Fortunately, after everyone has eaten lunch and rested, the formal rehearsal will start in the afternoon, and there is also time to discuss this matter. So, Zhou Xiuying asked them to wait first, do a good job of rehearsals, and notify them when the time comes.

Zhao Li, the deputy director of the External Relations Department of the Grand Theater in charge of this matter, had nothing to do, so she could only ponder, and it was also very good to dry these Japanese and Koreans. In the past, they were above the top, but now they have finally found it. Of course, this is only a spiritual victory method, just think about yourself as refreshing, you can never say it.

Zhou Xiuying also asked everyone to concentrate on the rehearsal, and it was not too late to talk about this matter during the meal break, everyone estimated that they also had the idea of deliberately letting them wait, not to mention, it was very cool!

Qin Fangge, this guy is quite calm, the key is that he doesn't have time to think about so much mess, there are enough things at work.

When it came to the time to eat, he was still hungry and punctual, and there was nothing else to do, so he still ate in the canteen! Zhou Xiuying and Shen Jianping and other big names are no exception, they all eat in the canteen, and they also save time and physical strength, plus they dress up, don't go out to be scary!

Then Zhou Xiuying announced the end of work, let everyone hurry up to eat and rest, start the formal rehearsal at two o'clock, take a half-hour intermission, and end at half past five, which naturally includes the Grand Theater Orchestra.

Zhou Xiuying also went to eat with Qin Fangge, Shen Jianping, and Qi Hong, they were all flesh and blood, no matter how energetic they were, it was absolutely impossible not to eat good things to supplement their physical strength.

But Shen Jianping, Qi Hong, Zhai Liyin, Zhou Hongxia, and the other senior sisters are women, and they gossip regardless of age and status, Shen Jianping is the director of the vocal music and opera department, Zhai Liyin, Zhou Hongxia, and they are all well-known soprano singers, and they are all speculating, "Do these Japanese and Korean colleagues want to come over to inquire about intelligence?"

Qi Hong was also a little puzzled, "Don't be so anxious, you can see the performance tomorrow night." ”

"I guess they will definitely not be convinced in their hearts, and they also want to know the real situation in advance!" Shen Jianping also said loudly, "In terms of the overall level of classical music, the strength of Japan and South Korea is stronger than ours, but when it comes to opera creation and performance, after we have Qin Fangge, we are only better than them! We still have this confidence, otherwise, Mr. Zhou should also scold us for having no ambition!"

She also relied on Qin Fangge, who was particularly favored by Zhou Xiuying, and it was reasonable to say such a thing, and several other soprano singers also nodded in agreement. And male singers such as Fan Qing, Cao Jinhua, and Hua Ziyan were particularly unrighteous, and they threw Qin Fangge into their middle and ran away, not planning to get involved in this matter at all. Qin Fangge was caught by these older senior sisters, and they definitely couldn't run away, but fortunately, with the great god Zhou Xiuying, they didn't dare to mess around.

Zhai Liyin also said, "People from their two countries, in the end, are still too petty, I really don't know why they are so impatient, do they want to see jokes or what? ”

Zhou Hongxia said, "Maybe I'm really too curious about Qin Fangge! His current fame and influence feel like he has surpassed any of our classical musicians in Asia! It can be seen from the attendance rate, coupled with all kinds of media hype, there is definitely a feeling of unconvincing." ”

Qin Fangge, who had not spoken, hurriedly pleaded, "Teachers, don't kill me, okay......?

Zhou Xiuying opened her mouth and said, "What are you weak in, aren't what they say the truth? Even if it is Aoki Guizi, now the limelight is not as prosperous as yours, and everyone is looking at it." ”

Shen Jianping and the others were immediately happier when they heard it, the old lady obviously turned on the short-term protection mode, who is Takako Aoki, who is the world's most famous conductor, and the pride of Asians, who has directed too many famous troupes, and has also participated in the conducting of many opera house classic operas. In the classical music industry, his status is only on par with a few people, but it is difficult to say who is higher and who is lower.

