stjorthotic Chapter 86 Salon Discussion
Chapter 86 Salon Discussion
In Chengdu, by the Huanhua Creek, there is a private teahouse called "Zhiyin".
On a weekend afternoon, sunlight filters through bamboo blinds, casting dappled shadows on the rustic tea table. The room is filled with the aroma of tea, decorated in an elegant and tranquil style, contrasting with the subtle hustle and bustle of the park outside the window.
Lin Feng arrived early and did a final check with Shen Jingyi. The refreshments were exquisite, the recording equipment was hidden in an inconspicuous corner, and all the invited guests had confirmed their attendance.
Although this salon was an informal exchange, it was of a high standard.
The joint initiative by Fengchi Digital Studio and Xunji Audio, coupled with the recent phenomenal popularity of "Mice Love Rice," made the invitation process surprisingly smooth.
The invitees arrived one after another.
The first to arrive was Li Wei, a senior music editor from Rongcheng Music Radio, a woman in her forties with a capable demeanor.
After exchanging brief pleasantries with Lin Feng and Shen Jingyi, she quietly sat down and looked through the materials that Shen Jingyi had prepared in advance, which included various data on "Mice Love Rice" and an overview of the cover song competition.
The next guest to arrive was Zhou Mingli, a professor in the Department of Musicology at Xichuan Conservatory of Music. He was in his fifties, wore glasses, and had a strong academic air about him.
He nodded at the teahouse environment after entering, indicating his satisfaction.
Next up was Zhao Dong, a reporter from the culture section of the West China City Daily. He was in his early thirties, holding a notebook, and his eyes revealed the keenness of a journalist.
Then, Fang Zhe, the author of the controversial music review article, arrived.
He looked to be around thirty-five years old, wearing a cotton-linen shirt, with slightly unruly medium-length hair, sharp eyes, and a gait that carried a hint of the aloofness often associated with intellectuals.
"Welcome, Professor Fang. Thank you for taking the time to come." Lin Feng greeted him with a respectful yet humble attitude.
Fang Zhe nodded, his gaze sweeping across the room, pausing particularly on Zhou Mingli: "Professor Zhou is here too."
Zhou Mingli stood up and shook hands with him: "I have also read Mr. Fang's article. Some of his viewpoints are worth discussing."
Tang Lei arrived last. He was wearing a T-shirt and jeans, but his composed demeanor, honed by the realities of the market, immediately drew everyone's attention as he entered.
He knew most of the people present, especially Li Wei and Zhao Dong, who were acquaintances. The atmosphere became more lively as they chatted.
With everyone present, Lin Feng, as the host, gave a brief opening speech.
"Thank you all for joining us today, teachers and seniors. Recently, the song 'Mice Love Rice' and the cover song competition we co-organized with XunJie Music have attracted some attention and discussion."
We believe this is not just about a song, but may also reflect some new changes in music creation, dissemination, and reception under new technologies and new media environments.
So I've taken the liberty of inviting you all here, without any particular stance, simply to hear your insightful perspectives from a professional standpoint, to have a chat, and hopefully offer some guidance to us young people who are still figuring things out.
Lin Feng adopted a humble attitude, clearly stated the theme, and tried to eliminate any confrontation.
Li Wei spoke first, speaking from a more market-oriented perspective: "Let me start by offering my thoughts. According to our radio station's data, 'Mice Love Rice' does indeed have a very high request rate, a long duration, and a wide audience, not just students."
This shows that it struck a universal emotional chord. Its dissemination methods were also innovative, involving multiple channels such as ringtones, online downloads, campus events, and cover song contests.
In particular, cover song competitions have mobilized the enthusiasm of ordinary people to participate, and this level of interactivity is something that traditional media finds difficult to achieve.
Reporter Zhao Dong nodded and added: "From the perspective of observing cultural phenomena, this song and this cover song competition are indeed very interesting. It seems to have become a 'meme,' or a cultural symbol. It is very simple in itself, but it provides a huge space for secondary creation and dissemination."
Those adaptations, from rock to acapella, from comedy to sentimental, even the version featuring migrant workers, actually reflect how different groups use this 'symbol' to express themselves. Behind this, isn't there a sense that... a 'participatory culture' is on the rise?
Upon hearing this, Fang Zhe raised an eyebrow slightly, but did not immediately refute it. He simply picked up his teacup and took a sip.
