Classical folk music and modern folk music

Modern pop music and China folk music represent folklore and elegance, modernity and tradition respectively. In fact, they are the past lives of China Music. The collision between the two sides is a historical necessity and a historical fusion. This PK is neither irreconcilable nor avoided because folk music retreats to the ivory tower. The development of China's national music must absorb new elements and make new changes, otherwise it may really regress into minority culture.

1, to understand the universality of folk music

China is a multi-ethnic country with a long history of national music. The people of China have the habit of communication and integration since ancient times, and their thoughts are open and comprehensive. After thousands of years' development, China traditional music has accumulated the artistic wisdom and creative ability of all ethnic groups, with distinctive national personality, strong vitality and adaptability to social development. Therefore, even in the modern times when China was violently attacked by the west in the social, political, economic and cultural fields, and even today when the national music is facing a low tide, the Chinese nation still maintains an inseparable feeling for its own music in the deep heart. We should also see that the momentum of promoting multiculturalism in today's world has taken shape, and the concept of focusing on European and American cultures is out of date. The "general trend" of the diversified development of world music culture requires all countries to provide a diversified world platform for "dialogue" and provide music with their own national characteristics, personality and soul. As China, it is not symphony, piano music, pop music, bel canto and rock music, but China music. The musician Lin Gufang once said, "When you go to San Francisco, Los Angeles or Paris, there are two kinds of records in any decent record store. One is Indian music, and the other is Japanese pop, but not China music. Why? Because your music is not much different from western music, why does he want your things? " Therefore, we should clearly realize that the higher the endogenous output per unit time in the economic and cultural category, the more advanced the productivity represented; However, the value orientation of artistic culture depends on the unique artistic style, the better. This also tells us that to develop national music into a world-wide music art, we must let national music go its own way, let professional musicians and music lovers know our national music freely, and leave a pure, unique and unabsorbed world for national music.

2. Return to the diversity of national music.

In China, over the years, such a kind of knowledge has been formed, and the European classical music system is advanced and clear. The traditional music system of our nation is imperfect and backward. Taking the current vocal music teaching as an example, the principle of western bel canto is basically adopted to train students or singers. In China, the compulsory vocal music courses from independent conservatories to provincial normal universities, normal colleges and normal colleges are all implementing and following the principle of bel canto, and the national singing method is also based on the principle of bel canto. Folk songs, which were originally born and raised in various ways, have largely "broken away from China and entered Europe" after years of "foreign disputes". The first is the encroachment on song creation. There are more and more so-called "folk songs" created by composers who are divorced from the living soil of working people according to the requirements of the times. Secondly, national singers who were originally considered as "local voices" had to learn "foreign" singing methods to improve their singing skills in order to sing newly created folk songs to a greater extent. Another point that needs to be emphasized is that the folk singers who grew up in folk songs and the singers who left their country long ago and grew up in other places, although both belong to the same nation, can sing their own folk songs, but their tastes and feelings are far from each other. What is this unique feeling? That's "the voice of the earth". In the 11th "Bubugao" Cup "National Young Singer Grand Prix", the Tibetan girl Suolangwan won the first place in national singing with her natural and pure voice. She is a folk singer who came out of Tibetan areas. Her high-pitched, loud and pure voice suddenly brought people to the holy land of Tibet. When the host asked, "How many years have you studied vocal music?" Her answer is "I didn't learn vocal music from my teacher, I sang it myself on the grassland." In the last concert, the Tibetan girl was a little overwhelmed by the huge band, because she always sang freely and never accompanied her without beat. It is such a simple, naive and lovely girl whose innocence and truth have shaken people's long-lost natural feelings. It can be seen that pure folk songs are popular among the people. In this competition, a well-crafted national singer may be unconvinced by losing to a "wild way" Tibetan singer. In fact, what they lost was not technology, but the application of technology was far superior to this Tibetan girl, and what they lost was people's hearts. Indeed, the so-called identity of national singers has attracted more and more attention from all walks of life. First, the similarity of trajectories; Second, the performances are similar; Third, the sound is the same. A lot of reflection is that if people don't watch songs, they just listen to voices, as if they are all sung by the same person.

In fact, China's national music has a strong plasticity due to long-term oral teaching and extensive singing. It is often seen that there are several different ways to sing the same folk song. For example, there are dozens of different varieties of jasmine in China. After thousands of years of singing, their lyrics, beats, rhythms and tones have all changed. To inherit and develop national music, we must firmly grasp this difference and diversity and return to the origin and homeland. In education and creation, we should change our ideas, emancipate our minds, pay attention to the individual personality development of students and face the different needs of different audiences. Using the colorful unique charm of national music, we can give people a space for free imagination and create a pluralistic world for China national music.