But Zhou Xiuying said that there is no problem, if you want to talk about the degree of limelight, Takako Aoki can't talk about it with Qin Fangge, even if he has been mixing this classical voice circle for forty or fifty years, Qin Fangge has only just debuted for about a year.

can't stand his talent, good looks, and all kinds of gimmicks, the world's No. 1 tenor, composer, pianist and various titles are put on his head.

Of course, it's not entirely a good thing to be in the limelight like this, and those who are unconvinced and feel that he is too famous abound, even if he has proven his strength with his musical works. But he is too young, not yet twenty years old, and the typical hairless mouth is not firm, many people will think, no matter how talented he is, where can he be a genius?

Many people in China still think so, not to mention the crooked nuts that may have always been prejudiced against the Chinese people, even if they are also Asians! It seems that this competition has become more intense......

And after Zhou Xiuying turned on the short protection mode, Shen Jianping and the others climbed up the pole, as her proud disciple, this ability to observe words and colors is still there.

Given the current state of the classical music market, if China wants to go global, it must first surpass South Korea and Japan. As Shen Jianping said, because domestic classical music started relatively late, it is not a shame to lag behind South Korea and Japan, the key is to face the reality and bravely catch up.

There are many reasons for this, the most important is the economic reason, the so-called economic foundation determines the superstructure, South Korea became richer earlier than China, and there was a higher pursuit at the spiritual and cultural level, learning Western classical music, sending students to Europe and the United States to study, and then returning to the motherland after completing the study, carrying out music education for the next generation, first only talking about classical music.

In Japan, on the other hand, they were westernized even earlier, and since the reform was carried out more than 150 years ago, they began to accept Western classical music and conduct experiments in modern music education. It has formed a national music quality education system that integrates society, primary and secondary schools, and colleges and universities. Moreover, Japan maintained communication and contact with artists from both the Eastern and Western camps. He has invited many classical music masters to perform in Japan, conduct orchestras, and serve as conducting and artistic directors.

Moreover, due to the characteristics of the Japanese nation, aside from various grievances with China and South Korea, Japan's insecurity in nature, as well as the fact that the strong will make compromises and other characteristics, plus after World War II, Japan's economy took off earlier than South Korea, and the national self-confidence was even more highly inflated, and even threatened to buy the whole world. Then it was shot by the father of the United States, but the dead camel is bigger than the horse, and the degree and popularization of their classical music education are far from being comparable to South Korea and China, which are catching up with them.

Take the most representative symphony orchestra level, Japan is also super perverted, and there are nearly ten symphony orchestras in Tokyo alone. In addition, Japan has always admired and loved Western classical music, and its support for local small orchestras is also very strong. The on-site management and handling of affairs are orderly and perfect, which is also the factor that leads to the excellent performance of the orchestra and conductors, and there are also quite a few excellent conductors, Takako Aoki is the most typical, and their new generation of conductors are also quite high.

These gaps need to be faced, although Zhou Xiuying asked Qin Fangge and other disciples not to be arrogant, but also to know themselves and their opponents, especially not to sit in the well and watch the sky.

Zhou Xiuying was well-informed, and even personally explained Qin Fangge's doubts, telling her some views on why Japan was able to develop the level of classical music to the top of Asia. As for Israel, everyone subconsciously went to Europe, and if they didn't mention it in particular, they wouldn't have thought of it. At present, among the overseas students, the yellow race is the majority of these three countries, and Hong Kong and Taiwan are also an inseparable part of China. It is particularly worth mentioning that the level of symphony orchestras in these two places is not bad, and the level of the Taiwan Philharmonic Orchestra is even higher than that of mainland orchestras.

Speaking of the Japanese, they are generally considered to be reserved, compromised, and not prone to disputes, and although they are superior to Westerners, they have a "graceful and elegant temperament" and are willing to rebel against others, but "lack of individuality" is two sides of the same coin. The Japanese like to take care of other people's preferences, and they can't be their own masters, "being a slave is more handy." There are also those who believe that the Japanese are full of "attachment love", which means extreme pandering to others and the desire to be attached to others, so "please", "restraint", and "shyness" are certainly expressions of attachment and love, but "anger", "delusion of victimization", and "distortion" are also contradictory variations.

