As a unique style type of Chinese pop music, today's National Style Music has long become a trend and fashion. The participation of a large number of musicians and singers has also made the national style a cultural phenomenon, and even has its own subculture form.
But in this era of ubiquitous national winds, as a fan of rationality and not blind obedience, you sometimes ask the question, that is, what are you listening to when you listen to ancient winds? This problem is not actually one-way, it is also a two-way problem. That is, it can also be used to ask many antique musicians, what exactly are you expressing when you create ancient styles?
And this problem is actually a pain point that has always been the ancient music.
The fulcrum of the ancient style lies in the classical, and its form belongs to the fusion of ancient and modern, at this point, many musicians actually reach a consensus, that is, through the combination of oriental rhythm and modern techniques, so as to form a musical style that is used in the past and is new. And in the promotion of industrialization in recent years, a basic model of ancient music in technology and form has been formed.
However, a lot of antique music stops there.
But in fact, the core of the ancient music lies in the classical culture of ancient China, which includes classic chapters and sentences, Oriental meditation, and also includes the classical culture and aesthetic system belonging to the entire East. Therefore, from this point of view, if there is no intrinsic cultural connection in ancient music, then it is just a pile of elements, which can only be a style, and cannot be called ancient style.
From this point of view, I would like to recommend an album of ancient style in the true sense, and it can even be said that it is an album with benchmarking significance in the field of ancient style from technology to consciousness, from musical text to author development.
This album is the original concept album "Ten Thousand Dreams" produced by "Elephants Have Wind" and sung by the post-90s National Wind winky poems.
Those who are familiar with ancient music will not be too unfamiliar with the name Winky's poetry. From the earliest "Promise Old", "Jiangnan Tune", and then to the later works such as "Leaving the Troubles", "Jiangnan Dream" and "Falling Chang'an", Winky poetry, which has been debuting for ten years, has been deeply rooted in the field of National Style Music. And after polishing from the rhyme to the core, it gradually formed a music system that combines loose and scattered, has a clean timbre and a variety of styles.
Of course, Winky's poetry is the most popular in the National Wind Music Circle, and has become an important personal identity of the certification, or the reputation of "all-in-one machine". "All-in-one machine" refers to the omnipotent expression of Winky's poetry in musical expression, he can not only write and compose, play and sing, but most importantly, he can also participate in the production and post-music work. Thus through the process of music from creation to singing to later stage, a set of closed loops of creation is formed, and its musical intentions are fully reflected in various details.
And this time," "Ten Thousand Dreams Collection" is also a personal album released by Winky poetry after ten years after her debut album "Promise Old". But this album has a new atmosphere compared to the "all-in-one" era.
The entire album of "Ten Thousand Dreams" is the result of the cooperation between Winky's poetry and the mainstream team, and the musicians behind the scenes also include excellent young musicians and independent musicians such as Li Xingyuan, Yang Li, Yang Yan and so on.
Therefore, from the perspective of the musical pattern, "Ten Thousand Dreams" is actually an album that splits from a song to a work. Because there are years of style polishing and tempering of the "all-in-one machine", the core and charm of the creation of the work are still the unique style of Winky's poetry, but on this basis, in the sense of musical space and expression, there is a unique pattern and novelty.
Maintaining style but complementing music creation through cooperation makes the musical vision more open because of cooperation. The Winky poems in "Ten Thousand Dreams" do precisely to balance the change and invariance of music creation.
It is precisely because of the years of deep cultivation in the field of Chinese style music that the creation and cooperation of Winky's poems in "Ten Thousand Dreams" is more like a gradual consummation. Through the continuous expansion of the previous style and the use of more open musical thinking, the creation of the national style is completed without losing the modern rhythm.
The opening of musical awareness also makes the works in the album "Ten Thousand Dreams" very diverse in performance, and many works are handled in details, and even often give people surprises and surprises.
