Soon, Huang Jing and the others discussed what repertoire Lin Baoqing was going to choose to play on stage, and Song Xian also asked Qin Fangge, "Are you going to play with Baoqing or what?"

Qin Fangge said that it was okay, and Song Xian said, "You can't do it all! You have to settle down as soon as possible, according to your time for concerts! If you want to play in an ensemble, you have to find time to practice." ”

Qin Fangge said that he was not sure, and Song Xian said, "It's best to come up with original repertoire, your concerts are all original!"

"Definitely!" Huang Jing said with a smile, "We have all heard other people's music, and it is not interesting." There are also other people to play, don't go to join in the fun when Qin Fang sings, and give others a way to live!"

"Where is there such an exaggeration!" Qin Fang laughed.

Xie Xiaojuan also said, "The current folk music is actually gradually restored by later generations. Qin Fangge can rest assured that he can create boldly, just like the music we played last night, although some people say that it is not folk music, but the vast majority of people still approve of it. ”

Speaking of this, the grumpy Huang Jing became angry again, "Do they think they know best what folk music is, and what qualifications do they have to say whether it is folk music or not?"

Qin Fangge smiled, "There are always people who follow the rules, anyway, I think that even if it is national music, it must keep pace with the times." Just like the folk instruments we use to play folk music now, many of them are not imported from other places. We use it a lot ourselves, and it becomes our thing. ”

Song Xian said that Qin Fangge spoke well, "This is the truth, Qin Fangge uses the piano and other Western musical instruments, not all of them can create our national style music, those people just can't see the good of others, and their thinking is extremely narrow-minded, Huang Jing, don't be angry with them." Why bother to use their narrow hearts and 'hearts' to anger ourselves!"

They could discuss this issue for half a day.

In fact, before this, whether such music is national music or not, whether it will cause disputes, Long Fujin and Professor Wu Yifen have been vaccinated with them. Qin Fangge really doesn't care much, and there are many types of music he creates, pop, classical, oriental, Western, everything. No matter what others say, it can't affect his dedication and love for music.

Therefore, what they are most worried about is the situation of the 'girls', they also have to be petty, of course, this is also related to their main 'energy' and time 'spending' on this.

Leave everything to time to test!

Even the audience will miss out on a lot of good music because of the limitations of various times. Everyone has studied the music history of the East and the West, especially the history of Western music, and many musicians' works were not valued at their time or even before they died, and it was only after decades or even hundreds of years that everyone discovered the true value of these musical works.

This work created by Qin Fangge, played by them, the effect is still very good, at least everyone likes it. It's also very normal to have objections, otherwise, I'm afraid they themselves will be nervous and suspicious again.

Then, the topic returned to folk music.

It is also very difficult to define what kind of music is considered national music.

Qin Fangge thinks that it can reflect the national culture and have a national style, even if it is a modern style, it is considered national music.

Of course, Qin Fangge himself admits that Western music is now powerful, and even a lot of the music he composes himself is born from Western music. There is nothing wrong with this, after he learns Dacheng, he can use the West for China.

After lunch and bragging about the skin, Qin Fangge and the 'girl' children continued to go back to the classroom to struggle.

Xiao Yuran, this girl is quite pitiful, and she still has to go back to the piano room to practice alone, but Qin Fangge said that she would go up to see her later, which made her happy for a while.

After the successful performance of the large-scale folk music ensemble "Jin Se Hua Nian", the 'girl' students had to face a headache in the final exam.

Huang Jing: What annoys them the most is non-professional exams, especially various political 'sex' courses that need to be endorsed. Relatively speaking, they are very confident in professional courses.

But you must not let your guard down, at the very least, you must 'find' time to practice every day.

They also all asked Qin Fangge to help and see if there was anything that could be improved.

Qin Fangge is also happy to discuss with them and make progress together. He also 'communicated' with them what he had learned, understood, and felt.

In the final exam, their professional assessment is, of course, the solo performance of their own instruments.

Huang Jing is more confident, and the repertoire she chooses is more difficult, not only in terms of performance techniques, but also in terms of ideological 'sex' and artistic 'sex', and it requires a very deep understanding. In the case of not having rich life experience and experience, if you want to do this, in addition to listening to the music of famous masters, you should also read more books and feel the traditional culture. What's more important is to look at the talent, the richness of various emotions in the heart, the sensitivity to music, and so on.

Chen Tianhong, like Huang Jing, is very arrogant.

The repertoire she chose is a very classic pipa song "Sunset Xiao Drum", which is an ancient pipa song, but due to ancient music, few music scores have been handed down, and there are many versions that have evolved later.

Some people say that it is based on Bai Juyi's "Pipa Xing", and some think that the artistic conception of Zhang Ruoxu's "'Spring' River 'Flower' Moonlit Night" is more suitable for this song.

Chen Tianhong chose the artistic conception version of Zhang Ruoxu's "'Spring' River 'Flower' Moonlit Night", and she also asked Qin Fangge to help and guide the 'maze'.

When Qin Fangge listened to her play, he remembered that in another world, there was really an orchestral piece adapted into "'Spring' River 'Flower' Moonlit Night", which was not just a pipa song. Then, there are guzheng, guqin, and pipa songs, and it seems that in traditional Chinese music, the mutual adaptation of various types of music is also very common, and everyone can accept it calmly.

As far as Qin Fangge himself is concerned, he 'quite likes' the artistic conception of "'Spring' River 'Flower' Moonlit Night".

The "spring" river and "tide" water are even with the sea, and the bright moon on the sea is born with a "tide". The ripples follow the 'waves' for thousands of miles, and there is no moon in the 'spring' river.

From the very beginning, the poem is lofty and majestic. From the 'spring' river to the sea 'tide', from the river tree to the 'flower' forest, from the moonrise to the moonset, from reality to dream, Zhang Ruoxu has painted a picture of fantasy and reality to the world, vast and deep, quiet and beautiful.

As for the back, "life has been infinite from generation to generation, and Jiang Yue is only similar every year." I don't know who Jiang Yue treats, but I see the Yangtze River sending water.

"The four sentences have always been considered to contain philosophical 'sexual' reflections on life and the universe.

In the words of Wen Yiduo, "In front of the magical eternity, the author has no stunned, no longing, no sadness."

Listening to Chen Tianhong's pipa again, Qin Fangge suddenly moved the idea of creation. Bear. The ripples follow the 'waves' for thousands of miles, and there is no moon in the 'spring' river.

From the very beginning, the poem is lofty and majestic. From the 'spring' river to the sea 'tide', from the river tree to the 'flower' forest, from the moonrise to the moonset, from reality to dream, Zhang Ruoxu has painted a picture of fantasy and reality to the world, vast and deep, quiet and beautiful.

As for the back, "life has been infinite from generation to generation, and Jiang Yue is only similar every year." I don't know who Jiang Yue treats, but I see the Yangtze River sending water.

"The four sentences have always been considered to contain philosophical 'sexual' reflections on life and the universe.

In the words of Wen Yiduo, "In front of the magical eternity, the author has no stunned, no longing, no sadness."

Listening to Chen Tianhong's pipa again, Qin Fangge suddenly moved the idea of creation.