The reason why this book is called "Breathing" is that there is an allusion or thinking behind it from the naturalness of music and hearing.
Part I: Breathing and Music
In Western classical music, there is a form of music called chamber music, the biggest feature of chamber music is that he is several people playing together, but he does not have a conductor, when playing in this chamber music, the musician responsible for leading the small orchestra, usually he will deliberately exaggerate his breathing, you will listen, suck and spit.
What is this doing, not only to guide the other members of the group that this section is about to start, but also to the speed of his breathing, in setting the tempo of the music that should be. Music flows so one by one musical drama or clear or implicit formation, gradually these chamber musicians their breathing will become consistent with each other, and then in the quiet concert hall, in the right listening environment, through the music of these musicians their breath and then infect all the audience, in some of the most exciting and climactic or the lowest meaning of the most ghostly place, the whole audience becomes with the same frequency of breathing, from the very root of existence, all people are assimilated by music, It was as if he had entered an inhuman divine secret place.
It is a pity in our society that not many people have ever enjoyed the baptism of this mysterious experience, and when you feel that music has magic, not only grasping everyone, but also transforming everyone into a sensory body that transcends the self, it is clear that music provides hearing. But from a special, very collective breath, you seem to see different lights and shadows, and you will feel as if the music has a weight and texture, or soft or passionate, he caresses your skin, he embraces your body.
In that moment, you are no longer you, or you are not just you, you become a greater being, he is somewhere between the individual and the collective, because you and the musicians on the stage, and the audience who are introduced to the music world around you, in a way that is both the same and unique, re-contact, in cognition, in understanding the world, how beautiful and unforgettable. So every time I think about it, if you have had this experience, every time you think back, you will have a special experience of happy and touching knots. And it is very rare, because what kind of things will prevent us from experiencing such a musical realm, we live in a state of noise and chaos, forget the orderly sound, compared to life, all the various mixed and disorderly sounds on the street, how beautiful it is, because we rarely let ourselves really quiet down, we can rarely let our ears hear pure and delicate sounds, most of the time, we forget the breathing thing, don't we? Think back to when you wake up from morning to night every day when you realize your own breathing.
Probably only when you are breathless, you know that you are breathing, so we ignore that in fact, there is a rhythm of breathing, there is rhythm, there is musicality from rhythm and rhythm, we have never learned to listen to complex sounds, both to understand the internal truth of sound, ready to hear what to hear, how to listen.
In fact, everyone has a breath that can echo the rhythm and rhythm of the outside world at any time, everyone has these two ears that can listen to stereo multi-voice music, and everyone can internalize the intelligence of complex music through analysis and perception, but it is a pity that we rarely consciously cherish and use these beautiful assets given to us by heaven, we let ourselves live in the wilderness of barbaric and rough sounds, let the breath be chaotic, let the ears degenerate, let our wisdom, let our intelligence rust, This is why this book is called the fundamental key to breathing.
The point is that music is in the breath, music is in the body, music is in the brain, music is in life, music is in history, so this book should use a variety of different ways to present music, but also let us in addition to listening to music, the music is connected outward, the reader can know how much different relationship music can have with life.
For example, in one of the articles, it is said that Fu Cong thought of music, so from Fu Cong's next contact thought of Fu Cong's father, there may be many people who know, the well-known Republic of China literati translator Fu Lei, Fu Lei left the most people to read, the most popular book is called Fu Lei Family Book, Fu Lei family letters are a large number of letters written to Fu Cong, in this batch of letters, Fu Lei repeatedly taught Fu Cong, let Fu Cong expand his artistic experience, do not just shut in the room to practice the piano, To be a pianist you can not always practice every day, you have to be a good musician, to be a grand pianist, what do you want to do, Fu Lei's reminder to go out to contact nature, you have to find opportunities to visit the art museum, Fu Lei himself, love Western music, he also loves Western art, for art history also has a very deep understanding and insight, so he advocates that understanding Western art helps Fu Chong to be able to interpret Western piano music, where the deep spirit must be interconnected, Therefore, art and music as different categories of art, in fact, we should find a way to open it up, he will have the effect of mutual influence and addition.