Like the work "Peach Blossom Non-Non-Non", Winky's poem actually has a very innovative integration point in creation and expression. On the one hand, he adopted the method of classical Chinese chanting, but on this basis, he also incorporated the rhythmic card point similar to the Western round dance. So let the traditional rhythm of the East be outlined with rhythmic lines, thus combining into a three-dimensional new level of ancient and modern, east and west walls,
At the same time, the addition of modern rhythms also breaks the traditional sentence breaks and rhythms of Chinese verses and chapters, thus forming a new text experience through new creation.
"Even Pick the Wind and Waves", which integrates the rhythm of rock music, also reflects the work temperament of "letting loose", and the fit of Flute Xiao, Si Na and Drum Beat not only makes the traditional national style full of modern rhythm, but also makes people have a complete sense of substitution in a more dynamic way.
"Like a Dream" incorporates the lazy and charming elements of Jazz-Rap, which not only uses modern sentences to make a new interpretation and interpretation of the classical mood, but also creates a musical creation of the atmosphere of the metropolis, and also makes the image of "grooming the mirror" have a kind of beauty through the fusion. It's also dreamy and enchanting.
The album's eponymous title song "Ten Thousand Dreams" is rendered with the timbre of Future, which not only points out the title of "Ten Thousand Dreams", making the image of Ten Thousand Dreams more numerous, but also from the perspective of musical attributes, it also makes the National Style Music truly connect ancient and Future.
As for the songs "Dream Catcher", "Jiangnan Ballad" and "Children's Dream", there are fairy spirits and gentleness, some simple and more beautiful, and the real is pleasing to the eye.
From the perspective of creation, Winky's poems also have a pluralistic perspective, which is not external, but internal.
Like "Monument Without a Name" and "Ballad of Jiangnan", the same ancient style is a completely different artistic conception. The latter is the quiet and beautiful of the years, while the former is heavy and magnificent, with a sad and tragic poetry.
Similarly, in addition to the proper integration of the drama cavity, the overall narrative creation of "Wujiang Old Chronicle" also makes the song like a long volume of history, with a heavy sense of history.
As for the final "Human Volume", it is like another mirror image of the "Vientiane Collection", the whole work is indulgent and dashing, like an ancient epic, weaving everything in the world into a beautiful or even magnificent illusion, which is really addictive.
However, when listening to this album by Winky's poems, we must not ignore his ingenuity in the overall structure of the album.
The reason why the album is an album is that it is not just a fragmented combination of some songs, but it has a height and pattern that goes beyond the single itself. While letting the singles have their own chapters and independent artistic life forms, there is always a larger structure, connecting these works in a connected way, so as to form a similar but ultimately complete musical trend, or humanistic output.
The main line of the album "Ten Thousand Dreams" lies in the strange concept of "Shenguan" receiving dreams, and it is precisely because of this concept that the whole album sounds even like a Ming and Qing dialect, and the songs not only have tunes and stories, but also these stories, which better highlight the sense of picture and story of Wanmeng.
Therefore, the "Collection of Ten Thousand Dreams" with dreams as the main line also forms a sense of interlacing of the world's dreams through the illusions in the dreams of the priests, and the real sorrows and joys refracted in the human world behind the illusions. The so-called dream is reality, and all Zen can also empathize.
This is not an ordinary dream, this is a dream of pleasure in the world of music, and it is an album that can hear stories and human beings in the world of music, and stimulate the love and strength of listeners.
In this way, an antique album has both the appearance of beauty and the appearance of the soul, so it is perfect.
"Ten Thousand Dreams" is the work of Winky's ten years of grinding a sword, and it also represents a height of his personal musical career so far. Through ten years of deep cultivation, through the accumulation of music technology, especially in the ancient style artistic conception, the structure of realistic propositions such as world view and values has also made the album "Ten Thousand Dreams" even a model for ancient music.
Obviously, this album has actually solved the problem of what you listen to when listening to antique music.
What I heard was the ancient rhyme of the East, I also heard the sorrow and joy of the world, I heard the beauty of freedom, and I also heard love and courage. What about you?