Interview and Writing | Hu Yujing
The TV series " and Fengxing " is currently on the air. The soundtrack of the show combines national, ethnic, electronic and popular styles, triggering widespread discussion. Among them, the "War Hymn of Blue Blue" used by the heroine Shen Li when fighting with a gun is sung with human voices and matched with the suona. Shen Li's theme soundtrack "The Name of Blue Blue" is performed by the Budapest Film Symphony Orchestra. Dong Jie plays the military wife Yun The soundtrack "Yin Wangchuan" when the mother bid farewell to her husband Zhou Lang who died in the war is sung lyrically in a Sanskrit-like singing method. The lyrics of OST are borrowed from the palindrome poem "Love in Love" by Song Dynasty poet Li Yu, and the preface reads "Missing My Wife". The reverse order is to remember the husband.
"The Name of Blue Blue" performance scene. Photo source: Weibo @杨平音
Yang Bingyin, the music director of the show, has composed soundtracks for different types of film and television dramas such as the TV series "Police Honor" and "The Boy Who Calls the Dragon", as well as the animations "Spirit Cage" and "Heavenly Official's Blessing". He pointed out, “Soundtracks with realistic themes do not need to emphasize the objective authenticity of the facts, because it is very close to life, and the audience will not think that the world is fake. The role of music in realistic-themed works is more to guide the audience to experience The character's emotions directly guide the story plot. "
" All creativity in the creation of costume fairy tale soundtracks must follow one principle, which is to inject a sense of reality into the virtual worldview and show the authenticity and diversity of the world," Yang Bingyin explained, " The scenes shot in film and television dramas are actually limited, but music can expand the world outside the screen, making the audience feel that there is a real world of immortals and heroes outside the screen, giving everyone some room for fantasy like reading a book. "
in Yang Bingyin. It seems that all film and television dramas are about human emotions, and the situations of people in the drama are different. To achieve differentiation in music creation, the most important thing is to capture the emotional expression of the drama itself. "If you just convey beauty and express beauty, I think the methods and methods will be limited, but if you talk about the unique emotions between people, there will be a lot of expressions in the practical process."
He gave examples, such as "With The male protagonist Xing Zhi of "Feng Xing" is an ancient god, and he should have a sense of ancient times when he appears. The vocal singing method mainly uses Mongolian long tunes and humai, and the soundtrack conveys the divinity of his identity and the calm atmosphere of his character. The heroine's identity is a prince who is good at fighting. Her representative line is "The king is here". She is more suitable for a more explosive musical instrument. When the suona is sounded, her domineering power on the battlefield can be instantly revealed.
"In the creation of animation and game music, you only need to use your wild imagination and set no boundaries. Because the characters in these works themselves are innovative and virtual, the forms of expression are often not limited," Yang Bingyin added.
"Traveling with the Phoenix" poster
In recent years, soundtracks have become part of the creation of oriental aesthetics in film and television dramas. In Yang Bingyin’s view, Chinese musical instruments have distinctive characteristics and a sense of history, which can quickly put everyone into the mood. In the creation of "Walking with the Phoenix", he chose to use Chinese musical instruments as the mainstay, supplemented by electronic music and symphony. He mentioned that in addition to the suona, there is a sound similar to the crowing of a rooster in "The Ginseng Seller" in the soundtrack of "Traveling with the Phoenix", but its sound actually comes from an ancient folk music, which can imitate women. The crow of the protagonist Phoenix when he turns into a chicken can also be used as a funny sound effect to adjust the atmosphere.
With the increasing emphasis on soundtracks in film and television dramas, the number of soundtracks and OST tracks is increasing, and "Traveling with the Phoenix" has as many as 38 soundtracks. Yang Bingyin believes that the soundtracks of film and television dramas are becoming more and more "volumetric", mainly because the audience pays more attention to music. The soundtrack is no longer just to match the scenes, but also a way for the audience to review plot fragments and mobilize memories outside the scenes of the drama. "Changing the 'volume' is also a good thing for us. Only if there is real demand from the industry can we be guided to create truly differentiated music. Otherwise, if everyone does the same thing, the production level will be very boring."
also has an audience Questioned, "Compared to the film and television dramas that were broadcast many years ago, why are the popularity of OST in film and television dramas today not as high as it was decades ago?" Yang Bingyin believes that the main reason is that information has become very complicated nowadays, and the choice of things to listen to is greatly expanded. increase."In the past, everyone had limited choices for watching works. A drama was broadcast this year and re-broadcast in the summer next year. The audience watched it many times without knowing it, and the details were familiar. For now, the difficulty of music production for film and television dramas has increased, and the production level is more complicated than before. A lot, because the audience needs to be impressed after watching it once, and (in this case) it is impossible to be sung as before. This also places higher demands on music producers, not only in terms of technical experience. Both in terms of expression and emotional expression, we need to be more dedicated and innovative in making good music for the audience.”
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