Then, from the perspective of world history, it is a historical necessity that economic prosperity has led to the rise of the middle class, which has led to a strong interest in learning music. The first occurrence of this phenomenon occurred in Central Europe in the early nineteenth century, the second in the United States during the Gold Rush era, and the third in post-World War II Japan. Japanese girls were required to learn the tea ceremony, the art of flower arrangement, or the playing of the koto before marriage, a practice that had expanded since the war to include the study of the piano, violin, or harp, as evidenced by Japan's integration of classical music into its culture.

There is also the belief that Japanese people have low self-esteem and worship the strong, so they love foreign cultures. Japanese people have a strong curiosity about foreign languages and foreign cultures, and they express non-exclusive qualities. In fact, they have a dualistic character and structure in their closed-mindedness and openness to foreign cultures.

In the conservatory of music, Zhou Xiuying and Shen Jianping both have a lot of experience in communicating with Japanese conservatories, and at this time, they talked about him one by one. is also because Qin Fangge has never been to Japan, and it is always right to know more about it when communicating with Japanese music colleagues in the future.

Everyone knows Qin Fangge's amorous temperament, and Zhai Liyin said more directly, telling him to be more vigilant, "Don't be deceived by people's beauty tricks to the point of fascination!"

For example, art advocates freedom, sensibility, and imagination, and the learning process must be democratized and full of creative experiences. However, the transmission of elite knowledge and techniques in the real academy is quite authoritative, admonishing, and full of mechanical levels, from the master-apprenticeship system of the sect to what tunes can be touched (or not), which are all typical levels, which are not the same as the general talent teaching as "general knowledge". In the case of the Conservatory, for example, students and teachers are taught one-on-one, often like father and son (mother and son), and the relationship is both public and private, and many biographies of great musicians describe how Yan Shi disciplined his students, from the notes to the involvement in private feelings, which is difficult for outsiders to imagine. In China, it basically belongs to this type.

Conservatories are different from other universities in that they don't believe in teaching and teaching. The training of the technical discipline itself is designed for those who have musical talent, and the mechanism of the conservatory treats the students as apprentices, and they must fully trust the teacher in order for learning to be effective. Zhou Xiuying also loves talented students as disciples, Qin Fangge, Shen Jianping, and they are both. Subtle philosophical discussions may take place in other fields of art, but in the music classroom, the goal of learning is clear, and the teacher is mostly doing the work of "correcting", such as the practice of scales, the mastery of intonation and rhythm, form and style, which is the core of the curriculum.

Similar talk is heard in European music academies, where it is generally believed that Western concepts such as individualism, equality, and democracy are not conducive to the need for painstaking technical practice. On the contrary, the Japanese are well-behaved, obedient and willing to practice hard, so it is often seen that Japanese music students who went out in the seventies and eighties of the last century have achieved excellent results and often won awards in international competitions. Later, Koreans are more able to endure hardships and be more shameless, the most used instrument to learn music is the piano, and the unscrupulous occupation of the piano room by Korean students has also made countless students express their deep hatred, and even Chinese and Japanese students can't stand them.

However, the Japanese experience of classical music still follows the economic basis and still determines the distribution of cultural positions, and their learning spirit and interpersonal strategies have inspired their musicians: "Listening to what you say does not mean taking everything you want." Sometimes the strategy of "negotiation" is expressed, and the Japanese do not express a confrontational stance on the scene, but they have the ability to negotiate and compromise independently, and they are good at quietly negating the other party. But when it comes to wisdom and advice, it will also be accepted and practiced behind closed doors. The superficial obedience of the Japanese gave the professors at the conservatory a great sense of security and confidence, but while they absorbed it in exchange for the opportunity to move to the next level, they carefully maintained their talent for negotiation and created their own cultural language.

This is also the place where Zhai Liyin, Shen Jianping, and the other senior sisters reminded Qin Fangge, for fear that he would be deceived, the Japanese may be polite to you on the surface, and they keep bowing and bowing until you feel embarrassed, but what are you really thinking about in your heart, and only they know it.

(End of chapter)