The professors' eyebrows twitched slightly.

This is a really difficult question to answer.

Because, the scope is just too wide!

Who knows what answer you want to hear?

That's it.

Hundreds or thousands of non-repetitive papers are no problem.

"I think that the Chinese music system now needs to borrow from Western music as much as possible to expand and develop while maintaining its characteristic foundation."

Xu Xin opened his mouth.

First sentence.

It's very empty.

Li Jinglin frowned imperceptibly.

But soon.

With Xu Xin's next words.

Li Jinglin's brows began to stretch.

"Huaxia mastered the seven tones very early, but preferred the harmonious five tones, so over time, it developed more and more to pursue melody and rhythm, but despised the role of harmony, while Western music paid more attention to harmony."

"Western music is more about a width, the integrity is stronger, if it is described in painting, it is a layer of oil painting, with lines, colors, sensitivity, layer by layer of pigments, more balanced in all aspects."

"If Chinese music does not have an obvious melody, it is not called music, and the harmony is dispensable, like some ink paintings, lines, contours, but the avenue is simple, and more attention is paid to artistic conception."

"Just as Chinese painting is not obvious in terms of perspective, Chinese music is not without harmony, but very inconspicuous and rarely used."

"These differences are more due to other aspects."

Xu Xin's thinking is clear and his elaboration is very organized.

Moreover, it is from a very objective point of view, and the difference between the two is compared.

There is no emotion.

It is not a sense of speculation or pandering.

"Therefore, if you are a Westerner who has not been exposed to Chinese music, when you listen to Chinese music, you will feel as if there is only one thread floating, which is very incondensed, and when you listen to Western music, you will feel that Western music is like a mixed noise because they are not used to harmony."

"From my personal point of view, I would think that Chinese music is more profound in artistic conception, while the form of Western music is thicker, and the development of Chinese music today needs to pay more attention to the function and utility of harmony on the basis of maintaining far-reaching artistic conception, and focus on exploring more ways of operation of the music foundation."

Listened to these words.

Li Jinglin couldn't help but nodded.

This student can indeed clearly see the problem of the essence of things.

Chinese music is very influenced by Chinese culture.

In the traditional culture of China, there are some things, put it now, must be correct?

You can't just keep the old rules.

Rather, it is necessary to have a recognizable and reasonable inheritance.

What about Western art?

Is patriotism something that must be demeaning to others?

The student Li Jinglin is looking for.

It must be a student who can abandon prejudices and look at the essence and have brains.

Both East and West.

I won't blow it brainlessly.

I won't boast about it brainlessly.

On a case-by-case basis, only the artistic aspects are studied.

Since Chinese music strictly followed the etiquette at the beginning, and the pentatonic scale was also based on the principle of complete fifth and fourth harmony, the harmony of these notes was not only loose and empty, but also very limited.

The pentatonic tone itself is very harmonious, and the harmonic has very limited dynamic reinforcement of rhythm, and it is difficult to promote emotional ups and downs.

In addition, the thoughts of the time and the life of the scholars.

The five tones are enough to express the ideas of "conforming to nature in order to seek comfort" and "being quiet and tranquil, and enjoying leisure", which is in line with Confucius's golden mean, and Lao Tzu's quiet and inaction.

Therefore, the ancients of China followed the etiquette and loved the pentatonic scale

There really is no need to develop and sound.

Therefore, the harmony of Chinese music is more in the music of ethnic minorities.

The systems are different, and each system has its own form of music, and it is obviously not right to say that Eskimos are backward if they don't use refrigerators.

But harmony is as important as a refrigerator.

There is no ancient Chinese music, which does not mean that modern Chinese music does not need to be ordinary.

Eskimos, of course, can draw a circle, only encircle themselves in the polar regions, and do not pursue a life that requires refrigerators

But want to develop.

After all, you still need to get out.

Flourish in poetry, stand in ceremony, and become musical.

