Author | coconut palm
"How did Teacher Feng Mantian keep amplifying his moves?"
"The shakuhachi with the hoop is really amazing!"
"It is really touching that The Voice of China has such a group of people to promote and inherit." ......
In the latest issue of "China Chaoyin" "Master Fusion Challenge", the audience once again witnessed the charm of a number of national instruments. Zhongruan master Feng Mantian and the world's chief Zhenyi player, "Zhen zhen guo hand" Cui Junzhi and the contestants cooperated with the "Rolling Red Dust" and "Xuanhuacao" and other works, which are even more amazing inside and outside the industry, and have received rave reviews.
If you look closely at the show, you will find that "innovation" and "experimentation" are one of the biggest highlights of this show. In the case of the serious homogenization of the entire sound synthesis market this year and the lack of explosive models, the audience is also looking more and more tired. And "China Chaoyin" is not only an important harvest of the 2021 music synthesis market, but also provides another way to solve the problem.
From the overall program perception, "China Chaoyin" is not limited to a fixed style. Whether it is from the perspective of music genre or stage effect, diversity and integration have become the cornerstone of this show's exploration of "national tide music". In the program, the audience can hear the fusion of rap, opera, electronic music, national style and other musical elements, and thus can better understand what is a good "national tide music".
But in making such an innovative show, many of the problems are almost difficult to follow. To this end, Yulezibenlun visited the recording site and chatted with the show's creators and several contestants about the story behind the experiment.
First, the beginning of an experiment and adventure
In recent years, the entire sound synthesis market seems to be segmented and verticalized, but in fact it is in a situation of a large number, a high degree of homogenization and low morale. But good music has always been a necessity for the audience.
As one of the producers and broadcast platforms of "China Chaoyin", Youku has also looked as far away as possible. Meng Qingguang, director of Youku UP Studio and director of programs, told Xiaoyu that "China Chaoyin" is rooted in the general trend of "national tide". "You can't just look at music or what aspect alone, this is an upward force for the whole nation, and I think it is appropriate to do this subject at this time, or it is promising, because it is an expression of culture and spiritual temperament." 」
After having the conceptual framework of doing Chinese music and national tide music, the show's creators began to realize that this was more like an experiment and an adventure. The concept of "national tide" is very broad, and it is not based on a certain style and technique, and there are few references that can be learned in previous music variety shows. Therefore, after the wide range of contestants, how to present and arrange the program has become the most laborious part of the implementation process.
Wang Chenchen, the general director of the program, recalled that in order to present a different temperament and meet the concept of "national tide", the recording place of the program was changed. But that didn't affect the team's commitment to the experiment. Tan Yizhe, who has served as the music director of many music variety shows such as "Children of Tomorrow", told Xiaoyu that in order to do a good job in this program, he even moved to Shanghai with his family, "I remember that on the first day of doing ("China Chaoyin"), I did three o'clock in the morning, and the last time I stayed up until three o'clock seemed to be ten years ago," Tan Yizhe said with a smile.
Dedication and hands-on work are the first layers for the main creative team to pave the way for this experiment.
Despite this, Wu Qunda, the show's chief screenwriter, still described them as a group of people who "crossed the river by feeling the stones" and "there are too many difficulties in all aspects." For example, an obvious and specific problem is the integration and coordination between different musicians.
"China Chaoyin" emphasizes diversity and integration on the basis of covering all kinds of musicians. In this case, because the musicians have more true musical ideas, even "quarrels" occur from time to time.
For example, the electronic wind adaptation of the folk song "Tear Egg Egg" broadcast in the fourth issue, behind the praise received on the stage, actually experienced a series of disputes, concessions and tolerances. The three performers of "Tear Egg Egg" are from the avant-garde electronic field, the northwest folk song field, and the field of electronic music, which looks almost incompatible.
"They were all friends in their lives, but they quarreled when they started creating. Because the music is treated differently. People who may do electronic music feel that the atmosphere of music is important, people who write lyrics feel that lyrics and emotions are important, and instrumental musicians feel that the blowing of music is important. Wu Qunda said, "But we will first calm the emotions, and then solve the remaining problems, and sometimes play the role of psychological counseling." ”
The songs that are out of the circle are also presented after overcoming difficulties such as these. And that's just part of the experiment and adventure.
Second, what kind of "Chinese tide tone" can impress the audience?
In addition to enough sincerity and dedication, how to make a sound synthesis about the "national tide"? And how to understand the four words "Chinese Chaoyin"?
Tan Yizhe, the music director of the program, told Xiaoyu that the four words "East Soul and West Technique" can basically cover the fulcrum and thought of the program. In short, it is to borrow Western music technology to express the soul of Chinese civilization.
Therefore, the main creator also hopes to be able to convey some musical cognition to the audience through this program, and popularize what is the real Chinese tide sound to the whole people at the root - technology is not the incision of this show, and the charm and artistic conception have become the things that "China Tide Sound" strives to pursue.
In this consensus, the program group has a basic set of criteria for selecting contestants. The first is to have a certain musical talent, and the second is to love Chinese culture and have their own understanding and expression. After these two points, we will consider other levels of things such as personality and effect.
