In Curtis's so-called concert hall, the lecturer spoke calmly and calmly, and the audience looked up or lowered their heads in thought. The scene was solemn, old-fashioned and deserted.

Compared to the subtle penetration of secular music into church music shown in Perrotin's works, Yang Jingxing prefers to talk about Benchois two hundred years later. This French composer has many secular songs that have been handed down.

Director Yang believes that Banchuwa will definitely become a very successful songwriter even if he lives in modern times, because: "He has captured the eternal theme, love."

Love was also a universal theme, and some in the audience laughed.

Yang Jingxing sat down in front of the piano: "Let's listen to what popular songs were like six hundred years ago."

No one objected, and most of the audience acted prepared.

The lecturer played the melody created by the composer six hundred years ago. Due to the limitations of the times, the slow notes with both palace and religious overtones did seem dry and monotonous. Fortunately, Yang Jingxing was good at digging and after playing a few bars, he paused to remind everyone: "

Notice the syncopation here.”

Some audience members nodded to show that they understood, but the demonstration continued on stage before they even finished nodding.

The lecturer was very time-saving. After playing a few more bars, he reminded: "Pay attention to his emphasis on the main voice..."

An antique melody from six centuries ago. While demonstrating on the piano, the lecturer picked out a number of practices that are still popular or even mainstream today, such as changes in rhythm, the construction of rondo forms, and even the use of semitones.

Yang Jingxing did not play the entire melody. After most of the audience seemed to understand the meaning, he stopped and asked: "Does Benchois have the talent to compose popular songs of the 20th century?"

Many in the audience nodded, of course, Mozart and Schubert must have had this ability.

What Yang Jingxing means is: "He doesn't need to learn any new techniques or methods. He just needs to do more and be bolder. We can give it a try."

Some students showed interest, some even looked expectant.

Yang Jingxing obviously believed in the musical quality of Curtis's students. He directly played Banjois' works adapted from Banjois's own techniques on the piano without any explanation.

The first few notes are exactly the same as what the lecturer demonstrated before. The difference starts with the rhythm change in the third measure. However, at this time, it is still within the control range of the style of the original song and does not make people feel that there is an obvious difference. However, the following dissonant intervals

The continuous application and processing showed some flavor, and then various techniques appeared one after another, and the permutations and combinations were repeated.

In just one minute, what the lecturer played completely changed into the feeling of a modern pop song, and this evolution process was not far-fetched and completely self-explanatory. It felt like the normal evolution of a melody.

But Curtis's audience remained indifferent. No one was surprised by the lecturer's little trick of sensationalism. Geniuses from all over the world could continue to listen attentively without showing a disdainful sneer, which was a sign of respect.

After spending nearly two minutes to roughly construct a pop song that even seemed relatively avant-garde, Yang Jingxing stopped showing off, stood up and said: "These are some of Banchuwa's talents, which are very close to us, so to this day

There are still so many people using the material he left behind.”

Some students nodded.

Yang Jingxing guessed: "Maybe it's because love has never changed."

A few students used expressions to laugh.

Yang Jingxing went a step further: "Some people are worried that music will be exhausted. Think about love, the progress and expansion of music has been much greater."

More people laughed and even laughed, including a few old guys. A white man in his forties or fifties who had never greeted the lecturer before suddenly said, "I have doubts. Is that a quantitative canon?"

?”

Oops, master, you actually heard it, and you are so straightforward about catching the lecturer's behavior. Why are Americans so virtuous? Curtis's students are also like idiots, and they all look straight at the stage and don't know how to avoid it.

Ignore this embarrassing moment.

Yang Jingxing could only explain: "Yes, I think Banchuva showed rich experience in Canon in the evolution of Fobuldon. There are not many relevant documents on Fobuldon, and this theme concept has not been paid attention to by later generations. We may even

There is a wrong understanding. If someone does more research and experiments on Benchuis and many of his three-part songs of the same period, he may think like me that canon is the best means of expression. We know that Okogang is Benchuis's song.

student, he has adapted the teacher's mass with a fixed melody. I think Okegang's decoration of the fixed melody is the best expression of his talent.