Development still has to be had.

The golden mean and quiet inaction are good, and there is great wisdom.

"Conform to nature, in order to be comfortable" and "quiet and tranquil, excellent travel and leisure" are also a good attitude to life.

But if you want to develop, you can't just do it.

If the understanding is biased, or the excessive practice of "quiet inaction", it is easy to produce a very negative concept of life, which will limit the expression and development of all contents, not only philosophy, thought, technology, but also art.

Chinese music, in fact, is in such a situation.

This is especially true for the general public.

And at this time.

Xu Xin spoke again.

"Also, the reason why the rhythm focuses on different directions also includes language."

"Western languages tend to be more one-dimensional rhythmic languages, so in terms of their rhythmic development, the rhythm of the language will not affect the melody, and give harmony a broader space for development."

"The Chinese language is a melodic language, from the stroke of the word, the pictogram of the two-dimensional basis, the addition of the three-dimensional concept of tone, to give different pronunciation, a word, different pronunciation tones, may cover different meanings."

"Therefore, the Chinese language has a melody, and the tactfulness of the tone and frustration is easier to form a tone, so it is natural to pay more attention to the melody and develop it deeper, and the harmony sometimes often affects the melody of the language."

Speaking of which.

Xu Xin smiled slightly.

The words spoken are very standard.

Even several professors nodded their heads again and again, and the admiration was overflowing.

"Therefore, if we look at music as a whole, China's music has formed a unique music system and musical aesthetic habits under special historical conditions."

"Explore the laws and sources of its development, and understand the conditions and reasons for its formation."

"Only by summarizing the elements ignored in development and maintaining our own advantages and competitiveness can we push China's long-standing national music to a more vigorous and prosperous and colorful situation."

Bang bang bang.

Several interviewers couldn't help but applaud Xu Xin.

The beautiful girl in front of her is not only strong in winning awards, but also strong in performance.

From what I just said.

You can see it completely.

Xu Xin has a very academic exploration of Eastern and Western music, as well as her own independent thinking.

Stop.

And really get to the point.

At least.

That's all I just said.

If you tidy up.

And it is specific and concise, with examples to demonstrate, and expound some suggestions and directions for development.

Be modest.

There is absolutely nothing wrong with the master's thesis in the C journal.

"Very good, very good."

Li Jinglin also nodded with satisfaction.

To have such insights and thoughts

This Xu Xin is on the road of practicing the development of Chinese music.

In fact, it is equivalent to entering a door!

Here's how to get started.

It's really hard.

Because the problem of the essential development of music can be viewed calmly, without any colored glasses and prejudices.

is the hardest.

Prejudice here.

Whether it is a brainless touting of Chinese music, or a brainless disparagement of Chinese music.

Or kneeling down to Western music, or disdainful of Western music.

Both.

Ordinary diodes are also counted.

If you are a music researcher or practitioner and have reached the level of master's and doctoral degrees, you still have these bad prejudices.

That's the musical disaster.

Next.

It's an interview with some other questions.

I have to say.

Xu Xin is indeed a cow.

In the discourse, it is clearly organized, logical, and very objective and to the point, and the theoretical foundation is also very high.

Although said.

The results of the interview are not yet out.

But almost everyone knows.

This Xu Xin.

The designation was admitted.

"It's hard to imagine that she's just an undergraduate."

Zhang Yi raised his eyebrows.

"With keen thinking, clear logic, and solid theoretical knowledge, I can quickly find out the direction I can answer from Professor Li Jinglin's questions, and I have a deep enough understanding of the music system and development sources of the East and the West."

"That's right, Professor Li, your first apprentice is in place."

Li Jinglin raised his eyebrows.

Hehe smiled.

"This girl is really interesting, something."

"Keep going!"

Soon.

The interview continued.

I interviewed a few in a row.

The problems are varied.

