Naran Dreams/Text
Mango's "Spring Flowers Will Bloom", which is being broadcast by Mango Station, has opened up a hard-won exposure channel for folk songs outside the party. In addition to the program, a debate about "what is the folk song of the new era" and "how the folk song should be inherited" has also quietly unfolded, which is full of value for the folk songs that have not been at the center of the topic of public opinion for a long time, and the matter of being discussed and concerned is already full of value.
There is a sharp point that "Spring Flowers Will Bloom" is suspected of "bullying" folk songs, and the core argument is that "using Mandarin and singing according to the fixed pitch of the score notes is not considered a folk song", and at most it is only "a popular competition program that uses folk song elements".
Such a view cannot be said to be unreasonable, but it can also smell the smell of learning only in the ivory tower.
It is undeniable that "Spring Flowers Will Bloom" does have shortcomings, such as the lack of empathy foundation for connecting folk songs with the audience. Why the Hong Kong music variety show "Sound and Endless" that is also engaged in by Mango Station has already skyrocketed before it has been broadcast, in fact, this is determined by the empathetic basis of the golden years of the Hong Kong music scene.
The reason why Hong Kong music still has a market to this day is related to the common memory of a whole generation or two generations, and this broad basis of empathy includes Hong Kong's glorious era of film and television entertainment. This golden age was accompanied by the youth of many people, so they can find the unforgettable heart that they carry in these harbor music.
The dilemma of "Spring Flowers Will Bloom" also lies in this, although Mango has worked hard, but the innate deficiency of folk songs lacking empathy foundation is difficult to overcome, whether it is regional empathy, the empathy of the times, or the empathy of specific events, there are obvious limitations - although dialects carry the most mellow taste of folk songs, but if they are to be disseminated in the mass media, the language barrier is unavoidable. Looking back at the foreign singers in "Singer" over the years, they will always try their best to learn Chinese songs to compete, and the reason for this goes without saying.
There are two general views on the future path of folk songs. One type of view is that the nation is the world, inheritance is very important, especially to pay attention to the original inheritance, can not patronize and cater to; the other type of view is that traditional culture to "pass" but also "create", only in the process of continuous innovation in the process of progress can stimulate the vitality and vitality of traditional culture.
But is it possible that the future of folk songs is not only one way to go? Establish a database of intangible culture to keep records of purely original folk songs; it is also necessary to innovate and promote them on the basis of not destroying its original local characteristics according to the development of the times and the needs of reality.
Such an idea is not a fool's dream, and the violin concerto, which was officially premiered in 1959 at the Lyceum Theatre in Shanghai, is a successful example of "foreign use for Chinese use". It created a profound influence that "the subject matter is unique to Chinese culture, and the musical vocabulary is the symphonic vocabulary used all over the world, which has been accepted by Western culture". But can you say that because of the use of Western instruments, "Liang Zhu" is not folk music?
In fact, the great success of this violin concerto has fed everyone's attention to the Yue opera "Liang Zhu", and made this Yue opera classic more important and preserved. Isn't the coexistence and co-prosperity relationship between the two worth learning from now's new folk songs?
After all, folk songs can't just live in books, they can live in museums. In "Spring Flowers Will Bloom", Hua Chenyu's answer when asked about the nursery rhymes in his memory has reflected many questions, "The nursery rhymes when I was a child were all taught in music textbooks." These songs, which were originally passed down by word of mouth and reflected real life, quietly disappeared from life and remained only in music textbooks. If one day, there is no trace of these folk songs in even music textbooks, where will we find folk songs that have recorded vivid daily life?
When "Sound into People's Hearts" was first broadcast four years ago, the topic of the survival of domestic musical theater actors once attracted a lot of attention, and Liao Changyong, dean of the Shanghai Conservatory of Music, once revealed that a mature and excellent musical actor like Ayunga earned 81,000 yuan from performing a musical.
However, the living environment of folk singers is obviously more difficult than that of musical theater actors, and at the second Southwest Folk Song Exhibition, Wang Jingwen, a contestant who graduated from the vocal music department of Sichuan Conservatory of Music, said that less than one-third of the entire vocal music department finally chose the folk song major, and more people still chose pop and bel canto. The lack of exposure opportunities and narrow employment prospects make the social space of folk songs more limited, if there is no all-round sustainable investment, how can folk songs be maintained?
If we can think about problems in a long time dimension, we tend to come to different conclusions about the same thing. For Mango Station in the context of the epidemic superimposed industry downturn, it still has the courage to do such a seemingly unpleasant type of variety show, no matter whether the short-term ratings result is happy or worried, no matter whether the final promotion of new folk songs is big or small, its pursuit and thinking about folk songs and folk music is already enough to make people reth worship. Every pioneering experiment, every boundary expansion, is undoubtedly accompanied by difficulties and controversies. However, the process of continuous trial and error is itself meaningful and valuable, and it is more urgent to solve the problem of promoting folk music than "thinking" and devoting oneself to the actual "doing".