Although this is easily overlooked, Okegang's cannon technology is not new. Ma Xiao had successfully used it a century before him, but Ma Xiao did not release his talent. We can look back...

"

The lecturer sat down and started playing again. These top students from Curtis quickly nodded to show that they understood without any instructions. At the same time, many people were eager to give it a try.

Yang Jingxing was afraid of being challenged again, so he stopped after a short demonstration and said immediately: "There is no need to talk more about these, let us continue today's topic. In Chinese, we usually call innate gifts talent. Tian is the sky, which means close to nature, but

It has the color of God. Endowment is not a gift, but a grant, a gift, and this kind of grant is often associated with responsibility..."

Yang Ji Feo even got a slap in the face and became a cultural figure. Fortunately, those Chinese students were loyal and did not expose him in public. Or maybe they were disdainful. Those who got into Curtis are considered rising stars in the industry, so they should have some magnanimity.

Regarding responsibility, Yang Jingxing briefly described several lines of inheritance or friendship in Western music, such as Beethoven to Czerny, Czerny to Liszt, and of course Schumann was mentioned. The lecturer believed that Schumann’s contribution to the history of music was

His greatest contribution is not his music creation but the promotion of a group of musicians. Then when it comes to these two outstanding women, Clark Schumann and Fanny Mendelssohn, the lecturer is so excited that he has to say a few more words.

Yang Jingxing took the early creations of two female composers as examples and used excerpts to demonstrate their extraordinary talents. In fact, the academic community has long fully recognized that Clark and Fanny are the best among women, but Yang Jingxing’s statement today

A little different, he believed that these two female musicians had the talent to become great composers, but it was a pity that they did not have the good opportunities to develop and display their talents like their husbands or brothers.

The audience was not very surprised. In this era, there are still few gangsters who flatter feminism. These people have nothing to say.

The lecturer became more serious and began to carefully compare the creative details between husband and wife and siblings. Although he did not say it clearly, the meaning became more and more obvious, that is, women are more powerful than men.

Some men in the audience had subtle expressions, obviously dissatisfied with the lecturer's out-of-context and generalizations. The reaction of the female audience was even more obvious, with the general seriousness revealing widespread joy.

The lecturer gave a lot of arguments, but he could only point them out and believe that the students could understand them on their own. For example, while playing the melody of Fanny's song, he praised: "How beautiful, does it feel familiar? If you are interested, you can compare it with the seventh

Second movement of the symphony.”

Compared with the arguments, the lecturer's arguments were more fresh, and some people in the audience began to take notes.

Yang Jingxing raced against time: "Does anyone know about Mendelssohn's "Resurrection Rhythm Sonata"?" The manuscript of this work was only discovered thirty or forty years ago. Although the work is very good, there are almost no performances or recordings. After all, musicians also have to consider

market.

Curtis’s students were very good, and many people nodded.

Yang Jingxing asked: "How is it?"

Several students successively said some ambiguous adjectives, beautiful, elegant and light... The Chinese students also spoke.

More people didn't seem to know that Yang Jingxing sat down again and started playing.

The audience continued to listen carefully. Although the things the lecturer was playing so far were small pieces with little technical content, the basic skills were still reflected.

Yang Jingxing played a little more this time, excerpting about six sections with a total of forty or fifty measures, and then asked: "Can you feel it?"

Two or three students nodded hesitantly.

Yang Jingxing directly concluded: "I think there is a great possibility that this piece was created by Fanny."

There was a buzz in the room, and many people suddenly became restless and looked around. Most of the people who had remained silent for more than ten minutes after the lecture started spoke now, or at least curled their lips in surprise.

Yang Jingxing was a little helpless when things suddenly started to heat up after being quiet for so long. He tried to calm down the situation: "Of course, the facts are not that important..."

"Sir!" The uneducated white male student shouted directly at the lecturer, not only disrespecting humility but also confidently saying: "I don't think you should make such an inference based on just a few similar technical methods.

They were from the same era and the same family, and they were extremely close..."

Damn, the audience quickly quieted down when they saw someone making an attack, and everyone seemed excited and happy to hear what they saw.