3. Strengthening the urgency of folk music rescue.

China is a big family with 56 nationalities, with splendid culture and vast territory. During thousands of years of national integration, the richest national music system in the world has gradually formed. However, in the face of the impact of modern civilization, these national music systems rooted in the countryside are facing great pressure to survive. If folk songs are produced among the people, then pure folk songs can only be collected by going deep into the local native nationalities. However, what is worrying is that when musicians go down to the fields to collect folk songs, they are saddened to find that some folk songs have been lost and some folk songs are in danger of being lost. At that time, Mr. Fan Zuyin went to record the "Mi Hu Song" of Jingpo nationality, and finally found two local girls who could sing this song, but let them sing casually. They said that you can't sing without the tools for pounding rice, so people found the tools for pounding rice that had been abandoned for a long time, and naturally sang "The Song of Damming Rice" while pounding rice. In this way, according to the elders of the tribe, the "straw song" they sang is no longer the original charm. This phenomenon is caused by the impact of modern industry on manual labor. The "labor horn" used to unify slogans and boost morale when people work is gradually replaced by the rumble of machines. Miss Jingpo uses a machine to grind rice, so naturally she can't sing "Rice Song". In addition, the influence of commercialization has led many young people to leave their villages to work in big cities, and the local folk songs passed down from mouth to mouth are gradually being lost. No wonder some folk songs are lost. This requires us to really strengthen the excavation, arrangement and inheritance of folk music, highlight the regional culture, social ecology and historical characteristics, enrich the types and genres of folk music, and establish a complete artistic system for a wide variety of China folk music, thus enhancing its uniqueness and irreplaceability.

4. Enhance the inclusiveness of national music.

Music is not static, nor is it Chun Xue in an ivory tower. The idea of education, creation and development of music cannot remain unchanged, but should develop with the development of the times and change with the changes of society. It is necessary to effectively change the misconception that the more soil, the better folk music. With an inclusive mind, we should constantly collect outstanding musical heritages from all over the world, absorb their essence, and actively integrate into the musical blood of our nation. National singing should boldly absorb the advantages of today's pop music and popular singing, and get rid of too many frames and complicated requirements in emotional transmission, so that singers can also show their own style and personality in their own music space, and their voices can be hoarse, shouting or ethereal. It is necessary to learn the diversity and individuality of popular singing, inject personal understanding and feelings into the skills, and constantly change, and pursue unique and unconventional sound effects and sound tastes, so as to vent their feelings and shock people's hearts. You can take the folk songs intact and reinterpret them with different voices or different rhythms; You can also use the tunes of folk songs to re-create songs with national style, such as some songs rooted in Mongolian music culture and sung by Tengger singers, Loess Plateau, Dionysus, and Journey to Heaven adapted from northwest folk songs in the popular music "Northwest Wind" in the 1990s. For example, the adapted Kazak folk songs, the Uygur folk song Alamuhan, and Wang's In that Far Away Place all have strong local characteristics and are widely circulated among the people. This creative adaptation has adapted to the development of the times, been welcomed by people, continued the lifeline of folk songs, and enabled folk songs to be carried forward.

5. Promote the reality of national music innovation.

Chinese folk music is at a disadvantage, and its own obsolescence is also one of the important reasons. Over the years, it has gradually formed its own fixed pattern and lost its freshness and variability. Twenty years ago, when foreign rock music first entered our country, most people were so disgusted and uncomfortable after listening to it. They thought it was an unbearable noise, but because of a group of persistent rock propagandists and followers, this kind of western and alternative music actually took root. On the contrary, the national music representing the soul of our nation is getting weaker and weaker. This trade-off is the advantage of the vitality of emerging art forms over the conservatism of traditional art forms. On the other hand, in the United States, new music forms such as country music, black music, blues music and soul music, which have been excavated, developed and created from various national cultures, have been leading the direction of world music in the past hundred years. Traditional innovation started from the other side of the ocean and achieved success in the world. They found the best way to protect national culture for us with their own practice. To develop and innovate China's national music, we should not only realize that the original folk songs and local national music styles are the source of nutrition for our music creation, but also put the specific music system of national music in its rooted culture to study and deeply understand. More often, it needs to be interspersed with the study of traditional cultures such as linguistics, folklore, psychology and even Confucian classics, Buddhism and religion. Constantly draw valuable cultural wealth and creative inspiration from China's rich traditional culture, constantly create new artistic means and new forms of national music, enhance people's interest in national music, arouse people's pride in national music, and deepen social recognition of national music.

Through the reflection on "Super Girl" and Chinese folk music PK, we clearly find that the fundamental direction of the future development of Chinese folk music lies in "returning to the public". When folk music really returns to public life from the research topic-the high wall of college, it will return to the nation and the world, and it will regain the original power of formation, development and glory. We believe that through hard work, China's folk music will prosper one day, and will eventually arouse the public's attention and love for folk music.