"Singer 2018" breakout competition, KZ Tan Ding'an may be the heaviest singer. The "weight" here does not refer to the curry position or prestige, but to the meaning carried by the Filipino singer. In the interview clip before the stage performance, the Philippine ambassador to the People's Republic of China said "heavenly opportunity". From the perspective of cultural exchanges, He affirmed the significance of KZ's participation in the "Singer" program, the key contents of which include: cultural friendship ambassadors, building bridges of cultural exchanges, and friendly relations between China and the Philippines.
See if you suddenly realize the point that was so easy to ignore before, that is, KZ came here not only to sing, but also to carry out cultural exchanges.
If considered from the perspective of cultural exchange, KZ's performance in the breakout competition is also logically self-consistent. Because usually in the context of the competition, such a big thing as breaking through the promotion, you should choose a relatively safe plan, such as interpreting songs that have a resonance effect on the audience. However, KZ ultimately chose the Filipino national song "To the Kids".
Obviously, this is to use the "singer" stage to promote this song of great significance to the Filipino people, and then complete the cultural export. This is beyond the height of the competition, in order to ensure better output, KZ even deliberately Chinese words in the song, so that the audience can perceive the content of the song. This "friendly ambassador" really pays great attention to the message of the songs, thus ensuring the fluency of cultural exchanges. In the end, the singing effect is obvious, in addition to the refinement of the technique, there is also a cultural impact, and you can appreciate the musical energy from the Philippines.
The final result is indeed a pity, this superb singer did not qualify for the finals. But since cultural exchange is the appeal, victory or defeat is no longer important. The most important thing is that KZ has completed the cultural exchange, which is a great merit.
Therefore, at this point, KZ can be accurately positioned: she is a high-quality singer and a singer with a "mission". The "mission" here is about the heavy responsibility of assisting Sino-Philippine cultural exchanges.
In some cases, the singer's identity can surpass that of the "singer". This is the case with KZ Tan Ding'an, a singer who seems to be delicate and small, but has completed an incomparably huge proposition: to build a bridge between the two countries through a serious singing program.
In fact, cultural exchange is the "fulcrum" of KZ's participation, and the situation will gradually become clear after analyzing the previous performances.
Overall, all of KZ's investment in singing is aimed at showing the real picture of Filipino pop music in front of Chinese audiences. Highlights include:
First of all, the internationalization of musical consciousness is precisely European and American. The internationalization of musical consciousness is embodied in the integration with Europe and the United States. The most intuitive embodiment is that many of KZ's selected songs are popular songs in Europe and the United States, such as "Rolling in The Deep", "Royals", "Say Something" and so on. For the average Chinese audience, it may be assumed that Filipino pop culture is relatively limited, but KZ proves that it is completely synchronized rhythm. The same as in China, the popular things in Europe and the United States can be immediately obtained there. In addition, deeper awareness refers to the perception of popular music.
As can be seen from KZ's attitude towards works, pop music means constantly exploring boundaries, i.e., realizing infinite possibilities. The works that have been interpreted so far have not been similar, and each song can be independently turned into a special work of art. This shows that in the creation and presentation logic of KZ, "variables" are "constants". And this, in my opinion, is the great significance of KZ's existence on the "singer" stage. The songs she performs can always be accidentally tried in the framework of the public's solidified cognition. In particular, through the arrangement processing, the popular songs with high recognition are changed. This "variable" may not have reached the point of adjusting aesthetics, after all, different people feel differently about experimental adaptations. However, it is enough to expand the audience's horizons and let us know that these songs can be interpreted in this way.
The focus of this expansion is to extend the meaning of "singer". The work of singers is no longer limited to singing, but to experiment with feasibility in different musical forms. This kind of behavior similar to "pioneering" is a stunning effect as long as it is successful. Carefully judging KZ's performance, the surprise has been more than once or twice.