In other people's territory, Yang Jingxing didn't dare to reply loudly: "About

Universal technical methods and distinctive and flexible personal characteristics are a bit like the relationship between genius and talent. Even if you are born with talent, you have to work very hard to show your talent..."

The lecturer sat down again, and the boy who asked the question didn't push the lecturer too much, and resumed his demeanor as an audience member.

Yang Jingxing put his hands on the keys and knocked a few times, and then just looked at the audience without explaining, everyone knew what it was. Then the lecturer adapted and played a much more complicated third movement of the Symphony of Destiny.

The relationship between the parts may be a bit of a test for the listener's hearing, but most people should be able to hear the outline.

Even though they only listened briefly, most of the audience's facial expressions still changed, because the lecturer's demonstration finally became interesting. Only those with such musical literacy and playing skills are qualified to sit there.

Yang Jingxing asked: "Which part is more difficult? For me as a composer, the second part is easy, but the former is difficult."

Many people nodded one after another, and those rich expressions of surprise and sudden movements seemed to have a sense of finally being understood that they were overwhelmed by the situation and felt sympathy for each other.

Yang Jingxing continued: "Beethoven did not pioneer new techniques, theories or genres, and his name was rarely associated with genius, but he became the greatest musician."

Was she bribed? An Asian girl with a Korean accent asked: "How did he do it?" Such a gossipy topic is basically just gossip.

"Besides studying hard and working hard, I don't know what other tricks he has." Yang Jingxing stood up again, he was also proficient, and paced to the rhythm of his words: "But we can try to find out when Beethoven showed his

Has the talent to become an extraordinary minority? Or which of his works allows us to see the possibility of a less successful composer becoming great?"

There is no final conclusion on this kind of thing. Different people have different opinions. Students express their opinions loudly and loudly. Most people tend to think that the Third Symphony is a sign of Beethoven's maturity.

After finally hearing the answer he wanted, Yang Jingxing pointed at the student who was obviously dark-skinned but whose face lines and facial features were as delicate and delicate as a girl from the south of the Yangtze River, with a slight admiration: "Moonlight Sonata, I think so too."

The girl lost her showy feeling when she laughed. Fortunately, the audience quickly quieted down, and then a boy helped to add: "In 1801, before the Second Symphony."

Yang Jingxing walked towards the piano again: "Let's just take the piano sonata as an example to review Beethoven's creative career."

There was something commendable about Curtis. The room was quiet except for the sound of footsteps on the wooden floor.

When communicating with experts, Yang Jingxing sat down and started directly, starting from Beethoven's Piano Sonata No. 1, and selecting one or two excerpts from each sonata that best represent the composer's strong personal style or the most exciting part of the piece. In order to save time

, Yang Jingxing’s pauses between paragraphs are very brief, and he doesn’t know how to explain.

When listening to excerpts from the first, second, and third sonatas, most of the audience's expressions were serious and calm. By the fourth and fifth sonatas, some audience members began to adjust their postures to better maintain a quiet atmosphere. When the lecturer finished the demonstration

During the Pathetique Sonata No. 8, the audience began to feel a little bit unable to sit still, and there were all kinds of little movements in all directions.

It seems like a lot, with more than twenty excerpts from more than a dozen sonatas. In fact, Yang Jingxing played for less than five minutes in total. He stopped and looked at the audience: "It doesn't sound very special."

Many audience members clapped their hands, as if they were appreciating the courage of the birdman on the stage to question the courage of the greatest composer. When they saw someone clapping, those who didn't show any sign were ready to follow suit, but as soon as they raised their hands, the scattered applause in front of them had stopped.

Sorry. A fleeting and half-hearted applause. It was really embarrassing. It seemed like there was no tacit understanding and unity.

Yang Jingxing was thick-skinned and pretended that nothing happened: "Let's see what happened in Sonata No. 14."

Wherever he fell, he crawled. Curtis did not give the lecturer a chance to take advantage this time. As soon as he finished speaking and before he raised his hand, applause burst out instantly. All the Curtis people were in unison, and those old guys were all

They joined in. Not only did they start with great momentum, the applause was also well-trained. It seemed that it was agreed that everyone would clap four or five times, and then the whole place would fall silent.
Chapter completed!