When Ding Sangpeng spoke, everyone listened quietly and carefully, and only one staff member of the school's propaganda department was holding a camera and bending his waist in front of the first row of the audience. The camera first pointed at the rostrum from different angles, and the shutter was pressed dozens of times. Then the staff turned around and turned the camera at the audience and slapped hard.

After the panorama, the photographer wanted to capture his personal style, and he squatted down about a meter in front of Yang Jingxing and Li Yingzhen and pressed the shutter.

Yang Jingxing seems to be very experienced, he didn't look at the camera, and still paid attention to the rostrum. After the photographer took two photos, he moved his butt to the left, and then raised the camera to obviously aim at Yang Jingxing and Qi Qingnuo, and then let He Hongchui also be the central character.

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

After a brief requisition, the principal began to show the enthusiasm of his host, saying, "Today is a rare opportunity for me to share my views on folk music and new music.

I think that if a musical work has a distinct 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 more important to the composer.

It is not enough to have a national character. In my opinion, any national style is formed historically, it is affected by political, economic, social, geographical, language, climate and other factors, these factors are in the process of change, the establishment of style is relative, and the freedom of style is absolute.

For example, we should not accuse the contemporary Puhai people of losing their traditions and styles 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 the Puhai people when the port was first opened.

To give you an example, the song "We Are Us" just now cannot be said to be a work of folk music or a pure piece of folk music because of the innovations and breakthroughs of the composers and performers in various aspects.

As a modern composer, he should truly reflect and express his understanding and experience of his own time, society and life, so as to resonate with people. His style necessarily belongs to the era in which he lived, but that doesn't stop him from using traditional techniques in his own way.

Like the neoclassicists, the neo-baroqueists, they shouted "go back to Bach", but in fact they never wrote fugues in pure Bach style. No one will listen to Hindemith's "Tonal Game" as "Twelve Equal Temperaments", and no one will take Schnittke's "Grand Concerto" as Vivaldi's work.

Speaking of new music, in fact, new folk music is not a new concept.

Western new music, also known as modernism and avant-garde, mainly appeared in European and American countries. Its emergence is related to the emancipation of individuality.

The pursuit of individuality is of course right, but it is also easy to go to extremes, often ignoring the content of thoughts and ignoring the expression of emotions. Some Western composers simply say that music cannot express anything other than the music itself. However, few of us can accept this view!

Whether or not those "new music" can stand up to history will only have time to verify. When Stravinsky's The Rite of Spring premiered, the audience reacted with scolding, laughter, and whistles. But in a recent performance, the piece was met with applause and cheers for several minutes.

It seems that human hearing is also developing. In Germany, young people like pop music, and older people listen to classical romanticism, but Stravinsky, Bartók, and Hindemit also have a considerable market. For the new contemporary music, such as Stockhausen, Rigeti, Penderecki, etc., the vast majority of people do not understand, let alone like it, but as long as they show some patience and understanding, they can already hear sparse applause at the concert.

Besides, around us, the same example, the two works I just listened to, the premiere was praised by almost everyone, including the teacher.

Of course, Yang Jingxing and Qi Qingnuo are far less avant-garde and radical than Stockhausen, and they do not have a bit of serialism. However, this is what makes us happy, and some teachers said that Yang Jingxing's works are "inherited without being rigid, and they are popular and unique", which I think is very correct.

What makes us especially happy is that Mr. Ding and Mr. Tang also have a positive attitude towards today's works, which shows that the two students are in the right direction, and I believe that they can be recognized by more people, and we should also create such conditions for them. As for whether what they are doing is folk music or new folk music or new music, I don't think it matters.

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

Everyone applauded, the people on the stage looked at each other, and someone had to continue talking. After being invited by the principal, Zou Chunyu, the director of Little Giant, was not polite, his Chinese is more Mandarin: "I am really excited to meet so many amazing artists in the mainland for the fifth time, especially Ding Lao, thank you very much." Thank you to those beautiful girls and Mr. Yang Jingxing just now, you are also amazing.

Many years ago, I firmly remembered a sentence from Ding Lao: you must have a sincere heart for music. Before, when we were upstairs, everyone was so moved, and our composer, Mr. Bai Xianwen, was in tears, because we all felt the sincere heart of Yang Jingxing and Ms. 306 for music.

Mr. Bai Xianwen is an old friend of mine, I have known him for almost 20 years, and today I heard him for the first time to pay tribute to his juniors. Mr. Bai Xianwen also has a sincere heart for music, and I admire him very much. But Mr. Bai said that he should admire Yang Jingxing, because a composer is willing to write so many wonderful musical ideas into a single work, which is worthy of 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 immediately stood up, bowed and saluted, and then turned around again, and then bent down towards Bai Xianwen and the group behind him.

Several Taiwanese friends in the back row stood up and returned the salute to Yang Jingxing. It's funny, but no one laughs.

Yang Jingxing is not deserved, many composers and even composers often put one or two themes or motives that they have come up with or have been skillfully decorated through various composition techniques, so the most valuable and rare thing about this work is actually those one or two motives.

"It's Us" is so different, the whole song is only half an hour, but there are dozens of dazzling motives and themes, and there are one wonderful sentence after another...... Half an hour can make the listener not feel bored, but more and more engaged in enjoyment, because there are too many valuable things.

It's a shameful waste, and if you pick out the good things and give them to an experienced composer to create, you should write a lot of good works.