Professor Zhou Mingli pondered for a moment and said, "From the perspective of music itself, the simple melodies, formulaic harmonic progressions, and straightforward lyrics that Mr. Fang pointed out in his article are indeed objective realities. From the standards of classical music, and even from the standards of early campus folk songs and rock music, it may lack in terms of technique and depth."
But he changed the subject, "However, music has many functions. Besides artistic appreciation, it also serves as an outlet for emotions, a means of social interaction, and entertainment. This song is undoubtedly successful in the latter regard."
Its "simplicity" may be the basis for its widespread dissemination—it is easy to learn, easy to remember, and easy to participate in.
This reminds me of ancient folk songs, which often have simple and repetitive structures, yet possess remarkable vitality. Of course, the contexts of ancient and modern times differ, so we cannot simply draw parallels.
Fang Zhe finally spoke, his tone still critical, but softer than in the article, more like a discussion:
"Professor Zhou's mention of folk songs is an interesting perspective. But the simplicity of folk songs often contains profound collective emotions and wisdom about life, which have been accumulated over a long period of time."
The simplicity of "Mice Love Rice" is more like an industrialized "design". Its popularity largely depends on channel promotion and viral marketing, and it has strong consumer culture characteristics.
What I'm worried about is this kind of simplicity that's "designed" to be mainstream. If it becomes mainstream, will it squeeze out the space for more complex music genres that require more patience and thought to appreciate?
Will this further foster aesthetic inertia among listeners? The excitement of the cover song competition seems to confirm this "carnival" characteristic to some extent, but what remains after the carnival?
He pointed out the core concern: artistic standards are being eroded by market trends, and deep thinking is being replaced by instant gratification.
A moment of silence fell over the teahouse. The question was sharp, pointing directly to a core contradiction of the music era.
Tang Lei then spoke, his posture relaxed and his demeanor down-to-earth, like a musician: "I've been singing for so many years and I've also written some songs. To be honest, the artistry and depth of thought that Teacher Fang mentioned are definitely what musicians strive for."
But first, you have to get people to hear it. In the past, releasing an album relied on radio charts and word-of-mouth, which took a long time and had a high barrier to entry. Now, with the internet and ringtones, songs like "Lilac Flower" and "Mice Love Rice" can become popular overnight just because of one thing, such as a catchy melody or easy-to-remember lyrics.
This gave many people who previously had no chance, such as Yang Chengang, the possibility of being heard. Isn't that a kind of progress?
He paused, then continued, "As for simplicity, pop music sometimes needs to be simple and direct, grabbing your emotions immediately. Many people, after a long day, just want to relax by listening to some simple music that doesn't require thinking and that they can hum along to."
The market has different levels of demand. I watched quite a few entries from the cover song competition, and they were quite interesting. That rock version was a very powerful arrangement; that a cappella version showcased the possibilities of the human voice.
Look, such a simple song has inspired so many people to create and express themselves. Isn't this another manifestation of the vitality of music? Does music have to be highbrow to inspire creativity?
Tang Lei's words were more down-to-earth, offering another perspective from the viewpoints of creators and the market.
Lin Feng intervened at the opportune moment. Instead of directly refuting Fang Zhe, he followed Tang Lei's words and introduced data and a new perspective:
"Thank you all for sharing. Initially, we did start this cover song competition from a commercial perspective, considering promotion and maintaining its popularity. But in the process, we observed some very interesting phenomena."
In addition to the creative inspiration mentioned by teacher Tang Lei, we also found that many participants, especially some non-music majors, may not understand complex music theory, but they have the desire to express themselves and the impulse to share their joy.
This song, and this competition, gave them an entry point with almost no barriers to entry. We received more than two thousand submissions, a large portion of which may have had immature singing and playing techniques, but you could feel the sincere and vibrant emotions within them.
This makes us wonder: in the digital age, are the barriers to music decreasing? Is the creation and participation in music shifting from a profession for a few to a lifestyle and form of expression for more people?
He looked at Fang Zhe: "We understand Professor Fang's concerns very well, and we also agree that music needs artistic exploration and depth."
But at the same time, is it also possible that, just as rock and pop music were criticized as "shallow" when they first appeared, the "mass music participation boom" we are seeing now, based on new technologies and platforms, is also part of the evolution of music forms and ecosystems?
Its value may require more time to observe and define. What we can do, perhaps, is to follow this trend while also trying to build some bridges.
For example, our "Campus Original Musician Support Program," which we are currently preparing, aims to encourage more young people to engage with and create music, while also guiding and helping them towards more professional and in-depth exploration.
