because there are so many valuable things.

It can be said to be a shameful waste. If those good things were selected and given to experienced composers to create, many good works would have been written.

After everyone sat down, Zou Chunyu continued to be excited: "This trip is worth it, it's worth it! There are so many music academies in mainland China, so many outstanding musicians, and they have trained so many outstanding young folk musicians. I'm so happy."

I’m envious. There are also many young people in Taiwan who are passionate about folk music, but they don’t have such good opportunities and environments. I sincerely hope that you can visit Taiwan as a guest. You will definitely give young people in Taiwan a new perspective and enthusiasm for folk music.”

Then, Song Yanjie, deputy director of the Central Chinese Orchestra, also expressed his own views. He did not overly praise Yang Jingxing and 306, but followed the ideas of Ding Sangpeng and the principal to summarize and reflect on the development of folk music.

Song Yanjie put forward the proposition that folk music has developed with the times, and believed that it is not unfeasible to use synthesizers and electric guitars to cooperate or even integrate into folk music, as long as it serves the expressive power of the music.

Then, He Zhijun, the conductor of the National Youth Chinese Orchestra, praised 306's performance skills and believed that these girls were also inherited and not rigid. He almost mentioned one or two of the advantages of each instrument, and he said it very professionally.

Amidst bursts of applause, the people on the podium slowly integrated into the atmosphere of the discussion. Lu Baiyong, conductor of the Puhai Chinese Orchestra, believed that although many people are pursuing innovation in folk music, Yang Jingxing and 306 are the best, so

When it comes to innovation, we must base ourselves on the fundamentals, and we cannot blindly seek newness, otherwise we will fail.

The Vice Chairman of the Federation of Literary and Art Circles even criticized some artistic workers for being short-sighted when creating or performing, and gave up many audiences from the beginning.

Ding Sangpeng praised Li Weiguang, saying that although artists do not need to deliberately cater to the audience, they should at least focus on the audience and cannot create for the sake of the ratings or professional titles of actors or performers, as that would be alienating the masses.

…

Tang Qing, who had been silent for a long time, began to speak at the invitation of Ding Sangpeng: "Everyone's words are very reasonable. I have been thinking about it. I think we should also listen to the creator's thoughts."

All eyes were focused on Yang Jingxing. At the principal's signal, Yang Jingxing stood up. In order for everyone to hear clearly, his voice was slightly louder: "Thank you seniors, we are more confident."

He Hongchui was so anxious that he turned his head to stare at Yang Jingxing. Ding Sangpeng was also dissatisfied: "Tell me about your creative experience."

Yang Jingxing told the truth as if telling an ordinary story: ""The Clouds Clear" was long before "This Is Us", and I was just following the trend. My creative motivation came from 306. When I first met them, they were still

I am adapting some popular works, but they are all serious and hardworking. Everyone is excellent, and I admire them.

A further attempt was made by Qi Qingnuo in "The Clouds Clear and the Mist Disperses". I discussed it with her and she also encountered many difficulties. Especially in terms of harmony, her attempts gave me a lot of inspiration. The work's

In terms of perfection, Professor He and Professor Gong gave me a lot of help, and 306 also helped me. I did not complete the work alone."

Everyone in 306 accepted their thanks very seriously. Qi Qingnuo put his left elbow on the armrest of the chair, raised his forearm, palm facing outward, and touched the tip of his chin with his bent knuckles, as if he was thinking.

The principal also reminded Yang Jingxing: "Tell me about your feelings and thoughts after the work is completed, such as now."

Yang Jingxing said: "None of us thought we would receive such attention. I guess 306 is just as excited as me. There are so many people working hard for the development of folk music. We are not the beginning or the end, but now I

I am more confident than before.”

Taiwanese composer Xiao Zhengyuan on the rostrum couldn't help but ask: "Excuse me, when you created "This Is Us", what was your highest expectation for the work?"

Before Yang Jingxing sat down, he said: "I hope 306 will like it. You can say this is a tribute to them."

After all, there were a few chuckles in the audience, He Hongchui stopped looking at Yang Jingxing, and Li Yingzhen also had a serious expression.

Ding Sangpeng did not smile, but asked profoundly: "Why do you want to pay tribute?"

Yang Jingxing said: "Because I think they are great."

Ding Sangpeng looked at Qi Qingnuo again: "Qi Qingnuo, why did you start the 306 group?"

Qi Qingnuo also stood up, but he didn't pretend to be vain: "I hope that a few friends can have fun together and have goals."

Ding Sangpeng asked: "What is the goal?"

Qi Qingnuo said: "Make music that we all like."

Ding Sangpeng asked: "Yang Jingxing, are your goals the same as theirs?"

Yang Jingxing nodded: "Yes."

Ding Sangpeng began to summarize, saying that the creative state of Yang Jingxing and 306 is the purest and has a good foothold. This is definitely an important reason why they can make good music.

Zhang Jiahuo said that Mr. Ding was right, and praised him more with a smile: "...Young people do understand young people better than us, and this is also true in some aspects. For example, more than a dozen girls are all dressed up beautifully on the stage.

, for many young people in today’s society, this is also necessary and cannot be ignored.”

Qi Qingnuo immediately stood up again, looked at the stage and echoed: "Conductor Zhang is right, what we have to show on the stage is our confidence, whether it is our music or ourselves, we believe in this

The two will complement each other perfectly!”

Qi Qingnuo's voice was louder and more excited than before. 306 seemed to be inspired. Nian Qing actually clapped, and He Peiyuan and Liu Siman immediately followed. Then the other girls started, and then everyone in the audience cooperated.

Yu Xinting was so happy, and Yang Jingxing also supported Qi Qingnuo. The two teachers beside him only clapped their hands symbolically twice, and He Hongchui even pulled Qi Qingnuo to sit down.

The people on the rostrum also clapped along with Ding Sangpeng to encourage Qi Qingnuo's self-confidence. Only Zhang Jiahuo smiled and refused to give himself the wonderful cheers.

After Ding Sangpeng clapped his hands, he looked at everyone for a while, and said very earnestly and excitedly: "Confidence, these are the two words I want to say most today. From them, I saw the long-lost self-confidence! We have a lot of folk music

Workers are enthusiastic and talented, but they lack self-confidence. It is not self-confidence in talent, but self-confidence in our culture and down-to-earth self-confidence. Confidence and tolerance are often inseparable. The two works we listened to today are
Chapter completed!