After everyone sat down, Zou Chunyu continued to be excited: "It's worth it, it's worth it! There are so many music academies and schools on the mainland, so many outstanding musicians, and so many outstanding young folk musicians have been trained, I am so envious." There are also many young people in Taiwan who are keen on folk music, but they do not have such a good opportunity and environment, I sincerely hope that you can go to Taiwan as a guest, and you will definitely let Taiwan's young people have a new view and enthusiasm for folk music. ”

Then, Song Yanjie, deputy director of the Central Chinese Orchestra, also talked about his views, he did not praise Yang Jingxing and 306 too much, 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 and the times develop together, and believed that it is not impossible to use synthesizers and electric guitars to match or even integrate into folk music, as long as they serve the expressiveness of music.

Then, He Zhijun, the conductor of the National Youth Chinese Orchestra, praised 306's performance skills, believing that these girls are also inherited without being rigid. He mentioned a sentence or two about the merits of almost every instrument, and he said it professionally.

In bursts of applause, the people on the rostrum slowly integrated into the atmosphere of the discussion. Lu Baiyong, the conductor of the Puhai Chinese Orchestra, believes that although many people are pursuing the innovation of folk music, Yang Jingxing and 306 are the best, so innovation should be based on the fundamentals, and we cannot blindly seek innovation, otherwise we will fail.

The vice president of the Federation of Literary and Art Circles even criticized some art workers for being short-sighted when creating or performing, and gave up a lot of audiences from the beginning.

Ding Sangpeng praised Li Weiguang, saying that although art workers do not need to deliberately cater to them, they should at least focus on the audience, and should not create for the sake of the rating of actors or performers or the level of professional titles, which would be detached from the masses.

......

Tang Qing, who has not spoken, also started at the invitation of Ding Sangpeng: "What everyone said is very reasonable, and I have been thinking about it, and I think we should also listen to the creator's ideas." ”

All eyes were focused on Yang Jingxing. At the signal of the principal, Yang Jingxing stood up, so that everyone could hear clearly, so his voice was a little louder: "Xie Lu, thank you, seniors, we are more confident." ”

He Hong was so anxious that he stared at Yang Jingxing, and Ding Sangpeng was not satisfied: "Tell me about your creative experience." ”

Yang Jingxing told the truth like telling a bland story: ""The Clouds Open and the Fog Disperses" was long before "It's Us", and I just followed the trend. My motivation for creation comes from 306, when I first met them, they were still adapting some popular works, but they are all serious and hardworking, everyone is very good, I admire them.

A further attempt was made by Qi Qingnuo in "The Clouds Open and the Fog Disperses", and I discussed it with her, and she also encountered a lot of difficulties. Especially in terms of harmony, her attempts inspired me a lot. In terms of the improvement of the work, Professor He and Professor Gong have given me a lot of help, and 306 has also helped me, and the work is not completed by me alone. ”

The people of 306 accepted the thanks quite seriously. Qi Qingnuo rested his left elbow on the arm of the chair, his forearm raised, his palm outward, and his bent knuckles lightly touched the tip of his chin, as if he was thinking.

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

Yang Jingxing said: "We didn't expect to receive such attention, I guess 306, like me, is more excited now." There are so many people working hard for the development of folk music, and we are not the beginning or the end, but I am more confident now than before. ”

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

Yang Jingxing didn't sit down yet, he said: "I hope 306 will like it, it can be said that this is a tribute to them." ”

There were still a few chuckles in the audience, He Hongzhui didn't look at Yang Jingxing anymore, and Li Yingzhen also had a serious expression.

Ding Sangpeng didn't smile, and asked very deeply: "What do you want to pay tribute to?"

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

Ding Sangpeng looked at Qi Qingnuo again: "Qi Qingnuo, what are you doing for the group of 306?"

Qi Qingnuo also stood up, but it was empty: "I hope that a few friends have fun together and have a purpose." ”

Ding Sangpeng asked, "What is the goal?"

Qi Qingnuo said: "Make music that we all love. ”

Ding Sangpeng asked, "Yang Jingxing, is your goal the same as them?" ”

Yang Jingxing nodded: "Yes." ”

Ding Sangpeng began to summarize, saying that Yang Jingxing and 306's creative state is the most innocent and has a good foothold, which must be an important reason why they can make good music.

Zhang Jiahuo said that Ding Lao was right, and praised him a little more with a smile: "...... Young people do know young people better than us, and there are some aspects, such as more than a dozen girls dressed beautifully on the stage, which is also necessary for many young people in society today and cannot be ignored. ”

Qi Qingnuo immediately stood up again, looked at the stage and echoed: "Commander Zhang is right, what we want to show on the stage is our self-confidence, whether it is for our music or ourselves, we believe that the two will complement each other!"

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

Yu Xinting was so happy, Yang Jingxing was also very supportive of Qi Qingnuo, the two teachers around him only clapped their hands symbolically, and He Hongchui also pulled Qi Qingnuo to sit down.

The people on the rostrum also clapped their hands with Ding Sangpeng to encourage Qi Qingnuo's self-confidence, only Zhang Jiahuo smiled and did not give himself a wonderful cheer.

After Ding Sanpeng clapped his hands, he looked at everyone for a while, and said very seriously and excitedly: "Self-confidence, these are the two words I want to say the most today, from them, I see the self-confidence that I have not seen for a long time! Many of our folk music workers are enthusiastic and talented, but they just lack self-confidence. It's not the confidence of talent, but the confidence of our culture, the confidence of being down-to-earth. Self-confidence and tolerance are often inseparable, and the two works we are listening to today are the best embodiment of a group of talented young people's confidence in folk music! We often say that we like to say pride, but only pride without self-confidence will not work!"