Further, when all kinds of musicians gathered from all directions of the program. Setting up a set of scientific and logical races made the next top priority.
Xiao Yu learned that "diversification, from the inside to the outside" is the internal logic of the current format. From the initial integration between the contestants, slowly to the integration with foreign guests, the whole show is gradually moving towards a larger and more diverse space.
Similarly, in order to express the charm and artistic conception of traditional culture more vividly in this process. The show also considers many details.
For example, the "fans" that frequently appear on the field are both traditional and trendy, and are a particularly 'Chinese' image expression. In the past, Chinese people used fans for poetry and painting, fans for summer cooling, and fans for social chat. At the moment, the young bundy is still holding a fan. Fans are both past and future.
"Our whole choreography is also a mix of past and future feelings. We choreographers feel that this is not exactly traditional, but to inherit both the past and the future. Wang Chenchen said.
A design similar to this also subtly allows the audience to perceive the concept of tidal sound. In each stage, the program team is also constantly thinking about how to better help the contestants complete the presentation and reach the audience.
Director Meng Qingguang and chief screenwriter Wu Qunda told Xiaoyu that in their observation, the current audience is actually not so crowded, but has an independent aesthetic and a cutting-edge attitude. For example, the program's first work out of the circle "New Plum Blossom Three Alleys", a large number of positive feedback is also not lacking in some neutral evaluations that analyze the work from various angles, and even some audiences directly express "dislike".
And such a thousand people and thousands of ears also make "China Chaoyin" insist on adhering to the original intention and not making a stage show that caters to which aesthetic. Just use the criterion of creating good, moving music.
Third, when the players really come to "play music"
For the contestants, "China Chaoyin" seems to be a good place to "play music".
"Play" here does not mean "play tickets", but to create with pleasure.
Jiang Liang, who previously won the championship of "Instant Electric Sound", is also a more senior musician. He admits that "Chinese Chaoyin" has brought him a lot of fresh feelings, where "with different people and expand different ideas" can also allow him to create satisfactory works.
Previously, "Full of Cute Childhood", which he participated in and created, received praise on many platforms as soon as it was broadcast: "brainwashing", "single loop", "too happy". The song was mixed with classic childhood songs and added some very happy dance moves, and finally there was such a stage. In addition to the surprise, the audience was also curious, how did it come to mind?
But in Jiang Liang's description, it seems very natural, "We are making this music in the room, and a few people may drink some drinks and start dancing and playing, which is the state." Then it's about enjoying the state and taking the state of play to the stage once."
On the other hand, his love of "root music" is also one of the bases for his fun, which seems to be more suitable in "Chinese Chaoyin". "What I want to do is Chinese music, but I want to graft it together in a way that I understand music, so more new elements are needed."
Unlike Jiang Liang, Shi Rongshan, the "little prince of Na Na" in the show, is more green. In the exchange, he told Xiaoyu that this was his first time on the show, and before that, there was basically no concept of these things. Just simply loving to blow.
But after coming to "China Chaoyin", he did not forget his "sense of mission". "I want to push Na Na to the world, I want to build a concept of Na Na, which can not only play traditional music, but also jazz, but also highlight our cultural self-confidence." 」
For Shi Rongshan, "Chinese Chaoyin" provides himself with a richer platform, through which he can see more possibilities of "Little Prince".
The musicians had fun and the audience watched. This also achieves the purpose of making "national tide music" to some extent.
There are also tailors and shop orchestras that participated in the circle stage such as "New Plum Blossom Three Alleys", "Walking the Road of Life", and "Thinking of You" in the show. Before participating in the show, they only released four singles, and the direction of the orchestra was the fusion of traditional Chinese ethnic instruments with other music.
The first stage for the Tailor Shop Orchestra to come here was to adapt the classic song "Plum Blossom Three Alleys". Through "doing subtraction", adding details such as drama and wind chimes, the first and most out-of-the-loop works in the program was created. This is actually very much in line with their musical philosophy. "The direction we want to study is always related to human nature," says Lu Di, a member of the orchestra. Their creations like to return to primitive society, the stories in the Classic of Mountains and Seas, and to find the things in those roots, which seems to be a certain fit between the orchestra and the intention of the program.
Overall, this experiment of "China Chaoyin" seems to have been completed by more than half. Each contestant can find a fit with the show, create what they think is good "national tide" music, and give birth to one after another out of the circle of works. In this common adventure, both the perspective of the music variety show and the possibility of "national tide" music have been explored to a great extent.
This is also a win-win, whether it is for producers such as Kugou Music, Youku, or the exclusive title party of the alien electrolyte water.
Back to Youku, its exploration of the national tide is not only reflected in the level of self-made variety shows, but also in the variety shows and animation fields cooperated by Taiwan and the Internet. This year, Youku cooperated with Henan Satellite TV and Tianjin Satellite TV to launch cultural programs such as "2022 China Festival Series" and "Youth Craftsmen", and also laid out a number of "New National Style" theme works in the field of animation, among which the broadcast "Youth Song Line 2" and "New Qin Shi Mingyue" also achieved good results. It is enough to see that the layout of the national tide is deep and wide, and it will continue to stimulate the vitality of the platform in the future.