Lin Feng's remarks shifted the discussion from a specific evaluation of a song to a broader observation of industry changes, and he also took the opportunity to introduce his team's future plans, demonstrating an open and constructive attitude.
After listening, Fang Zhe remained silent for a while, and the sharp look on his face softened a little.
He looked at Zhou Mingli: "Professor Zhou, what do you think of this...participatory music phenomenon? Is it comparable to the spontaneous transmission of folk music that you study?"
Zhou Mingli pondered, "There are similarities and differences. The similarity lies in the fact that both are bottom-up dissemination and re-creation based on interest and emotion. The difference lies in the fact that folk music is often closely linked to specific regions, ethnic groups, and lifestyles, and has a long period of accumulation."
This kind of participation in the internet age is faster, more fragmented, and more reliant on technological platforms, and emotional connections may be more immediate and more personalized. But in any case, the spontaneous and large-scale participation of the public in musical practices was unimaginable in the past.
This is in itself a new phenomenon worthy of attention in the sociology of music. As for its artistic value, it may need to be observed using new evaluative dimensions, rather than simply applying traditional classical standards.
The discussion gradually shifted from "Is this song good or bad?" to "What does this phenomenon mean?" and "How should we view and deal with it?"
Although Fang Zhe may not completely agree with everyone's views, he is clearly also thinking about it.
His later remarks were more from a critic's perspective, reminding people that while embracing new phenomena, they should not abandon the pursuit and guidance of the essence of musical art, and should be careful to avoid being completely dominated by traffic and instant feedback.
Li Wei and Zhao Dong shared their observations on audience changes and communication patterns from a media and market perspective.
The atmosphere of the salon gradually shifted from a slightly scrutinizing tone to a more peaceful and in-depth exchange.
At the end of the salon, Lin Feng gave a brief summary, thanked all the guests for their valuable opinions, and said that he would carefully consider the various viewpoints raised at the meeting and hoped to maintain communication with everyone.
He also extended a special invitation to Professors Fang Zhe and Zhou Mingli, hoping that they could participate as guests in the "Campus Original Musician Support Program" and provide more diverse guidance for young people's musical exploration.
Fang Zhe neither agreed nor disagreed, but accepted the detailed plan handed to him by Shen Jingyi, saying that he would "take a look."
Professor Zhou Mingli showed some interest, especially in the parts concerning music popularization and creative guidance.
After the salon, reporter Zhao Dong privately told Lin Feng:
"Xiao Lin, you did a great job organizing this salon. You didn't avoid the issues, and you even elevated them to a higher level. I know Fang Zhe; he has a sharp tongue, but his views often hit the nail on the head. It's not easy to get him to sit down and talk today, and to actually come up with something. I know how to write this report now."
A few days later, the culture section of the West China City Daily published Zhao Dong's article, titled "From the 'Mice Love Rice' Phenomenon, a Glimpse into the New Music Ecosystem of the Digital Age."
The article objectively summarizes the main viewpoints at the salon, mentioning both the concerns expressed by Fang Zhe regarding the loss of artistry and depth, and quoting in detail the views of Tang Lei, Zhou Mingli, and Lin Feng on public participation, technological empowerment, and industry evolution.
The article explores "Mice Love Rice" and the resulting cover song craze within the broader context of digital technological change and the transformation of the music industry. The tone is rational and neutral, yet insightful and reflective.
Almost simultaneously, Rongcheng Music Radio also produced a special program, hosted by Li Wei, and invited Professor Zhou Mingli and another musician as guests.
The topic revolved around "how new technologies are changing music creation and listening," and the program mentioned the recent cover song competition and the discussions it sparked, without being limited to simple praise or criticism.
The ripples caused by that critical music review were thus channeled into a broader and more diverse space for discussion by a carefully planned salon and subsequent relatively objective and in-depth media reports.
The singular critical voices against "Mice Love Rice" and Fengchi Digital Studio were diluted and transformed into a rational discussion of an industry phenomenon.
"It seems that this teacher Fang Zhe is not entirely uncommunicative," Shen Jingyi said softly, looking at the article in the newspaper.
Lin Feng put down the report in his hand, which was the final data summary of the cover song competition and the latest registration information for the "Original Music Support Program".
He smiled and said, "Criticism often stems from caring. What we fear most is being ignored. Now, at least people are seriously discussing what we're doing. That's enough."