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Cao Xuanbin's "Farewell to the King" is archaeology rather than crossing

author:Xinhuanet client

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Cao Xuanbin's "Farewell to the King" is archaeology rather than crossing

A song "Don't Sigh" soon spread from the program "Classic Arias" to the Internet. This song "Don't Jun Sigh" is a work created by singer-songwriter Cao Xuanbin based on the Tang Dynasty poet Wang Wei's "Send yuan er envoy Anxi", a new melody on the score. The poem "Sending Yuan Er envoy Anxi" is known to almost every Chinese who has received nine years of compulsory education, even if the whole poem will not be recited, but the famous sentence "Persuade the jun to drink a cup of wine, and the west out of the Yang Guan has no reason" Is still familiar to everyone.

Composing music for ancient poems is nothing new. The earliest source of the specifics is no longer available. However, Teresa Teng's album "Faint Feelings" released in 1983 was regarded as one of the most famous early sources because of its wide circulation. In the following thirty years, many Chinese musicians have continuously expanded their creativity and imagination, embodying the famous Tang poems and Song poems in the form of popular music, and some have even been sung into rock and played electronic.

The song "Don't Sigh" is more like an archaeological restoration, a historical drama. It is not just a cross-century fusion of words and songs, but also like Cao Xuanbin speaking out for Wang Wei's endorsement. If Wang Wei can compose melodies, then the rhythm of "Send Yuan Er to Anxi" should be like "Don't Sigh".

Cao Xuanbin's "Farewell to the King" is archaeology rather than crossing

Under the sound of Zhao Jiazhen's guqin, Cao Xuanbin's melodic treatment of "Don't Jun Sigh" first emphasized a large number of blank spaces. One of the biggest characteristics of modern pop music is density. Whether it is melody or song, whether it is timbre or rhythm, there is hardly a second, a place to spare. Even many recordings emphasize a full word, and the audio tracks on the spectrum table are simply not worthy of modern music if they are not top-notch.

But Cao Xuanbin's "Don't Sigh" leaves a lot of blank space for the song. Not only will there be a transition between each seven words with a continuation and rest, but even the seven-word sentence will use some ethnic rhymes to play a role similar to modern transposition. At the level of Chinese art, this is not only like the musical application of the real connection, but also in line with the tradition of Chinese literature that uses virtual words and virtual words to enhance artistry.

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