Fu Lei listens to music, looks at art, he listens with his ears, sees with his eyes, this Fu Cong as a son of his contact and understanding of Western art, although it did not reach the level of his father, but we can notice Fu Lei's influence on Fu Cong, because Fu Cong talks about music but has a similar and different ability from his father, what kind of ability, that is Fu Cong often uses Chinese poetry, Chinese landscape painting, and even he once used Chinese calligraphy to explain that he heard music like Mozart, or Schubert. When Fu Cong plays Mozart or Schubert, the most important sensory experience for him is obviously not only auditory, but also visual, real and imaginary visual effects.
So we can say this, if you have seen, if you have heard How Fu Cong explains, the relationship between him and playing music, Fu Cong, he just hears music, he will see music, because Fu Cong can think and play a unique musical style, it comes from his music in Chopin, Mozart, Schubert's songs, he talked about understanding and did not know how to say, but everyone usually describes it as called Chinese taste, but the Chinese taste that Fu Cong plays is obviously not from Chinese music, and it is not Chinese music that affects him. On the contrary, Chinese poetry, as well as the Concept of Chinese space, is the rhythm of that special space, which stimulates Fu Chong to pop up different music, which reminds us that let us think like this, or we realize that space also has rhythm.
Part II: Breathing and Painting
This is a fact, so if you are interested, you can go and see Jackson Pollock, one of the most important painters of the American 20th century. His abstract paintings are so moving, and his abstract paintings seem so easy to paint on the surface, because they seem to be randomly sprinkled with paint on the canvas, but not everyone can sprinkle such paintings casually, because he is so painted that cleverly forms a rhythm.
Or another great abstract painter, the Chinese French painter Zao Wou-Ki, you go to see his abstract paintings, that brilliant color, without any figurative associations, we can't see any specific things from there, but what we feel is an abstract color and color, the relationship between the rhythm between the color block and the color block, the most likely to let people feel the art form of spatial rhythm, what is that, that is, which inspired Fu Cong, in fact, it is Chinese calligraphy.
Chinese calligraphy has elements of self-reliant art. In the creation and appreciation, how do we look at calligraphy, you must follow the order and logic of the words, it has a fixed order, you have to see the last word from the first word all the way. A painting we can look at from the middle, we can also start from the lower right corner or the upper left corner, a painting in the middle of his part may attract our attention the most, maybe in a different corner, is the easiest for us to see at first glance. Calligraphy is not like this, calligraphy must be the first stroke of the first word all the way to the last word, the calligrapher he wrote from the first stroke to the last stroke, so people who look at the calligraphy work, must also see the last word from the first word, that is, a deep linear stretch of time, in this matter, calligraphy is most like music, that stroke in space to create a tight or loose or fast or slow writing and reading rhythm, control and please the viewer's eyes. Through Fu Cong, we can understand that people who understand music and like music can appreciate calligraphy more, because they can clearly feel the rhythm of that space in calligraphy, which is just a way to connect music and our different experiences in life in the book.
Another way in the book, which is also more natural, is that the introduction of anything we hear behind the music must not be forgotten, he has a composer, this person is really a living person, which means that he survives at a specific time, in a specific society, he has his own personality, and he also has the meaning and emotion that he tries to express through music, so if we listen to the instrument we can definitely understand the relationship between the person behind him, the person behind him, the relationship between us and this music. It was also pulled closer.
Golden Sentence:
1. Isn't music far away? Music is in the breath, in the body, in the brain, in life, in history.
2. Music and lyrics, in the song to form a complex binary vocabulary tension, can not recognize, appreciate this layer of tension, it is difficult to create a truly beautiful, moving song.
3. The more people bravely develop the possibility of their senses, the more powerful they will be to break through the mediocrity of existing life. Breaking through mediocrity is innovation.
4. The best experience is not to understand the music, but to be understood by the music.
5. Music is a person, music is the reason why people are human, the necessary ingredients for indoctrination and upbringing, and what character and emotions people have, music has what character and emotions.
6. Directional flow is the basic premise of good music.