Secondly, the fusion of musical forms, KZ processing songs is characterized by fusion, usually in a song to combine a variety of musical elements. The fusion of musical forms, the characteristics of the processing of songs are fusion, usually in a song to combine a variety of musical elements. The first performance is the most typical, choosing "Rolling in The Deep", the original is a standard injury song, but KZ's treatment is quite "unconventional". The basic logic is based on the original as a framework, layered and paragraph-based processing, presenting a system with different colors and a high degree of fit. The opening Auto-tune passage immediately sets it apart from the original, heralding a new listening experience. The subsequent processing of the song is biased towards Disco, and the audience's participation is triggered by a sensible rhythm, which is also quite effective. In addition, the Rap part of the Filipino language is also reinforcing the characteristics that distinguish it from the original. This is also the first time that KZ has tried to make a primary cultural output in the song, and how good the effect is on the spot ranking can explain the problem, KZ pressured Jessie J to win the championship.
This kind of fusion is also reflected in the subsequent interpretation of "Royals". The song uses tribal elements and reggae elements, of course, KZ's native rap. In terms of performance, this should be called a "burst", and KZ fully demonstrates excellent control of various musical elements and exuberance in terms of expression. It is also in this rendition that I firmly believe that KZ represents the high standard of professional Filipino singers, and there must be countless equally powerful characters behind her who are active in the local music scene.
It should be emphasized that KZ's surprising adaptation is actually the result of Sino-Philippine exchanges, taking "Rolling in The Deep" as an example, thanks to the cooperation of Liu Zhou, a famous domestic positioning producer. Singers and producers from different regions communicate perfectly in specific works through international languages and music. This shows the power of pop music and the power of cultural collisions.
Finally, the singing techniques have become scientific and advanced. Somewhat basically recognized, KZ is strong. In the face of Jessie J's strong crushing, the audience lamented that none of the domestic singers can play, and "foreign aid" KZ can play. Simply put, KZ is the trumpet Jessie J, the former regards the latter as an idol, and in terms of singing, it is even more on par with the idol. The singing mode closely follows the high standards of Europe and the United States, strong mixing, weak mixing, balanced mixing, these are the most scientific and advanced vocal methods at present, which are presented in the interpretation of KZ. In addition, what I personally appreciate most is that she has a good sense of vocalization and a sense of language. Vocal awareness is reflected in the use of different timbres for different songs, such as "Say Something" and "Real Gone", KZ relies on completely different timbre interpretations, the former is tender and long, the latter is wildly released. What is even more rare is that no matter which one is conveyed in place, the transmission of different sound forms is completed in stable control.
The sense of language can be reflected in the native rap passages and when singing Chinese songs. The native rap part can really be described as "exploding". KZ performs a quick bite on the basis of maintaining stable chest voice support, which is impossible without a high-quality sense of voice. The more amazing performance is to sing Chinese song, and when performing "The Pain You Don't Know", all the strings of the power train are still faintly painful, Xue Zhiqian's "What Do You Want Me", and Wang Lihong's "Things You Don't Know". These capitals are works that emphasize the transmission of emotions through lyrics, so the bite is particularly important. In the end, KZ is almost a full score, while maintaining the clarity of the bite, the emotions are synchronized. To tell the truth, her interpretation effect can completely surpass many domestic singers. It can only be said that KZ has done enough work before singing, not only to understand the pronunciation of biting words, but also to deeply understand the connotation of the lyrics. That is to say, KZ independently completed an exploration of the connotation of Chinese characters Chinese.
Even if the breakout competition is stopped, KZ Tan Ding'an has successfully completed his "mission". In a few rounds of brilliant performances, she not only presented the three-dimensional image of Filipino pop singers, but also conveyed the general appearance of local pop culture. After officially receiving the style of this high-quality singer, the public's perception of Filipino singers will not only stay in the stage of hotel bar residency, they are very advanced and advanced.
Of course, while KZ Tan Ding'an completed its "mission", "Singer 2018" also completed its "mission", that is, relying on the platform to widely accept high-quality singers from all over the world. From this point of view, the "singer" is actually in the next big game, not only the competition field for competing in singing skills, but also the temple for cultural exchange and collision, and the final construction is the "melting pot", that is, using music as the carrier to achieve the integration of different regional cultures. The singers who come here all have their own sense of "mission", which can represent different music genres, different ages, and even different cultures. Therefore, here, winning or losing is not the ultimate proposition, but achieving the "mission" is.
However, I still want to say a very selfish word, KZ Tan Dingan did not make it to the final final, it is really a pity.