"What did Josef Suk's works need to do in terms of technique to make them more in line with the music of the 20th century?"

"What do you think is the essential difference between today's performers in terms of mood, timbre, narrative expression, and technique?"

Duration.

Professor Zhang Yi is very satisfied, and Professor Fang Ping is very satisfied.

But Li Jinglin has been noncommittal, and the evaluation he gave is relatively average.

Until a boy who looked a little wooden walked in.

Li Jinglin showed a more interested expression again.

"If you play Li Jinglin's work, "Venice Carnival", what kind of way will you interpret it?"

The boy raised his hand and scratched his head.

It looks stunned, and it's not very smart.

"I don't say it."

“.”

Several teachers were slightly numb.

Such an honest and straightforward "I don't know" is indeed a little difficult for the teachers for a while.

"The mood is different every time I play the violin, so it is definitely difficult to understand and express this and this concrete."

The boy frowned.

It seems that I want to express myself as much as possible.

But it's like searching the intestines and scraping the stomach, and I don't know how to express it concretely.

So, he opened his mouth in a way that can only be understood but not spoken.

"Well, yes, that's it, you know!"

“.”

Professor Zhang Yi and Professor Fang Ping glanced at each other.

There is some helplessness.

The boy did very well in the retest.

It's not as good as Xu Xin.

But it's definitely in the top five.

Originally, I thought that this student was good.

But at this time, when I answered like this, I felt a little bottomless.

"In other words, your interpretation of the work is different every time, and after you interpret and understand the work, you will make different interpretations according to your mood each time you perform?"

Li Jinglin was suddenly interested.

I couldn't help but ask.

"Well, it seems like this!"

Stop.

This sentence of the boy of Mu Ne.

It really made Li Jinglin pay attention to it.

Such people.

in the industry.

There are two titles.

One, it's a ghost.

One, it's crazy!!

They will not interpret the same work according to the rules, but "I can interpret it how I like it, it all depends on my mood today".

Other words

Under normal circumstances, the same piece is interpreted by different musicians, but if the same musician plays the same piece, the interpretation and interpretation will be extremely similar.

But this kind of person is different.

Every time he interprets, he will be affected by his mood, so the content of his expression is completely different.

Change as much as you want, as long as it fits his inner world, he will play.

Although, it looks very capricious.

But Li Jinglin knows.

Perhaps he doesn't fit into the title music of Romanticism.

But in the classical period, some non-titled music can bloom a lot and quite different imagination under the interpretation of this kind of person.

This is a crooked talent, long crooked, but especially crooked Monster B.

"In other words, the violin sonata you played in B minor during the retest, and in measures 72 to 78, the idea that you changed the legato to a throwing bow was your improvisation?"

"Well, yes, because when I got to that section, it suddenly felt a bit like a kitten seeing an elephant."

Hear this answer.

Li Jinglin became interested all of a sudden.

The sonata is untitled, that is, there is no obvious story content.

What little cat elephant, all of them came out of his own YY.

In that section, the repeater is a gradual intensity from the middle of the front, and then a sudden attack is performed in measures 72 to 78 to achieve a dramatic effect.

The male classmate in front of him did not follow the rules, but turned the bow into a throwing bow in the case of sudden strength.

Although the sudden feeling is not particularly obvious, the overall color produces a particularly active change.

Not to mention, it's quite reasonable.

It's as if a kitten with a gentle footstep hears a stronger and stronger stride in the distance, and then sees an elephant and jumps up at this point in the suddenness.

If a more rigid judge listens to it, it will be very displeased.

Because the changes are really big, very different.

But Li Jinglin feels that this kind of treatment is really very imaginative.

"Good, good, great, art needs imagination, art is imagination!"

Li Jinglin's eyes lit up.

"What's your name?"

"Liu Liu Chenyang."

Take an apprentice!

It's time to bring some weird apprentices.

Maybe he'll evolve into a demon king!

(End of chapter)