Author: Song Ming
This sentence of the title was said by Shun. Shun is one of the founders of Chinese morality. He was himself a musician and literary theorist. Shun's words may be the source of our great Chinese aesthetics and literary theory. Taking poetry and song as an example, the first two sentences are about the function of literature, and the last two sentences are about the form of literature. Why use poetry and song as an example? Because, from ancient times to the present, music is an important symbol of an era, truly reflecting the national situation and people's feelings of the times, and at the same time has a huge influence and guiding effect on folk customs and national fortunes.
Shun has an indissoluble relationship with my hometown of Huainan.
There is a Shungeng Mountain in my hometown, which silently records the historical merits of the Shunzhi Huai River.
Because of the control of water, Shun Zen is located in Yu. Yu inherited Shunzhishui's business and settled in Bengbu. Yu's love affair was completed in Bengbu. Tu Shan Wangfu Shi solidifies his poignant love story with Tu Shan's daughter. It is also the birthplace of Yu's son Qi.
Yu Shun's poetry and musical context also spread in the Huai River Valley. Yu himself is a musician. He invented two very ancient instruments, the "táo" and the "duó". He also used bells, drums, doves, chimes, and ferrets to collect the crowd's speech. This fully shows that in that era, music and life were closely integrated, and music was used as a way to manage political affairs. Because of Dayu, the "Waiting Song" (Lü Shi Chunqiu • Yin Chu Chapter): "Yu Xinggong, see tu shan's daughter." Yu Wei encountered and toured the southern part of the province. The daughter of the Tushan clan was ordered to wait for yu in tushan's yang. The woman is a songwriter. Song: Waiting for the people to be foolish! ") is the earliest written love song in China. After the success of Da Yu Zhi Shui, he ordered Gao Tao to make a musical dance "Xia Zhen (Yuè)" to show the merits of water control. This music and dance is a tribute to the hero of water control. I have also written a series of novels based on Huaiyuan folk tales, published by Today's Headlines • Bagongshan Horizon.
Why do you say this to The Voice?
First of all, because in fact, "The Voice" has become an iconic program for reviewing the singing and creation of the Chinese music scene, and has a decisive impact on the Chinese music scene. At the same time, in the past ten years, "The Voice" has a relatively broad mass base, and the participation of the people is very strong. I hope this show continues to do well, and get better and better.
However, I think that "The Voice" has formed a "cumulative disadvantage" in addition to its advantages. It is difficult to go far without accumulating drawbacks.
What are the drawbacks?
First of all, the instructor must teach the student from the perspective of music and must not mislead the student from the position of a small circle. Don't privatize your emotions by abusing praise to students for the sake of preference. For example, encourage to be appropriate, and not to easily throw away illusory auras such as "genius". This is evident this season. Some students obviously have obvious defects but somehow they are praised in the sky, so that the students are grateful for zero. This is a very unhealthy tendency that must be avoided! Privatizing teacher-student emotions is the biggest drawback of teaching. Special reminders should therefore be given.
Second, original singers are still basically at a superficial level. What is the "superficial dimension"? It is confined to personal emotions and cannot extricate themselves. The indoctrinating function of literature and art is the foundation of Chinese aesthetics. "Etiquette • Music Record": "Therefore, the music is pure, the ears and eyes are wise, the flesh and blood are peaceful, the customs are changed, and the world is peaceful." "Music should focus on life widely. Blindly indulging in self is a taboo in creation. Now there is a misunderstanding, it seems that as long as you can arrange and combine some notes, piece together a melody, and play with some techniques, it is music creation. Their creations seem to be infinite, and one song a day is not a problem. There is no need to take the wind, no need to observe the world. Instead of guiding them to control their feelings, get out of themselves, and pay attention to the emotions of the people, the teacher praises and encourages them. This loses the "educational" meaning of the tutor.
The third is not to be overly entertaining. From the beginning, Chinese aesthetics attaches great importance to "poetry and music teaching". The so-called "flourishing in poetry, standing in etiquette, becoming happy"; the so-called "seven beginnings of emotion, the eight winds". Poetry and music are both empathetic, and the emotions are in the middle, just as people often say "walking the heart". But as art, the emotions that arise must be rationally restrained and controlled. Uncontrolled emotions cannot become art, which is called "indulgence." Small sections are indulged, and large sections will be lost. Indulgence is a scourge, and no exception is made to oneself.
Poetry and music are all about the rise and fall of national fortunes and the turbidity of the people's customs, which is not a small matter. For this reason, there is the above discussion. Words from the family, for reference only.
Sunday, October 31, 2021
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